text:
I wrote this article a week or so back on the Windies cricket scenario
West Indies cricket : How gloomy will it get before some thing is done
"I don't know but something is terribly wrong. You can't tell these guys don't have the potential or the ability," Ambrose remarked. "We have seen patches of it from time to time. But we are still seeking some consistency and we are not having that and it's very frustrating." Curtly Ambrose on the current crop of West Indian test players.
This is what Bennett King, coach of the West Indies national team points the problem as : "If you go and watch regional cricket closely the lines that they bowl aren't conducive to taking wickets at international level."
The West Indian squad in the first test against England in July 2004 read like this : Gayle,D.S.Smith, Sarwan, Lara, Chanderpaul, Bravo, Jacobs, Banks, Best, Collins Edwards.
The West Indian squad in the last test against South Africa April-May 2005, less than a year, later reads like this: Gayle, Hinds, Sarwan, Lara, Chanderpaul, Bravo, Browne, Deonarine, Powell, Best, Washington.
The batting is decent with Sarwan, Chanderpaul and Gayle to support Lara. Identification of a future opening batsman is required. Is Hinds, a person who has failed on many occasions the answer? We will see.
The keeper had to be changed after the retirement of Jacobs. The main problem is with the bowling. Banks, Best, Collins and Edwards a year ago and now Deonarine, Powell, Best and Washington. Best is making a return to international cricket and he hasnt done too well either with his line and length. A promise for the future? Sure. Test standard at the moment? Certainly not. Dwight Washington made his debut on the worst pitch one could hope to make a debut on for a fast bowler. Did he impress? No. Powell any one? Deonarine? Or do we bring back Fidel Edwards who is the squad. Pedro Collins is injured and he is reportedly missing the match because of that reason.
The question is why the West Indies selectors are trying so many players.
Number of West Indian test players in recent past series:
Vs South Africa 2005: 18 (even due to number of changes due to the sponsorship row its a big number)
In England 2004: 17 (4 tests)
In Zimbabwe 2003-04: 13 (2 tests)
In South Africa 2003-04: 15 tests (4 tests)
And we havent even gone into the number of different players who have played for the squad in the past one and a half two years. I will go into one aspect.
Pace bowlers tried by West Indies: Dillon, Edwards, Drakes, Taylor, Collymore, Collins, Collymore, Best, King, Powell, Washington, Sanford
12 pace bowlers over 14 tests. Chances are I may have even missed some of the guys considering the numbers.
Number of first class teams in the West Indies: 6.
So the selectors have believed basically that two fast bowlers from each first class team is capable of playing international cricket on an average. They have believed that 12 players fast bowlers may be capable of playing international cricket.
There is talent in West Indies cricket as Ambrose points out. Else they would not be able to win the champions trophy in England 2004. But what we have seen in the recent past is not explainable. 25-30 players have played for West Indies in test cricket in the recent past. Do the selectors mean to say they have believed so many players to be of international standard? Certainly the results do not show it.
West Indies are ranked eighth in the ICC rankings and a vast gap exists from the number 7 team. Selecting a group of players who are believed to be good enough should be identified and backed with security of contracts. At the moment the board and players are tussling over sponsorship money which led to players like Lara missing the first test of the series versus South Africa. Solving this unnecessary crisis as soon as possible and focusing on more important things would be the sensible thing to do.
And we havent even come to what Bennet King said regarding the way the bowlers bowl in first class cricket not conducive to taking wickets at international level. To understand this, notice how a debutant fast bowler (you will find one every couple of tests) pitches the ball. Short, trying to intimidate the batsmen. When Tino Best impressed a few people England, he had the raw arrogance about him that he could blast the batsman away. McGrath doesnt blast the batsmen away; Pollock doesnt blast the batsmen away. Even some one with the pace of Akhtar has learnt pace is not every thing in international cricket. Lee isnt playing for the test team at the moment. How many West Indian fast bowlers possess the pace of Akhtar or Lee to even think they can win battles at international level with pace.
Some one needs to just guide these bowlers and tell them what line and length to bowl. And the younger bowlers must have the humility to listen to the past greats and seek invaluable advice. Has West Indies cricket gone done the spiral? Yes. No question about it. Is resurgence possible? If things are attempted to be put at place right now with Brian Lara still there, it is very much possible. Two years down the line Lara would also retire. No one thought West Indies would lose series at home consistently, drawing versus the likes of Bangladesh when Ambrose and Walsh were playing. With Bangladesh improving, the West Indies may soon even lose a series to the minnows if things continue going down as rapidly as it is. Every one who loves cricket would like the West Indies to do well. We can only hope for the best for we love the flair, style and charisma in West Indian cricket. I would have liked to add passion to that list of adjectives. Sadly I cant.
Any one else welcome to list some problems and mention ways to dig them out of this deep hole.


text:
You are about to enter a website that may contain content of an adult nature.
Hello everyone, this is Indian cam girl SexFantasy4uuu here. I'm 23 year old Female speak English and French in the Indian live sex chat action. I love funny, cool guys which love to spoil me and make me feel good:) I like cam2cam so it should be better if you have a webcam:) be open minded and let`s have fun:). I am a very funny and sexy girl. Let me entertain you. I like to talk to gunny guys who know how to treat a woman. Respect me and I`ll respect you. kisses.. Lets discover them in my room kissssess xxx is my expertise and also what I will do in Indian live sex private show. I have Brown eyes, Long Blonde hairs and my measurements are 38-24-37. For Turn ons: hard cocks, infinite imagination, dirty talk, funny jokes. For TurnsOff: Rude people!!liars beggars ,stupids. If you prefer kinks, then Piercings,Shaved, are mine. I'm just hungry for a HARD cock, can't wait to see u in my Indian webcam sex chat room! :)
Show more models
This website contains indian nude cam, desi webcam, online hindi girls webcam and tamil sex cams related sexually explicit content.
You must be at least 18 years of age to enter this website. © Since 2012 myindiansexcams.com Indian Sex Chat Network All Rights Reserved
AllHosts1 - AllHosts2 - AllHosts3 - AllHosts4 - AllHosts5 - AllHosts6 - AllHosts7 - AllHosts8 - AllHosts9 - AllHosts10 - AllHosts11 - AllHosts12

subset: commoncrawl


text:
Will Robie, a government assassin seen in last year's "The Innocent," returns in a bigger and bolder adventure in David Baldacci's new novel, "The Hit." Robie's superiors know he'll obey orders without question, so when one of his colleagues goes rogue, he's given the task of termination.
Jessica Reel was ordered to assassinate a dictator, but she executed someone else. Robie has worked with Reel, so he's considered the perfect candidate to bring her out of hiding and take her out. The more he digs - and the more targets she eliminates - the more Robie questions his orders.
Conspiracy novels aren't new, government traitors aren't original and a killer hired to take out another killer has been used countless times. But Baldacci puts a fresh spin on the cliches, and the end result is the best Baldacci novel in years. Robie is an assassin with ethics, and the nonstop action and twists help move the story along.
What makes "The Hit" live up to its title is the payoff at the novel's end. By then, Baldacci has planted an emotional hook that remains long after readers have turned the last page of the book.


text:
I guess I should just go ahead and submit another cool skull tutorial that also happens to be a tattoo design. I drew this sketch with every intention on making something that was cool, and interesting enough to want to draw. I think I have a fifty, fifty split here because I have a feeling that some may find this skull tattoo cool, and then again some will find this design uncool. Either way it is definitely going to be a challenging task to tackle and complete. The skull is being drawn from a side view and because of this it should be a lot easier to follow. For those of you that are fanatics over skulls and skull art, you should get a blast from this tutorial on "how to draw a tattoo skull", step by step. You can tweak the skull to your liking, and with everything you add and take away, you will end up with a drawing that is your own. I have to leave this description but I shall return with more drawing fun. Have a blast and be sure to let me know how you like this tutorial as well as others. Peace people!
DragoArt members upload artwork and drawing tutorials! They are also allowed to leave comments on tutorials, profiles, etc. Many more features, as well; it's way better than just being a boring guest! Register Now!


text:
Alape not only places the greatest value on the materials used and their consciencious processing, it also makes high demands on itself and its partners. All suppliers are distinguished by their reliability and the high quality of the delivered goods. The criteria by which Alape selects its partners are discerning, fair and objective:
- Assured deadlines
- Cost responsibility
- Quality responsibility
- Warranty extensions
- Environmental protection
You can download Alape's purchasing conditions here.
If you are interested in working with Alape as a supplier, please get in touch with us.
Alape GmbH
Am Gräbicht 1-9
D-38644 Goslar


text:
Learning Partnerships in Biology
As odd as it sounds, I became interested in science education after many years of teaching. What began as a peripheral interest has become a focus of some of my classes, and has evolved into using "Learning Partnerships" as teaching and learning tools. In these Partnerships, Bates students work with Lewiston/Auburn teachers to help teach biology to elementary, middle and high school students.
You learn something best when you have to teach it – when it goes beyond yourself and your own learning. When my students teach, they tell me how hard they have to work to really understand what they are presenting in order to be prepared to answer questions. They have to hone their presentation and communication skills. They have to think about the content, as well as how they will help someone else understand it. The process of teaching encourages them to think about science in new and exciting ways, exactly as it encourages my interest and informs my work every day.
Teachers are always grateful for genuine help. They might need to develop a lab, or plan a new lesson, or check out some internet sources. So when enthusiastic college students work with dedicated teachers and their classes, everybody gets something out of it.
The notion of "Learning Partnerships" suggests that this kind of arrangement can be good for everyone involved if we consider each other learners as well as teachers. The learning, of course, goes far beyond the science content that is always a central focus. I have learned that the Partnerships work best when the teachers tell us what they need, and we collaborate to formulate a plan to meet those needs. I have learned that when you help one teacher develop a lesson plan, you actually help many (because teachers talk). I have learned that there truly is some magical connection between young kids and college kids, and that a no-longer-a-kid (but a kid at heart) professor can become a part of that magic because it comes from a deep generosity of spirit and is there for the taking. And I have learned.
Education is in a period of rising standards and falling budgets. The salvation of education lies in its one limitless, renewable resource: the good work of dedicated teachers. Collaborating with our elementary, middle and high school teacher colleagues has been enjoyable and very rewarding from many perspectives. I can now honestly encourage my own students to consider teaching science as a career, and can introduce them to people who do it well. Establishing Learning Partnerships has become a regular part of my classes. More often than not, they are win-win situations.


