text: Dr. Eamonn Butler January 2, 2011 Tax & Spending On the ninth day of Christmas... Dr. Eamonn Butler January 2, 2011 Tax & Spending 6067 on-the-