text:
Hill physician prescribes speed for car buffs
by Lon Mancinelli
The spirit of competition is the theme of the Simeone Foundation Automotive Museum, located along the industrial corridor behind the Phila. International Airport at 6825-31 Norwitch Drive in a former engine-remanufacturing plant. It was founded in 2008 by former chairman of neurosurgery at Pennsylvania Hospital and 75-year-old Chestnut Hill resident, Dr. Fred Simeone.
The museum was named the 2011 Museum of the Year by the International Historic Motoring Awards at a November black tie ceremony in London, competing against major racing car museums in Europe. The panel featured judges Jay Leno, a racing sports cars enthusiast, vintage car racer and Pink Floyd drummer Nick Mason, Pebble Beach chief judge Ed Gilbertson, five times Le Mans winner Derek Bell and Lady Susie Moss, wife of racing icon Sir Stirling Moss, among others.
A walk through the museum is like a walk through a narrative of the evolution of engineering in the 20th century. There is the 1909 American Underslung, originally raced from Philadelphia to Chicago. The chassis was slung under the front axles, unique for its time. But for ground clearance, the car rode on 40-inch wheels. Then there's the 1966 Ford GT40 MKII that stands 40 inches tall from ground to roof, a car identical to the one that won Le Mans that year.
"If you think about our sensations," said Simeone, "speed is the one of the few new sensations the common man can enjoy."
The races provide opportunities for manufacturers to display their superiority over other car makers. Each year, builders vie to create the perfect machine. Handling and speed are important because cars make left- and right-hand turns during the races, as opposed to NASCAR's circular tracks. After World War I, designers learned the importance of streamlining from fighter planes, and a sleeker more aerodynamic front of the car evolved. Wheels got smaller but fatter. In 1953, engineers changed from drum brakes to disc brakes, a method they learned from WWII planes, and new speeds and handling capabilities transformed the possibilities and look of the modern machine.
Dr. Simeone's collection of more than 60 racing cars spans seven decades. They are the actual racing cars, not replicas. Aside from the cars in its "Tribute to NASCAR" room, the museum's youngest car is the 1975 Alfa Romeo 33-TT-12. "It was around the late 1970s that companies started to build cars specifically for races that could not be bought (by the everyday consumer)," said Harry Hurst of the Foundation.
Simeone's collection is a tribute to cars that could have been bought by consumers at the time, and it thus ends in the 1970s. The museum boasts the nation's largest collection of Alfa Romeos, the premier racing sport car in the 1930s.
People come from all over the world to see the cars, Hurst said. They come because the races where these cars come from — Le Mans, Mille Miglia, Sebring, etc. — are more of a cultural phenomenon in Europe than in the U.S. Le Mans, held each year since 1923, is a 24-hour jaunt through the countryside of France, and is the world's oldest sports car endurance race. It routinely draws up to 400,000 people.
Visitors come to the museum to see the first of the six 1964 Cobra Daytona Coupes ever built. The 1937 Supercharged Cord. The 1926 Bugatti Type 35. The 1953 Jaguar C-Type. Or, maybe it is to see the 1956 Maserati 300S or the 1958 Aston Martin DBR1.
Simeone likens himself to Albert Barnes, the legendary Philadelphian whose art collection includes works by Renoir, Matisse and Picasso. Like Barnes, Simeone was raised in Kensington, and he began collecting racing cars before they were cultural icons.
It's something he started doing with his father, Dr. Anthony Simeone, whose first racing car purchase was a 1949 Alfa Romeo. Four of the cars at the museum were acquired by Fred's father. And like his father, a physician, Simeone entered the medical field and became a neurosurgeon. He went to Thomas Edison High School, studied at Temple, went to its medical school and then to the Mayo Clinic for his residency, which he completed in 1963.
He worked at the University of Pennsylvania School of Medicine for two years before moving to Harvard as a faculty member from 1966 to 1969. In 1969, he came back to Pennsylvania Hospital to serve as chairman of neurosurgery of the hospital until he retired in 2008. He moved to Chestnut Hill in 1996.
In 2008, he founded the museum and moved his collection from a two-car garage off South Street to its current three-acre location. In addition to its gallery of cars, the museum can host conferences as large as 1,000 people and seat 500 and is open for field trips, parties and various other events.
Simeone donated all of his cars to the Simeone Foundation, a nonprofit he created with the hope of increasing awareness about the rich history of the cars and to provide a living example of how competition can lead to great advances.
But he worries about whether or not the museum will be able to support itself. "You learn by mistakes," he said. "Steam racing cars didn't survive … If you don't have to win, you're always going to be the old-fashioned car." His vision comes from the idea that you can line up a historical progression of cars and see the changes that have developed over just 70 years.
Regarding his decision to become a medical doctor, the car collector explained, "I wanted to make a difference." He insists that at one point during the 1980s, he was doing more operations than any neurosurgeon in the nation, almost 1,000 a year. Two of his most prominent patients were former mayor Richardson Dilworth and former Phillies centerfielder, Lenny Dykstra. He has penned more than 10 medical books. Last year, he also published a 384-page account of his vision for the museum, "The Spirit of Competition," which includes plenty of information about sport racing.
All of the cars in the Simeone collection have competed in the world's premier sport racing events. One of the cars, a 1963 Corvette Grand Sport, was raced by Newtown Square's Roger Penske, owner of one of the all-time wining car racing teams.
Dr. Simeone is no longer married, and his daughter, who earned her graduate degree at the University of Pennsylvania in environmental science, now directs the energy center of a Pennsylvania-based environmental nonprofit. For more information about the museum, visit www.simeonemuseum.org or call 215-365-7233. "The Spirit of Competition." is available online through Amazon.com


text:
Before Daniel Radcliffe became the most famous child actor in history, he was just a child: an only child, a poor sleeper, a nonstop talker, a picky eater. He was also disarmingly sweet. In the screen test he took at age 10, in 2000, for the first Harry Potter film, "Harry Potter and the Sorcerer's Stone," he smiles brightly, ebullient, his delight in being there apparent; he is concentrating, concentrating so hard at one point that he mouths words under his breath while waiting to deliver a line, but even still, when he does finally speak, he is all natural sincerity. His face is a flawless little-boy face, his eyes huge and cerulean blue. One eye occasionally blinks more slowly than the other, but no matter. He turns, compliantly, this way and that when asked. About four minutes into the footage, someone places the iconic round glasses on him, and there he is: Harry Potter, boy wizard, the chosen one. The adult voice on the video says: "Those look good."
Within weeks, Radcliffe, officially cast as Harry Potter, was sitting at a news conference before a roomful of cameras and reporters. One of his first questions from the media: "How do you feel about becoming famous?" Radcliffe brightened: "It'll be cool!" The crowd laughed.
Thirteen years later, on Sept. 2, Radcliffe was on a small boat in Venice, speeding along the Grand Canal toward the Rialto Bridge. The bridge, a 16th-century stone marvel, is one of the biggest tourist attractions in Venice, but on that day, it was merely a convenient viewing station from which wildly waving fans could await Radcliffe's arrival. Radcliffe was making his way from the Lido, a small resort island that hosts the Venice Film Festival, to a department store that had agreed to publicize, with huge banners, the independent film, "Kill Your Darlings," that Radcliffe was in town to promote. Young people, mostly girls but a few boys, had been lining up outside the store since the evening before for an autograph-signing. Radcliffe was hoping to lure at least some of his Harry Potter following to see his new film, in which he plays a youth icon of a different order: the poet Allen Ginsberg, during his rebellious late-teenage years.
Everywhere Radcliffe looked, on tiny side streets opening out to the water, on lacy balconies overhead, people were crammed in close, screaming his name — "Donyell! Donyell!" — and blowing kisses. From the deck, a manager with the film's Italian distributor called to Radcliffe, "Come up top!" The day was beautiful, with that warm Venetian light bouncing off the water. "I've been told not to — sorry!" Radcliffe called back. Radcliffe, who is 24, looked mortified by this precaution, which was not to protect his safety but someone else's labor. "I'm sorry I'm acting like I care about my hair," he told me, "but Dan"— his hairstylist — "gave me strict instructions not to make him look like an ass."
Radcliffe, in person, generally vibrates at a faster frequency than the character that made him famous, but looking out at the awaiting throng, he seemed quiet and focused. After so many years, he is accustomed to the frenzied desire, the crazed crush of fans wanting to see him, capture him on film or claim his autograph; if he was feeling some dread, it was because he already knew that he would be disappointing so many people. "I'm more nervous about the anticipation of feeling bad," he said. "When you've got thousands of people who've gotten up at 4 in the morning and think they're going to get something and they won't. . . ."
Now the boat inched its way around a tight bend and pulled up to a dock the crowd could not access. Radcliffe's bodyguard, Sam, never more than an arm's length away, led him up some stairs and into the glaring artificial light of the department store, which smelled of perfume and wool. From a balcony, Radcliffe took in the view — some 1,500 people, packing the street. A sofa had been set up in one of the in-store boutiques, and a few feet away, behind a barrier, a phalanx of young girls pressed up against one another to get closer to Radcliffe as he, Sam and his publicist tried to get their bearings. In the absence of a clear plan, Radcliffe walked up to the barricade and began signing cellphones, books and T-shirts, but the crowd started to heave and surge — "Che bello!" cried a girl — at which point Sam pulled Radcliffe away. (Laconic, 6 foot 3 and movie-star handsome, Sam — who agreed to be identified by only his first name — alternates monthly with another bodyguard; one or the other accompanies Radcliffe everywhere.)
Once an orderly line formed, Radcliffe stood and signed autographs, as one of the 12 security guards hired for the event pushed the girls along to keep things moving. "Can I get a hug?" one girl asked. "No, but it's lovely meeting you!" Radcliffe said. Another young woman was shaking with emotion. "Are you O.K.?" he nervously asked. ("It only makes it worse if you're nice," he later observed, miserably.) At one point, he scrawled an autograph on a piece of paper, then threw it away quickly. "That one's no good." A vein in his forehead had become more visible than usual.
Once he hit the 500 mark, after about an hour, Radcliffe spoke to a video camera, apologizing to all those who were still in line outside and would not get to meet him and thanking them for coming. As someone broke the news to the waiting girls that Radcliffe was leaving, wails broke out; Radcliffe was ushered, with Sam just behind him, back down the stairwell. He ducked around a corner, finally alone. He lighted a cigarette. "Are you all right?" his publicist asked. Radcliffe, pale, prone to headaches, nodded.
A 25-minute boat ride later, he was back at the Lido and being rushed into a black car. He had barely settled in when the driver turned to him: "I'm so sorry, sir, can I ask you to sign for my sons?" Radcliffe did not hesitate. "Oh, yes, of course!" he said, and the driver passed him a napkin and a pen.
Since the Potter movies ended, Radcliffe has thrown himself into a frenzy of projects, at times working 90-hour weeks and rarely taking vacations. He seems intent on proving that he is, if not worthy of the golden ticket he received at age 10 (because who could be), at least working as hard as anyone could to show he won't squander his fame. In 2010, while he was finishing the last Potter films, he trained with a choreographer and learned how to dance so he could star in "How to Succeed in Business Without Really Trying" on Broadway. In addition to "Kill Your Darlings," he has finished two other movies: "Horns," an adaptation of the Joe Hill novel, and "The F Word," a romantic comedy with Zoe Kazan. This summer, he played the lead role in "The Cripple of Inishmaan" in London's West End. During the last month of the play's run, he filmed, during the day, the title role in the second season of a television series called "A Young Doctor's Notebook," based on a book by the Russian writer Mikhail Bulgakov; already a success on British television, the first season began airing in the United States this month on Ovation, an arts television network.
In the show, Radcliffe plays a young, morphine-addicted doctor who often appears alongside an older version of himself, played by Jon Hamm. The material, set in early-20th-century Russia, is obscure, at times comically obscene and absurdist. When Hamm approached Radcliffe about the project, showing him an outline of the script, he said yes right away. "The Master and Margarita," Bulgakov's best-known book, is one of Radcliffe's favorite novels — on his 21st birthday, he treated himself to a trip to Moscow to visit the author's onetime home.
As the writers started working on the script, they were not sure whether Radcliffe would feel comfortable with physical comedy or humor that played on his height (he's 5 foot 5). To their relief, he embraced it, banging his head on low-hanging lights, allowing Hamm to pick him up or body-slam him, enduring a steady stream of asides about his size. Three days before leaving for Venice, Radcliffe was finishing the last scenes for the second season, including one in which he was wrestling with a pharmacist over a forged prescription for morphine. The two actors tugged at the piece of paper for a moment, and then Radcliffe, like a small, feral animal, stood on his toes and sank his teeth into the pharmacist's hand, pulling the paper away in triumph.
That final touch with the teeth, dark and antic, was Radcliffe's improvisation. It went over well. "That was like: What if I was in a situation, and I really needed it?" Radcliffe said. "I'd bite the sucker."
He had five minutes after the scene to take a break and quickly walked outside to smoke a cigarette; he rolls them, a habit he picked up from the Harry Potter wardrobe dresser, a father of three now in his 40s, whom Radcliffe considers one of his best friends from the days on the set. Among the wealthiest men under 30 in his country, Radcliffe, particularly when he smokes, has the pallid, slightly starved look of an artist who might live in a garret. He has a pointy chin but wide, dramatic cheekbones and those surprisingly blue eyes. If it weren't for the eyebrows, which are caricatures of eyebrows, exceptionally dark and heavy, Radcliffe might be pretty rather than what he is, which is handsome in a vaguely gothic way. Occasionally, and more so when he is tired, he still shows the same slow, one-eyed blink he did on his screen test. "It's what Homer Simpson's eyes do when he's drunk," Radcliffe said. "I listen to too many directors' commentaries from 'The Simpsons,' that's why I know that."
At times in his professional life, Radcliffe said, he has felt self-conscious about other idiosyncrasies of his face, particularly when he was acting in his first post-Potter movie, a horror film called the "The Woman in Black." During filming, he said, "I was struggling in vain to not come close to making a face that would make people think of Harry." And how would he characterize a Harry face? "There isn't," he said, exhaling smoke and shaking his head. "It's just my face. I have to accept the fact that my face is going to remind people of Harry because I played that character. If I try to avoid being expressive in that same way, all I'll do is stop being expressive, and I won't be any farther away from that character."
Radcliffe has been most successful, outside the Potter franchise, in roles in which the physicality of the character helps him over the hurdle of his past on-camera self. When he was 18, he starred in "Equus" on Broadway, playing a disturbed adolescent, a role that required extensive nudity. He performed with an Irish accent and portrayed a disabled young man in "The Cripple of Inishmaan." In "Kill Your Darlings," he plays a gay, sexually active aspiring poet attending Columbia University. A touch of Hogwarts hovers over the film, but the earnest, solemn, blue-eyed schoolboy has been replaced by a hyperverbal, occasionally manic Jewish adolescent from Paterson, N.J.
The range of roles reflects Radcliffe's ambition and his desire to prove, as quickly as he can, that he can genuinely act. "I have a massive chip on my shoulder," he told me. "When you fall into something at age 11 and get paid incredible amounts of money for your entire teenage years for doing a job anyone would want, there is a part of you that thinks everybody is just saying, 'He got there because he fell into it; he's not really an actor.' " The possibility that those people might be right plagued him as well. "I feel it less nowadays," he said. "It has taken a long time to feel like I've earned the place that I'm at."
Radcliffe says he grew up on the comedy of embarrassment, a particularly British form of humor with which he identifies closely. The day he learned he got the part of Harry Potter, his parents rewarded him by letting him stay up late and watch an extra episode of "Fawlty Towers," perhaps the apex of a genre built, as Radcliffe says, "on fear and anxiety and awkwardness."
"A Young Doctor's Notebook" revels in that queasy-making humor. In one episode, he hacks away at a young girl's leg with a saw as blood spurts tragicomically, and in the second season he humiliates himself with his sleazy wooing of a beautiful young woman named Natasha.
On the "Doctor" set that day, Radcliffe changed into a Harlequin-style clown suit for a daydream sequence that called for him to leap, dancerlike, as he exited the scene. He chatted with the sound technician fixing his microphone. "You like Pavement?" he said. "A lot of sound guys like Pavement."
"Don't do that," the technician deadpanned. "You've worked with other sound guys?"
"No, no, none of them even compare to you," Radcliffe said. He generally seemed to enjoy the small talk and the camaraderie among the crew as much as the acting. He looked down at his costume and laughed. "I love this job," he said to no one in particular. "It's so stupid and weird." He had already asked the young woman in wardrobe to take a photograph of him in the costume, so he could send it to his girlfriend, Erin Darke, an actress he met on the set of "Kill Your Darlings." "She is going to find me sooo attractive in this," he said.
When rehearsal kicked in, he practiced the leap. "I can do it better than that," he promised the director. Midair, he pointed his toes into a classic jeté. The director sniggered appreciatively: shame, embarrassment. It was perfect.
In Venice, two days later, Radcliffe and the director of "Kill Your Darlings," John Krokidas, were doing interviews from a temporary structure on a plaza overlooking the beach on the Lido. Outside, hundreds of girls pressed against the glass doors, screaming the appropriate summoning spell from Harry Potter — ''Accio! Accio!" — blowing kisses and pounding so hard on the walls that the building vibrated. When Radcliffe needed to use the bathroom around the corner, an event that required precision planning between Sam and the film festival's publicists, the quick trip triggered a stampede as the girls followed, racing to take a shortcut through a terrace restaurant, startling the coffee-drinkers and flaneurs in their midst.
Over the course of the day, Radcliffe spoke to easily 100 reporters about the film, which is based on the story of Ginsberg's youthful infatuation with Lucien Carr, a fellow Columbia student who eventually murders another friend in their circle. Radcliffe's manners were unfailingly polite as he fielded questions; he moves through the world like a royal who not only embraces his responsibility to his public but also obsesses about it. "I meet hundreds of people, and I'm not going to remember them," he said. "But every single one of them will remember their interaction with me."
Radcliffe told me he tries to dispel the image of a spoiled child star within the first 10 seconds of meeting someone; sometimes he does that by extending his hand and introducing himself — "Hi, I'm Dan" — but as often as not, he finds something, anything, for which he can apologize. At one point, a TV reporter in Venice teared up while telling Radcliffe, whom she interviewed 10 years before, that he made her feel "like an old aunt." Radcliffe looked stricken. "I'm so sorry, it's not my intention," he said, "but I know I have that effect on people, I'm terribly sorry."
About midway through the morning, a European reporter asked, "Your childhood — was it normal?" For some reason, the question, a familiar one to Radcliffe, seemed to throw him. "I don't know," he said. "I don't know what I'm missing. No, I've . . . I can't sit around thinking of all the things I've. . . ." He drifted for a moment, then something seemed to kick into gear. "Because actually, no, it was an amazing childhood! People always ask if I missed out on childhood — actually, kids who are abused, that's a missed childhood, those kids have stuff taken away."
It was a nonanswer — a lot of anguish and ambivalence lies between a normal childhood and an abused one. In the last year of filming Harry Potter, Emma Watson, who played Hermione Granger, told Entertainment Weekly magazine that she was finding the experience "horrible" and complained bitterly about the tightly controlled routine on set: "I get told what time I get picked up, I get told what time I can eat, when I have time to go to the bathroom. Every single second of my day is not in my power." Rupert Grint, who played Ron Weasley, Harry Potter's best friend, recently described the long, drawn-out experience of appearing in the films as "quite suffocating."
Radcliffe, however, rarely betrayed any strain. "If he was feeling good, bad, indifferent or terrible," says David Yates, who directed the last four Potter films over six and a half years, "he carried the perception that everything was lovely and great, even though the pressures were really intense."
As Radcliffe explained it: "The second you seem down, everyone's very concerned. It affects the set." Temporarily suppressing a mood was easier than bringing a crew of hundreds of people to a halt — it was just another skill he learned on the job, part of keeping the vast machinery around him moving smoothly. "If I ever was feeling ill," he said, "it was: 'Get a doctor on set!' 'No, I'm fine.' . . . That feeling makes me not want to worry people."
Radcliffe still doesn't complain about his experience on Potter, at least not publicly; to do so would be to appear ungrateful and to risk being mocked by the tabloid press: Poor Dan, with his $80 million fortune! (That's one common estimate; Radcliffe says that he doesn't actually know how much money he has and leaves financial matters to his mother, who is a casting agent, and his accountant.) Watson has called the set a "bubble" from which she eventually wanted out; Radcliffe, though, describes it as his comfort zone, a place where he evolved into who he is, where he learned to love working in film, for better or for worse. Cuba Gooding Jr., on a British talk show, once teased Radcliffe about being so rich he never had to work again. "I've worked every day since I was 10," Radcliffe protested. "I don't know how to do anything else." He added, a moment, later, "There is nothing else I'd rather be doing."
Radcliffe's father, Alan Radcliffe, a former literary agent who left his job to chaperon his son on the set, had a phrase he used if Radcliffe ever did appear put upon: "You're not down in the mines." It was shorthand for: You are incredibly lucky, and you are being well compensated, and your worst day, in many ways, is better than most people's best. After Potter was over and Radcliffe, then 21, went to shoot "The Woman in Black," the first time he wouldn't be accompanied by a parent, his father wrote him a letter. "On a film set there's always going to be somebody who's going to be causing a delay," Radcliffe recalls the letter saying. "Try and make sure it's never you." For 11 years, Radcliffe had done just that, every day, by all accounts; why spell it out? "Constant vigilance," Radcliffe said, "is kind of our motto."
Radcliffe's upbringing during the Potter years was at once cloistered and uncensored. His father was on the set every day, providing an unusual amount of oversight in the strange, charmed halls of the drafty, converted aircraft hangar where the movies were shot. But all around him, especially as he became a teenager, the crew and cast were swearing, changing in front of him and regaling him with tales of boozy revels. Although he and Watson and Grint shared an intense experience and are friendly enough, they have barely seen one another since the last film. Radcliffe's closest friends were always among the crew, people who "were either much older than me and had kids or lived outside of London," he said. "I didn't have that normal teenage period when you build up your friends in your area and you have a social circle." After what was usually a long day on set (which included three to five hours of tutoring), Radcliffe went home and found anarchy where he could: he played the Sex Pistols and the New York Dolls, his childhood bedroom a refuge of rebellion. The weekends were for homework; he almost never went out with peers, self-conscious about having to reassure his parents about his safety or worried about imposing the hassles of celebrity on his friends.
At 17, Radcliffe moved out on his own, something he had been wanting to do for a long time. "Because of the life I've had, I'd grown up quicker than most people," he said. "I felt like I was entitled." He was also tired of being watched. "I can be honest about this now, because I know my parents know — but I wanted to smoke," he said. "I was hiding it like a fiend."
Looking back, he thinks he was too young to have been on his own. "Because when I was unhappy in any way, it made it too easy for me to hide it," he told me one afternoon over lunch in the New York's West Village. "I'd done 'Equus,' which had gone so well," he said, "but I still couldn't get rid of that committee of voices in my head saying that you're going to fail." He continued: "I think there was a part in the back of my head that was going: This is all going to end. And you're going to be left in this nice apartment. Just living here. And being reminded of what you did in your teenage years for the rest of your life." David Thewlis, who played Professor Lupin in the Potter films, once said that even when Radcliffe was young he would "joke that he'd be in rehab by the time he was 18, and by 27 he'd be hosting a game show called 'It's Wizards!' "
Not long after Radcliffe moved out on his own, he started drinking. By his own description, this was not casual drinking at parties, but every-night drinking, heavy drinking, drinking to the point of making a scene and then blacking out. "I became a nuisance," he has said. "I became the person in the group who has to be looked after." He drank in local bars and eventually alone, because he was too embarrassed to go back to the bars where he had been so drunk on nights past. In August 2010, when he was 21, after awakening from a blackout, bruised and unable to account for the previous eight hours, he decided to stop drinking. He hadn't talked publicly about the extent of his problem and was worried that he would rise one morning to find photos of his past exploits plastered on the front page of a tabloid. So in 2011, he decided to speak openly about his drinking. Having spent so many years protecting the image of Harry Potter, he felt unknown by the same public that considered him an intimate part of their childhoods.
"I wanted to close the gap between the real me, what was going on in me, and the person that people perceived," he told me. He talked to reporters about drunk-dialing old girlfriends, the strain drinking put on his relationship with his parents and even, most sensationally, the times he showed up, still drunk, on the set of "Harry Potter." David Yates said he was not aware of Radcliffe's drinking, which Radcliffe believes is true; he had carefully hidden his problem from colleagues and many close friends. "I'm not somebody who likes worrying people," he told me. "So if I know I'm a worrying drinker, would I ever drink in front of people that I would worry?"
The tension between a protected and overexposed life still exists for Radcliffe. When he's working in New York, he shares his apartment downtown with his personal assistant, Spencer Soloman, a 38-year-old former dancer and camera man, who became close with Radcliffe's family when he was teaching the actor to dance for "How to Succeed." Soloman and Sam function, in some ways, like older brothers: fun, but responsible and organized. Soloman plans Radcliffe's schedule and talks to his father, agents and publicists two or three times a day; he might tell Radcliffe when he needs to shave for a photo shoot or search their apartment for a garment that his stylist wants him to wear for some occasion.
In London, Radcliffe almost never leaves his apartment without a bodyguard, and when he does, he keeps his head down. In New York, which he calls his one "head-up city," he occasionally goes out solo, in a hoodie and sunglasses. ("New York is the only place in the world where people might say they like your work but they don't ask you for anything," he says.)
Radcliffe's pleasures can veer into compulsions: he often chain-smokes cigarettes, pounds Diet Coke, recently kicked a Red Bull addiction and spends hours, into the early morning, on NFL.com, pursuing an obsession with American football he cultivated during "How to Succeed." "I probably know every starting player's name in the league," he told me. "Actually, I don't know why I'm being modest, I definitely know every starting player." He records episodes of "Jeopardy!" when he's in New York and watches them before he goes to sleep. A former guest on a brainy British quiz show called "QI," he has an encyclopedic knowledge of music and trivia and a seemingly inexhaustible catalog of jokes.
Thrown into an adult world early on, Radcliffe nonetheless still clings to some adolescent habits. He subsists on a diet based largely on cheeseburgers and pizza, is the same poor sleeper he was as a child and is an inveterate slob. One friend still teases him about the time he took off a sock to mop up some soda, then put the sock back on.
Mostly his life revolves around work. Radcliffe says he confers with his parents about his career options, but he ultimately makes his own decisions and sets the pace. "He's addicted to the whole work thing, and he does it brilliantly," Yates says. "But he does hide things. He can also be very clear about what he likes and doesn't like, but there is a danger. My fear is that at some point he's got to stop and reflect and take a breath, and the fact that he hasn't stopped in all the time since and during Potter — I think it's important that he does that at some point."
Inside the dark auditorium in Venice, moments before the screening of "Kill Your Darlings," Radcliffe sat beside John Krokidas, the film's director, and waited. "I can't believe we're at the Venice Film Festival," Krokidas whispered to Radcliffe. "I know, me, too," Radcliffe whispered back. As the film ran, the two bent their heads together, laughing at inside jokes, complimenting each other on their work.
Krokidas, 40, who made only two short films before this one, first approached Radcliffe to do the movie five years ago. "A thought came to me," he said. "This was a movie about a dutiful son who has only shown the world one side and by the end is an artist and a poet and a rebel." Radcliffe, his agent and his parents were all immediately taken by the project: "First of all, it's hard to overstate how much better the script was than everything else we were reading," Radcliffe said. It was not lost on him, however, that in both "A Young Doctor's Notebook" and "Kill Your Darlings," he plays a young person experimenting with mind-altering substances: "When you play characters in whom you recognize parts of yourself, it makes it easier, and it's kind of cathartic."
At first, Radcliffe had to let the part go, because he still had two more Harry Potter films to finish. By the time Krokidas cast the movie, lost financing and was putting financing back together again, Radcliffe was finally available. A foreign sales agent told Krokidas it was a bad move, that "Radcliffe couldn't open a movie without a wand in his hand." But once Radcliffe signed on, he worked as hard as Krokidas to sell the movie: he personally closed the deal for foreign sales in Germany while he was there promoting "The Woman in Black."
When filming started, Radcliffe sometimes functioned like a seasoned mentor to Krokidas, counseling him on how to handle the press, establish the tone on the set or think about his next career move. The two have become close friends, the kind who feel comfortable keeping each other in line. After a screening at the Toronto Film Festival last month, when Krokidas decided to celebrate with a dip in a shallow decorative pool at a high-end lounge, it was Radcliffe who let him know that the amusing stunt could end up on the Internet. "John," he told him, "there's a fine line between funny and weird, and you are right on that line." Krokidas got out.
In turn, Krokidas, whom Radcliffe has called "the best director of actors I have ever worked with," spent many hours with Radcliffe off the set, helping him find an acting method that felt right, an experience, in retrospect, he wishes he had during the Potter movies. "There are simple things that no one sat me down and talked to me about," Radcliffe told me. "No one had ever explained to me: What do you want out of the scene? It was very much left to our instincts." Radcliffe, naturally verbal and kinetic, wishes he had not tried so hard in the Potter films to suppress his own "natural weirdness." He singled out his performance in the sixth film, "Harry Potter and the Half-Blood Prince," as "a little one-note the whole way through." He has always felt uncomfortable seeing himself on film. When he appeared on "Inside the Actors Studio," he told James Lipton that he recalls watching the first film, as a child, with "loathing."
In "Kill Your Darlings," Radcliffe displays more range than he did in the Potter films, with a role that defies easy characterization. Radcliffe's Ginsberg is both socially insecure and sure of his genius; he is, by turns, deeply romantic and sullen and sexual. In Venice, several interviewers asked Radcliffe if he was trying to "put a knife in the back" of Harry Potter by doing an explicit gay sex scene. But Radcliffe simply said it was a part of the story, just as being nude in "Equus" was essential. "I honestly don't know what the big deal is," Radcliffe, whose parents had many close gay friends when he was growing up, said in a news conference. "People have been having gay sex for as long as they've been having straight sex, period."
After two grueling days in Venice, Notorious Pictures, the Italian film distributor, hosted a dinner for the film at the Centurion Palace, a lavish hotel on the Grand Canal. Arriving in the lobby, Radcliffe and Sam pushed their way through a hot, close crowd so he could do yet another interview, as a bright light shone in his eyes.
The hosts had invited a mixed crowd to the dinner that followed: there was a Venetian prince wandering around and some aspiring filmmakers and a woman known for being an Italian showgirl, hugely tall and pneumatic. A young Italian woman, who had sprinkled some of the glitter from a centerpiece onto her face, asked what the English word for "mago" was, and someone answered, "Wizard." "Hello, wizard," she said to Radcliffe when she got close enough. Radcliffe posed for photos, again and again.
During the buffet dinner, a very tall, blond young woman in a white evening gown and heels materialized on the hotel terrace, where Radcliffe was talking fantasy football with Sam and Dan, his hairstylist. The woman, an aspiring actress, started engaging in conversation with Radcliffe, smoking a cigarette beautifully and hanging on his every word. She was the first person his age he had spoken to in days, and it seemed possible that she had been brought there expressly for his enjoyment.
Radcliffe was growing more and more animated as they talked. The conversation turned to his stint doing musical theater on Broadway. "Sometimes you're chasing a laugh, and you're forgetting to act," he told her, "and then you strain to get the laugh, and you look like a fool. But you need to never lose faith in what you care about — if you ever get the chance to do live theater, you should." The young woman said, with a smile, "You're inspiring me now." Then she left to get a drink.
As she exited, Radcliffe's face seemed to lose color, as it sometimes does, like a light that dims without the current of conversation. Maybe she had started to worry about paparazzi or had a boyfriend. But Radcliffe looked crestfallen. It was not that he was trying to score but that this kind of moment played into his worst fears.
"You do sometimes think. . . ." He paused. "Maybe everyone's just . . . putting up with you, you know," he told me later. "I talk a lot, and I talk a lot about weird stuff that interests me, and sometimes I'm like, Maybe if you weren't an actor and someone with a recognizable face, maybe no one would be listening to you, actually, and nobody would find what you have to say interesting or funny."
Austin Bunn, who wrote "Kill Your Darlings" with Krokidas, asked Radcliffe how he was holding up. He hadn't quite been expecting that crowd in the hotel lobby, Radcliffe admitted, or that incredibly bright, white light in his eyes. The manager from the Italian distributor, overhearing his comment, leapt to his feet and started apologizing profusely — that was something they could have fixed, he said. Radcliffe blanched. He is as alarmed by other people's distress as they are alarmed by the fear that they have disappointed him. Radcliffe quickly reassured the manager — "No, no, it was totally fine, really, it was fine"— then looked at me pointedly: Do you see what happens?
Radcliffe left the terrace and found his parents, who were sitting in a corner of an exterior room. (His parents have always made themselves off-limits to the media, which is one reason they continue to be a refuge for Radcliffe.) Around 11:30, everyone lined up and gazed at the sea, waiting for the water taxi to take them to the next event. "In case you were wondering what that convocation in the corner was about," Radcliffe said, referring to his time with his parents, "I did finally hit a point at which I needed to be somewhere where no one was asking me for anything."
Everyone on the boat thought they were headed to a small party for people connected to the film: there would be relaxing, there would be laughing, there would be karaoke. But Radcliffe and his group arrived to find that the Italian distributor had opened the party to hundreds of people, none of them familiar, all packed into the space, which was loud with music. Sam led Radcliffe and his entourage, at high speed as usual, to a kind of greenroom in the very back, a corner that at least was on the sea and where two charming bartenders, winners of an international competition to make the best drink, worked an intimate bar.
Radcliffe sat with his back to the water. He would not avail himself of their services, at least not for anything alcoholic, because he's not drinking these days. His face, worn out and wan by the end of the day, was so pale it looked almost translucent against the darkness, but his blue jacket was merging with the color of the sea behind him, and he seemed to fade into the evening as if, on command, he could make himself magically disappear.


text:
Sheridan County, Montana
Sheridan County is located in the northeastern most corner of Montana. Plentywood, the county seat, is located approximately 18 miles south of the Montana/Canada border and 24 miles west of the Montana/North Dakota border.
Sheridan County had a 2010 Census of 3,384 people, which is a decrease of 17.5% from the 2000 Census of 4,105 people.
The County is mostly prairie and the land is three-fourths tillable. The soil is of glacier origin which provides a rich base for small grain production. According to the 1997 Census of Agriculture there were 581 farms with an average size of 1,723 acres. 1,001,193 out of the total county acres of 1,073,056 were in farms.
Road Reports
Agriculture links of interest
Sheridan County - 100 W Laurel Ave - Plentywood, MT 59254
County Home | Airport | Clerk & Recorder | Commissioners | Disaster | Elections | Fair | Library | Museum | Nurse | Planner | Schools | Treasurer | Directory | Jobs


text:
Pesticide Action Network Updates Service (PANUPS)
"We're thrilled," said Angela Rickman, head of the pesticide reduction campaign at the Sierra Club of Canada, a national environmental group. Noting that municipalities across Canada had been waiting this decision, she added that "A number of other communities will now be able to move ahead without worrying about negative financial consequences. I think it's a great step forward for the health of Canadians."
The case had been in Canada's courts for years. In May 1991, Hudson passed a by-law banning the cosmetic (purely aesthetic) use of pesticides within the town's limits in an effort to protect the health of Hudson residents. Two lawn pesticide companies, Chemlawn and Spraytech, were caught spraying pesticides and were fined $300, the maximum amount under the regulation.
Reacting to the fine, the pesticide companies challenged the municipality's authority "to forbid an activity legally authorized by a federal or provincial law." The local Quebec court ruled in favor of Hudson but the companies appealed to the Quebec Superior Court, the provincial court, that ended up supporting the earlier decision. The companies continued their battle -- one that would also affect larger chemical manufacturing and distributing companies -- and pushed the case to Canada's Supreme Court in November 1999. The case was heard in December, 2000 and on June 28, 2001, the Supreme Court of Canada unanimously ruled in favor of the Hudson by-law.
The decision goes further than simply upholding Hudson's bylaws. While upholding the right of municipalities to protect the health of their residents against environmental threats, the decision does not refer exclusively to pesticides, which opens up the potential for communities to implement by-laws prohibiting or restricting other potentially dangerous activities or substances. It endorsed the idea that local politicians have a special role to play in safeguarding the health of their constituents by saying that protecting the environment requires action by all levels of government.
The judgement quoted the "precautionary principle" -- a concept in international law arguing that it is better to be safe than sorry -- in upholding the Hudson decision. Environmental lawyers say that this is the first time that the Canadian court has used the precautionary principle to support a domestic legal and policy question.
Banning or restricting pesticide use at the local level could be a growing trend. In Canada since 1991, 36 towns across the province of Quebec as well as the city of Halifax, Nova Scotia have enacted bans similar to Hudson's. Many other towns have limited or restricted pesticide use on municipally-owned properties. Following the ruling, Quebec's Environment Minister has said that he is "seriously considering" a province-wide ban on pesticide use for strictly aesthetic purposes.
Sources: Angela Rickman, Sierra Club of Canada; Reuters, "Canada Supreme Court Allows Ban on Lawn Pesticides," June 28, 2001; Globe and Mail "The tools to keep pesticides in check" June 29, 2001.
Contact: Sierra Club of Canada National Office, 412-1 Nicholas St., Ottawa, Ontario, K1N 7B7, Canada; phone (613) 241-4611; fax (613) 241-2292; e-mail email@example.com; Web site http://www.sierraclub.ca/national.
PANUPS is a weekly email news service providing resource guides and reporting on pesticide issues that don't always get coverage by the mainstream media. It's produced by Pesticide Action Network North America, a non-profit and non-governmental organization working to advance sustainable alternatives to pesticides worldwide.


text:
Previous Lecture
Complete and continue
The Definitive Super 16MM Film MasterClass
What is Super 16mm Film?
Intro to Super 16mm Film (6:24)
What Shoot Film Today in a Digital World? (7:52)
16mm vs Super 16mm (5:49)
The Super 16mm Film Camera
World of 16mm Cameras (Old School) (13:59)
World of Super 16mm Cameras (Arri SR Series) (12:09)
Super 16mm Lenses: Choosing the Right One (16:52)
Camera Accessories: Pimping Out Your Camera Package (12:13)
Film Matte Boxes (16:52)
Film Stocks, The Lab and Storage
Understanding Filmstocks (5:04)
How Film is Developed (Creating a Look at the Lab) (8:33)
Film Stroage Techniques (13:45)
Super 16mm Film: On Set
Battle Planning: Shooting Film in the Real World (6:41)
Light Meters (12:06)
How to Load a Film Magazine (Arri SR Series) (16:51)
How to Thread a Film Camera Magazine (1:16)
Film Changing Bags and Tents (5:38)
Prepping Your Film for the Lab (10:57)
Camera Prep Tips 1
Camera Prep Tips 2
Camera Prep Tips 3
Camera Prep checklist
Camera Tools & Materials
Camera PrepInventory 1 of 2
Camera PrepInventory 2 of 2
Camera Truck Inventory
Film Inventory Directions
A-Minima Film
Commercial Invoice
Deal Memo
Certificate Registration A
Film Cost Sheets
Drops Add-ons
Trade/Pro Bono Agreement Sample
Film Inventory
Memo Freebie Proc
Technical Continuity
Missing Damage Sheet
Camera Accessories: Pimping Out Your Camera Package
Lecture content locked
If you're already enrolled,
you'll need to login
Enroll in Course to Unlock


text:
Breaking Free: Kevin Enners' Choice | News
ATLANTA -- "Big day, yeah. It's here," Rich Enners says sitting inside Children's Healthcare of Atlanta with his 18-year-old son Kevin next to him and his wife Claudette across the hall, talking to the nurses.
RELATED | Extraordinary teen unbridled by cerebral palsy
This morning has been coming for a long time now.
The decision to be here could change everything.
While life-changing decisions that pose risk are never easy to make, when those decisions involve your child, they're agonizing.
"We've made this choice because we think it's going to be hugely beneficial for his future," Rich says.
Kevin Enners, a terribly bright 18 year old, college bound this month, has been debilitated since birth by a side effect of having cerebral palsy. That side effect is called dystonia. Basically it means Kevin's muscles not only don't work with him, they work mightily against him, especially when he tries to speak.
He is the first patient at Children's Healthcare of Atlanta to ever undergo deep brain stimulation surgery. The procedure has been used to successfully control tremors in Parkinson's patients.
"We're going to put both of the wires into your brain, extension wires going down," Dr. Robert Gross explains.
Dr. Robert Gross will lead a team from Children's Healthcare of Atlanta and Emory that will implant electrodes in an area of Kevin's brain called the Globus Pallidus.
"This area of the brain is like power steering," Gross says. "It allows everything to move in a more graded and controlled and easier fashion. That is the area that is ostensibly abnormal in Kevin."
Wires will be run over Kevin's head and behind his ears, to a pacemaker implanted on each side of his collarbones.
"He'll have a completely implanted system that is a generator with a battery that generates electrical impulses that will travel up those wires into the brain and nullify the abnormal activity in his globus pallidus, and will hopefully lead to improved control of his movements," Gross says.
Dr. Gross explained the risk to Kevin and his parents. "Chance of bleeding in the brain, 1 percent. Chance of infection, 5 percent."
Kevin is ready. His constantly moving body has tried, but not succeeded in hiding the gifts this young man possesses. He writes novels, using his eyes to type a single letter at a time. He competes with his father in races, his hands and feet strapped to his bike -- their goal, the Boston Marathon next spring. Moments before surgery, Kevin tells us what he's thinking
"I'm visualizing," he says, his language stilted and difficult to understand.
Claudette and Rich help him translate. "There's a trail up around the lake called Iron Hill, and it's our favorite place to run. So he's visually being there right now right, Kev?"
Rich begins to cry, moved by Kevin's last thoughts before he goes into surgery. Kevin cries with him.
The Enners say goodbye, and Kevin goes into surgery.
The surgery, expected to take eight hours, lasts close to 13 hours.
Six weeks after the surgery, Kevin is still healing, still smiling.
The scars are obvious.
Rich traces his finger over his son's head, following the wires. "The electrodes come in this area here. And they travel into this spot here and around the ears and down the neck to this spot here."
The pacemakers are clearly visible on his thin frame. Just a few days ago, doctors turned on the system.
Kevin says he felt the electrical current, only initially. Doctors will keep adjusting the system for up to a year. How much improvement Kevin gets won't be known for several more months. But already, Kevin and his family sense a difference. They say Kevin seems more relaxed.
Of his new nickname 'Sparky,' Kevin says, "It fits..it fits." He laughs.
It was a choice not without risk, but for a determined young man bent on independence, it may be the thing that sets him free.
To send a message of encouragement to Kevin, go to our Facebook page ...
Or use this form:


text:
This thread is intended as repository for useful small zscripts, plugins and macros. Sometimes there's a simple zscript solution to a problem or need that may not warrant a major plugin but will none-the-less be useful to users. If you have written such a zscript, plugin or macro please share it here so that users can easily find it and benefit. Thanks!
Note: some of the plugins or macros posted here may not work correctly with ZBrush 4R3. Those that have been updated for 4R2 will say so.
Large Menus (this post - see below)
Proxy buttons for Toggle Symmetry, x, y, z, r and Enable Customize
Lasso - Paint mask/selection toggle
Smaller UI configuration
Multi OBJ importer
ZSphere Mesh Insert
Beta Turntable Plus for ZBrush 4, 4R3, 4R6
Flip UV's vertically on import and export
Y Axis Rotation - in increments
Init ZBrush and load Startup Document
All SubTools macro
Materials to Texture Map (updated May 29 2012)
Seamless Textures
Axis Rotate
Favorite Brush toggle
Scale Offset Copy/Paste
Fit Mesh
Export All BPR passes
Document MaxResize
Duplicate Element
Tool Position 4.2
Refresh Texture
Custom Symmetry Buttons
Large Menus
This is for those people that find the ZBrush palette titles a little small. It's a set of buttons that can be added to a custom interface to give access to the palettes. The images can be edited to suit the user's requirements.
Unzip and put the Large_Menus.zsc file and MenusImages folder in the ZStartup/ZPlugs folder. Restart ZBrush and there will be a Large Menus menu in the ZPlugin palette. When creating a custom interface, the buttons can be Ctrl+Alt+dragged to where you want.
Note that when a palette is open in the right or left tray the 'large menu' button will do nothing.


text: Warren: Hi Justin! I found this weird avant garde art video online that you're featured in! I didn't realize you were into that – tell me more! Justin: No, not an art video…I was actually testing out On Air Google+ Hangouts with my co-worker James McNutt. We're using the On Air Hangouts […] Making mistakes in our daily work: A TTW Conversation between ...This entry was posted in Library Space TTW Contributor: Justin Hoenke TTW Contributors Users and tagged 3D Printing australia Chattanooga Creation Experiment Fail Fun Gig Gig Network Justin Hoenke Librarian Libraries Library Makerspace National Broadband Network NBN Teens & Libraries Test The 2nd Floor The 4th Floor Trying Warren Cheetham on August 19, 2013 by Justin Hoenke


text:
by David Crane david at defensereview.com DefenseReview readers may remember that we wrote about the Smith & Wesson M&P pistol (standard-size 9mm/.40 S&W version) back in 2005. Well, DefenseReview recently got to handle the brand new Smith & Wesson M&P45 (S&W M&P45) .45 ACP pistol at SHOT Show 2007, which looks like a winner, provided it proves to be reliable, …Read More »
Tag Archives: Pistols
Latest Advanced Armament Corp. (AAC) Silencers for Tactical Firearms (Photos!)
by David Crane david at defensereview.com All photos contained in this article were taken by DefenseReview.com, and are the exclusive property of DefenseReview.com. Advanced Armament Corp. (A.A.C.) had a large assortment of silencers / sound suppressors (a.k.a. "muzzle cans") for tactical firearms (a.k.a. tactical small arms a.k.a. tactical weapons) for 2007, including models from their Blackout silencer line. The first …Read More »
DefRev Quick Hits 4: Tactical Pistols, Rifles, and other Delights
by David Crane david at defensereview.com All photos contained in this article, with the exception of the SIG 556 Pistol photo (below), were taken by DefenseReview.com and are the exclusive property of DefenseReview.com. We continue now with some of the "latest and greatest" tactical technology from SHOT Show 2007, which took place at the Orange County Convention Center (OCCC) in …Read More »
Taurus 24/7 SOCOM .45 ACP Combat Pistol for CCWs and Law Enforcement SWAT
by David Crane [email protected] Since the last two articles have been about new tactical rifles/long guns, we might as well mention a new tactical pistol to balance things out. USSOCOM's "Combat Pistol (CP) System" program (formerly "Joint Combat Pistol (JCP) System" program) is now kaput (at least for the time being), but the pistols designed and developed for it live …Read More »
The Interesting and Innovative ASP and Devel M39 Compact Combat Pistols
by David Crane david at defensereview.com Airborne Combat Engineer (ACE) recently posted short articles on a couple of oldies-but-goldies, the ASP pistol (produced by Armament Systems and Procedures–thus the "ASP" acronym) and Devel 39 (a.k.a. Devel M39) pistol. The ASP pistol was… designed and developed by Paris Theodore in the early 1970's. It's most noteworthy features are it's compact size, …Read More »
ArmaLite Super SASS Semi-Auto 7.62mm/.308 Win. Tactical Rifle Gets Some Press
by David Crane [email protected] DefenseReview recently reported on ArmaLite's foray into tactical pistols. Before that, back in April (2006), we had briefly mentioned the ArmaLite Super SASS (Semiautomatic Sniper System) AR-10-based .308 Win./7.62x51mm NATO semi-auto tactical rifle in our article titled DefRev Quick Hits 4 from SHOT Show 2006: More Tactical Goodies. Well, Guns & Weapons for Law Enforcement (GWLE) …Read More »
Hi-Point C9 9mm Pistol: Viable Option for Defensive Use?
by David Crane [email protected] And, speaking of pistols, here at DefenseReview, we carry Glock pistols (primarily G19s and G30s), HK P7s (HKP7M13, specifically), custom Browning Hi-Powers, and custom 1911s. Recently though, we've considered adding one of the Springfield XD .45 pistols (.45ACP pistols made by Springfield Armory) to the mix, since they've been getting rave reviews from a number of …Read More »
Armalite to Introduce Line of Pistols
The following is an Armalite, Inc. press release: ArmaLite's president, Mark Westrom, and Sarsilmaz's Mr.Aral Alis have announced that ArmaLite and Sarsilmaz are expanding their international trade relationship to include a high-grade line of handguns for the U.S. Market and planned license-production of ArmaLite rifles for the Turkish Armed Forces. Sarsilmaz has served as ArmaLite's exclusive link to NATO's second …Read More »
USSOCOM's Combat Pistol (CP) Program Cancelled?
by David Crane [email protected] The "Description" section of the latest modification (Modification 04) of Solicitation number: H92222-05-R-0017 for a .45 ACP (.45 Caliber) Joint Combat Pistol (JCP) System–now called the Combat Pistol (CP)–states: "This notification is to inform Industry the Combat Pistol requirement is postponed indefinately. USSOCOM will no longer issue a Request for Proposal." This is an interesting development, …Read More »
Blackhawk CQC SERPA Holster Double Feature: Tactical and Duty Rigs
by Frank Borelli, Borelli Consulting frank at borelliconsulting.com BlackHawk CQC Tactical SERPA Holster Regular readers know that I recently spent two weeks in New Orleans working on contract for Blackwater. One of the things I took with me was my own gunbelt. One of the things I wish I'd had on my gunbelt is the BlackHawk CQC Tactical SERPA Holster …Read More »


text:
A few weeks ago, I shared my upgrade of an ugly patio set into something lovely and cheerful with a can of spray paint. Well, after I finished that project, I had just the tiniest bit of Exotic Sea paint left in the can and a plan to upgrade something else in our house. With this (from ModCloth) as my inspiration, I crossed my fingers that I wouldn't run out of paint mid-project (again):
I already owned the clock to be transformed: a wedding shower gift that we hung in our first apartment but just couldn't find the right place for in our new home (and color scheme).
The first step was to disassemble the clock, which wasn't as simple as I expected it to be. In case you have a clock similar to this one, you should know that the hands of the clock will come apart from the clock mechanism – so don't freak out when they do. They'll go back together when you're done.
Since the surface I wanted to paint was smooth, I decided to lightly sand it with fine grit sandpaper to help the spray paint adhere a little better. I don't think this is necessary, and I'm not even sure if it did anything, but it was a just-in-case measure that only took about 30 seconds. The scratched-up surface is completely concealed by the glossy painted finish on the final product, in case you're wondering.
After that, I set up my spray painting station. That is, I laid a piece of newspaper on top of a pile of rocks that acted as a little pedestal for my clock, so I could get all around the sides without having to lie on the ground. Here she is after about 1.5 coats:
As in my inspiration image, I wanted the hands of the clock to match the outside, so I taped them to another piece of newspaper and sprayed them that cheerful turquoise color as well.
It took literally every drop of paint from that can, but I somehow had just enough to finish my project. I celebrated my victory, and then waited about a day for everything to dry and harden completely before reassembling it and enjoying my final product, which I think is a pretty good copycat of the spendier ModCloth version.
And here she is playing nicely with our melted crayon art in the living room:
Total money spent: $0
Total time spent: 30 minutes (plus drying time)


text:
Hola amigos!
Sandra and I are curating a little Day of the Dead inspired art show this Friday October 29th in our favorite gallery: Galllery Subtext down in sunny San Diego.
Here's a link to a preview of some of the amazing art (I especially LOVE Sandra's paper mache calaveras):
The show features 10 different artists from various cultural backgrounds who all happen have some sort of connection to the world of animation. The name of the show is DIA DE TUS MUERTOS which translates to DAY OF YOUR DEAD. The idea was to have every artist make the iconic Mexican holiday of "Dia de los Muertos" into their own muse.
The show features the art of:
Simon Varela
Simon Varela
and little old me.


text:
No products
Check out
Product successfully added to your shopping cart
There are 0 items in your cart. There is 1 item in your cart.
Our webstore uses cookies to offer a better user experience and we recommend you to accept their use to fully enjoy your navigation.
The minimum purchase order quantity for the product is 1
2 512 €
Add to wishlist
Book this artwork
Please fill in with your email and confirm your order.
We are delighted to confirm that we will save your order for 3 days.
Upon this delay, the artwork will no longer be reserved and will be available to other collectors
Do not hesitate to contact us for further informations or if you want to see the artwork.
+33 7 87 02 00 78 / firstname.lastname@example.com.
Engraving is Renaud Allirand's specialty. Although, he loves painting with gouache like dry pastel. His abstract artwork expresses a desire, an emotion, or a very fleeting feeling. Most of the time, there are shades of blue and bright perspective — like a happy future...
© AMELIE 2015 . All right reserved . Legal notice . Terms . Concept


text: Dentists, doctors, moms everywhere, and Mike Bloomberg have told us why Coca-Cola and other soft drinks are bad for you. But wait! According to new research, studies in the last ten years have shown that the fizzy drink you loved as a kid will help you digest. "Coca-Cola ingestion should be the treatment of choice," these scientists say, for those who have trouble moving food through the digestive tract. In case you were curious, the likely reason this works is that Coke has a relatively high acidity of 2.6pH (battery acid is close to 0; milk is closer to 6). That's the same reason it can remove blood stains, though we still recommend trying detergent first. [Live Science]


text:
Eating Eggs and Egg Tips!
Eggs Scrambled, poached, fried benedict? It doesn't matter which way, I love them all. When I was a child I could conceive of cooking many things but eggs were not one of them. Eggs could be cooked in so many different ways and each one would give them a different flavor and feel in your mouth.
As I grew up and went to culinary school I realized that I was not alone. There were 25 students in my class and all of us struggled with make eggs and a few of us even struggled with eating them. The school was prepared and ready to break down the wall of intimidation. They reserved an entire day just for eggs. The day challenged us all and forced us all to learn cracking them with one hand, picking out old from new and scrambling with out them turning green/gray. In the end the most surprising thing was out of all 25 students and the exact same recipe all of us had different tasting eggs.
When I get home late after work I am usually starving. I constantly think about my health and what will make me feel good now and later. When I am famished at night and it is too late for a big heavy meal or I want something that is savory rather than sweet I always make eggs. The versatility makes me feel like I am having something new and different every time.
Eggs also keep for up to two weeks, so if I don't get to the store, they can be my back up plan. Plus I am usually satiated and I always have a good night sleep because my body isn't working on overload to break down heavy foods, which means I am more alert when I wake up for work in the morning.
Common Questions About Egg-
What kind of eggs should you buy? White or brown? Large or Xlarge? Grass fed, free range and organic? There are so many options out there, and it gets confusing.
This is a tough question, but thankfully, there is really no right or wrong answer. Most recipes call for you to buy large eggs and using Xlarge eggs in place of large eggs in a recipe might throw off the balance of what you are cooking.
As far as color goes, colors are arbitrary one tastes the same as the other. Multi colored eggs can be placed in the fridge so you know which you should eat first– in other words, indication to which one is more perishable. Alternate buying brown eggs one week and white the next as a way to color code their age.
When it comes to how the chickens are raised and fed, buy eggs made from free-range, grass fed chickens. And if there is an organic option, always choose it. Again, this has to do with both taste and supporting sustainable agriculture.
How do I separate an egg without breaking the yolk?
Have you ever read a recipe that asks you to separate the egg white from the egg yolk and panicked? You're not alone. Clean egg separation is a task that takes patience and practice. Are you up to the challenge?
It is always best to crack the egg on a solid surface with a single, hard firm hit. Repeated strikes against the surface will increase your chances of breaking the yolk, making a mess of your whites. Skillful separation is an important skill because many recipes will ask you to whip the whites. And, if there is any yolk residue in the whites, the eggs will not whip (fat from the yolk prevents proper whipping).
There are a lot of expensive gadgets designed to assist you in this task, but honestly, they are not worth the price tag. Simply relax and let your hands do job. To ensure perfect egg separation let the whites drip slowly through your fingers, all the while keeping the yolk in the shell. Sure, it's sticky. But getting messy is part of the fun!
Broken Egg Emulsion
Can you fix an egg emulsion that has been broken?
For those of you who don't know, a broken egg emulsion is where the egg mixture looks greasy because the oil has not been absorbed into the egg. It ends up looking like two separate ingredients instead of one, like vinegar mixed with oil. It takes a little time and practice, but it can be fixed. To correct a broken emulsion you need to create a new mixture of egg yolk and oil, mix it thoroughly, and then slowly add the broken mixture into the new mixture. You might have to add more lemon but it will end up tasting just as good.
For a Lazy Sunday Mornings Capresse Frittata
1. 8 eggs
2. 1 bunch basil chiffonade*
3. ½ cherry tomatoes
4. 4-5 slices of buffalo mozzarella
5. 1 tbsp olive oil
6. Salt and pepper to taste
Preheat your oven to 325. Crack and beat eight eggs, add a touch of salt and a bit of pepper. It is helpful to let the beaten egg mixture run through a strainer (this will help to mix the white and the yellow parts of the egg together). In a non-stick oven safe pan heat with olive oil on medium high heat. Add cherry tomatoes whole, cook for a few minutes. Then add your eggs, turn it down to a medium low heat and add in the rest of the ingredients. You can let your kids put the basil and cheese into the pan .
Put this into the oven for 10-15 minutes. It should be solid if you move it around, and slightly golden brown on top. Take it out, let it cool. Place a plate over top and turn the pan over flipping the egg onto the plate. It is a very easy dish for you and your kids to make and you can make it ahead of time and let it rest. It tastes great even at room temperature
*Chiffonade: Roll the leaves of basil and then make very thin slices with a very sharp knife.
Eggs on the Go!
2 whole eggs
1 tbsp olive oil
1 whole-wheat pita pocket
¼ c uncooked spinach leaves
1 tbsp low fat cheese
In a small non-stick sauté pan add olive oil to the pan. On a medium low heat crack two eggs. Use a rubber spatula to break the egg yolks into the egg whites. Rapidly beat the eggs to incorporate the yolks into the whites. Add a pinch of salt and pepper. Cut pita round in half and open the pocket. Next stuff the eggs, cheese and spinach into the pita. Wrap with a paper towel or with a deli paper. This should take around 6-7 minutes total. Healthy meal on the go. *Or use the egg separation trick and use only egg whites for an even healthier


text:
BigZuck wrote:Porkypots wrote:I go to a shitty school. I have read all the advice from TLS re: the possibility of getting a big law or mid law SA. is it even worth mass mailing or applying to the law firms that post on my schools symplicity?
Not sure what you mean by "worth"
If someone walked up to you and gave you a free lottery ticket that had a billion dollar prize but low odds of winning would you just throw it in the trash? Or would you keep it long enough to at least check the numbers to see if you might have won?
"worth" as in do I even have a shot at any of these big law/mid law firms? I have applied to smaller firms and other legal orgs, but I am not sure if I should broaden my search to include these other firms. thanks


text:
I have hope when it comes to cheap mascaras (or should I say "cheaper" mascaras!) but quite frankly – results vary!
I thought the packaging of the MeMeMe Lash Attack mascara (Extreme Lengthening) was rather funky though:
Lash Attack! What a great name!
Anyway, Lash Attack as a medium sized bristle brush which is pretty standard – I neither love it nor hate it. I can see lots of fibers on the brush, which is where the length comes from!
The mascara is a nice deep black shade and it doesn't really smell of anything! I don't have an issue with the texture of the mascara – it's neither dry or very wet so shouldn't offend most people…To be honest, when I was using this mascara I wasn't wowed. It sort of worked into my lashes fine, I didn't notice much in the way of volume (I know that's not what this mascara is for, but still, a bit of fattening doesn't do any harm!).
But – big but – looking at these photos of the mascara now, I can see the results are impressive despite not being wowed during the application.
My lashes are defined, much longer and just…quite nice!
Just 1 coat:
The finish was clean – which I like. Definitely not clumpy at all. Actually – quite a nice mascara. If you want that clean sort of look and lots of length then I think this may be the mascara for you!
It also stayed put pretty well I didn't experience any flaking. It's not waterproof though but once again no smudging throughout the day. Also, with fibre mascara's, it's touch and go whether it will irritate my eye or not but there was nothing of the sort with this mascara.
All in all quite a nice find for ladies who want longer lashes. This costs £6.99 from Superdrug stores or buy from their online store.


text:
Consolidate redundant file transfer servers, software and partner connections to optimize file deliveries using cloud based service.
Use the scalable, cloud-based infrastructure and support services to respond faster to increased demand for partner connections and collaboration.
Offers flexible SaaS subscription usage models and flexible pricing based on file sizes, volumes and number of partners; to scale performance at a lower total cost.


text:
U.S. Equal Employment
Opportunity Commission
Photo: Katrina Holly
Disability Services Organization Withdrew Job Offer, Labeling Applicant's Disability 'A Liability,' Federal Agency Charges
VALLEJO, Calif. – Solano County disability services provider Pace Solano violated federal law when it withdrew a job offer because of the applicant's disability, the U.S. Equal Employment Opportunity Commission (EEOC) charged in a lawsuit filed today.
After interviewing for a position to teach developmentally disabled adults at Pace Solano's Vallejo, Calif., facility, Katrina Holly was immediately offered a job and asked to take a pre-employment physical exam. Holly successfully completed all of the tests and disclosed that she had partial paralysis in one hand to the examiner, so that he would have her complete medical information. Despite written verification from its own doctor that Holly was cleared to do the job, Pace Solano withdrew its job offer due to her hand. When she asked the company to reconsider, the response was, "Your injury makes you a liability; you don't want to get hurt any more than you already are, do you?"
"When they told me I wasn't getting the job, I was sure there was some mistake," Holly said. "I was shocked to be told that it was because of my disability. Most people are unaware of it, and it didn't prevent me from doing any of the tasks they tested me on."
The Americans with Disabilities Act (ADA) prohibits employers from treating qualified applicants and employees unfavorably due to a disability. The EEOC filed suit after first attempting to reach a voluntary settlement through conciliation efforts (EEOC v. Pace Solano). The suit, filed in U.S. District Court for the Eastern District of California, seeks back pay, lost wages and compensatory and punitive damages on behalf of Holly.
"It's highly ironic that Pace Solano, an organization dedicated to assisting people with disabilities, rejected a fully capable and qualified applicant because of her disability," said EEOC Regional Attorney William Tamayo. "As a result, they closed the door on an instructor who could have been a valuable and loyal employee."
EEOC District Director Michael Baldonado added, "While we admire the work that Pace Solano performs for the community, there is simply no excuse for rejecting an applicant because of a disability which in no way impacts her performance."
According to the organization's website, pacesolano.org, Pace Solano serves approximately 387 people with developmental disabilities at seven program sites in Solano County. The organization employs over 180 people to provide care, training and transportation services for its clientele. The organization had an annual budget in 2010 of over $9 million.
The EEOC enforces the nation's laws prohibiting employment discrimination. Additional information about the EEOC is available on its website at www.eeoc.gov.


text: WHO NEEDS MILEWIZ? • Self-employed : if you drive your personal car for business purposes, you need MileWiz so you can get tax deductions on the business trips. • Small business owners : whenever you are out with your car doing something for your business, you need MileWiz so you can get tax deductions on the business mileage. • Company employees : if you drive your personal car for company purposes, you can get reimbursements for your miles, gas, parking and tolls. WHAT IS MILEWIZ GOOD FOR? • TAX DEDUCTIONS Driving your car for personal & business purposes? You are eligible for tax deductions! IRS deductions are 58c per qualifying mile in 2019/2020. Driving 30 miles a day can save you $4,000 per year on your tax return. MileWiz helps you keep track of your drives and allows you to easily classify them as business or personal. • DRIVER REIMBURSEMENTS Driving a company car? Get your employer to reimburse your travel expenses. MileWiz will help you separate your personal and business trips. You can also add expenses like gas, toll and parking and send monthly reports to your employer. • IRS AUDIT PROTECTION "The IRS is very good at winning travel deduction cases." (Australian Business Times) Get protected with digital logs that record your drives automatically. The IRS can't argue that, can they? MileWiz exports your trips in an IRS compliant format. FEATURES HIGHLIGHT: • Detect & log drives automatically, even when MileWiz is not started • See your entire drive route on a map • See drive distance and value • Categorize drives with a simple swipe • Ability to set conditions for automatic categorization • Add Places that you visit often and set MileWiz to automatically categorize your trips to these places • Configure working hours for automatic categorization • Merge drives by pinching them together • Add drives manually if you want to • Track expenses for gas, tolls and parking • Create as many categories as you want (MileWiz comes with pre-defined categories and their respective tax deductions for 2020) • Create as many clients as you want • Tag drives • Use multiple vehicles and drivers if you need to, with easy switching between them • Generate reports by any criteria you want - be it a time period, driver, vehicle, tags, category etc. • Export data to CSV • Sync all your data between devices or just keep a cloud backup with SYNCbits. It's free! • Pause drive monitoring when needed • MileWiz is IRS compliant • Fanatical customer support, with average reply time of 4 hours BATTERY CONSUMPTION Continued use of GPS running in the background can dramatically decrease battery life. MileWiz employs advanced algorithms, designed to limit the GPS usage and use a minimum amount of battery power. SUBSCRIPTION & PRIVACY NOTICE The "MileWiz - Unlimited Driving" subscription removes the 20 trips per month limit, allowing you to track as many trips as you want. There is a monthly and annual subscription, with the prices indicated above in the buy buttons. The payment will be charged to your iTunes Account at confirmation of purchase. Subscription automatically renews unless auto-renew is turned off at least 24-hours before the end of the current period. Your Account will be charged for renewal within 24-hours prior to the end of the current period, and identify the cost of the renewal. You can manage your subscriptions and turn off auto-renewal by going to your iTunes Account Settings after purchase. The subscription provides no trial. Please, visit our Privacy Policy page for more information, at http://milewiz.com/privacy-policy/ Terms of Service can be found at: http://milewiz.com/terms-of-service/


text:
Clinicians who treat children with attention-deficit/hyperactivity disorder (ADHD) face a challenging conundrum. Although our understanding of ADHD and its evidence-based treatments has increased significantly in recent years, the number of successful treatment outcomes has not increased. Instead, treatment is characterized by high rates of discontinuation, poor adherence to quality indicators of care, and lack of documented improvements in long-term outcomes.1
One missing ingredient in suboptimal ADHD treatment may be insufficient partnering between families and treatment providers. Here we briefly review relevant health care concepts of partnering. We then describe a process of family-partnered ADHD treatment and identify strategies for strengthening the partnership at each stage of the process.
Patient activation, empowerment, and patient-centered care
Several concepts enhance our understanding of effective partnerships with families: patient activation, patient empowerment, and patient-centered care.2-6 In a clear departure from paternalistic power structures still common in much of medicine, these concepts emphasize equal partnerships between clinicians and patients or families. The Institute of Medicine of the National Academies has emphasized the importance of patient-centered care that is grounded in respect and sensitivity to patient preferences, needs, and values, and that recognizes families as equal partners with mental health or other human service professionals.5,6
To strengthen family-provider partnerships during all stages of treatment, we propose a series of helpful strategies (Figure).
Engagement: setting the stage for partnership
Establish the team. To build effective partnerships, the provider needs to establish who will be part of the team. We recommend expanding the focus from partnering with parents to partnering with families. The child may be raised by caregivers other than the biological parents (in this article we use the term "parents" to include a variety of caregivers).
Family members who are unable to attend sessions (perhaps because of work schedules or personal health issues), may play important roles in decision making.7 Effective partnering requires that absent team members' influence is openly acknowledged and that they are included in the treatment planning process.
Finally, partnering approaches need to include the child or adolescent in a developmentally sensitive manner, so that he or she can also have meaningful input in treatment planning.8 For younger children, the parent or guardian may be the primary decision maker. Teenagers, on the other hand, must be actively engaged in the decision making. Identity formation and peer acceptance are vitally important to teenagers, so they may refuse to take a pill or participate in a behavior plan that may "change their personality" unless ongoing rapport and collaboration are established.
Cultural and language considerations. Although the workforce in this country is becoming more diverse, non-white patients and families are frequently served by white clinicians. To enhance partnering, clinicians need to understand culturally appropriate care for racial/ethnic groups represented in their geographic area. Apprehension and distrust of white clinicians should not be taken as a personal criticism. Patients and their families from different cultural/ethnic backgrounds may not be fluent in English. Therefore, if the clinician does not speak the patient's language, the services of a qualified medical interpreter are necessary.
In its public policy initiative on patient care and safety, the Joint Commission (www.jointcommission.org)—which holds accreditation power over hospitals, clinics, and other health organizations—emphasizes the importance of effective provider-patient communication.9 Particular emphasis is placed on ensuring language access services for patients with limited English proficiency. Providing information and assessment materials that the family can understand is another facet of setting the stage for partnering with families from diverse backgrounds.
Partnered assessment: learning about child and family
Listen to the stories. Children with ADHD and their families have personal stories of life with ADHD. The child's behavior may have elicited withering looks from strangers, unsolicited parenting advice from family members, frustrated phone calls from teachers, and searing parental self-recrimination after angry exchanges with a misbehaving child. Although practice guidelines emphasize the need for both parent and teacher reports of ADHD symptoms, patients have their own stories.8,10
Because of time constraints, clinicians may cut short individual accounts and focus on standardized questionnaires to assess symptom severity. This assessment experience, however, may not give families and children the sense that they have been heard and understood. As such, treatment suggestions subsequently offered by the clinician can more easily be discounted, especially if the recommendations are inconsistent with the family's expectations and values.
■ By including the child or adolescent in decision making as well as his or her parents, the partnering approach improves adherence to treatment and improves treatment outcomes.
■ To enhance partnering, clinicians need to be knowledgeable about culturally appropriate care for diverse cultural/ethnic groups and to ensure that communication between clinician and family is not compromised; a qualified medical interpreter may be needed.
■ In making a clinical diagnosis, the clinician needs to listen to and take into account not only the patient's story but that of relevant family members.
■ Education is bi-directional and ongoing: the clinician provides evidence-based information about attention-deficit/hyperactivity disorder (ADHD) and its impact on academics and peer and social development, and family members provide information about their personal experience with ADHD, their needs, and their preferences.
Understand explanatory models. Partnering with families requires an attitude of respect and sensitivity to patient preferences, needs, and values. One useful way to elicit this important information is by identifying the family's "explanatory model" of their child's problem. This term was coined by Kleinman11 in the mid-1970s as a means of exploring patients' understanding of their condition, for comparing the perspectives of clinicians and patients, and for cross-cultural comparisons. Six brief, open-ended questions address parental worries and beliefs about the causes, expected time course, severity, preferred treatments, and desirable treatment outcomes.
Explanatory models of ADHD vary by race/ethnicity in the United States. Black parents tend to be less sure of potential causes of and treatments for ADHD than white parents, and they are less likely to connect ADHD to their child's school experiences.12 Briefly gathering the family's explanatory model of ADHD provides good indications of the family's psychoeducational needs and their willingness to consider various treatment options.
ADHD in family members. Because of its frequent genetic etiology, ADHD in a child is likely foreshadowed by ADHD in other family members. The chances of successful treatment will be adversely affected if the parent responsible for implementing the treatment has untreated ADHD. However, targeted ADHD education in the context of respectful family-oriented communications may open the door to parental treatment or reveal the need for ADHD assessment of the patient's siblings.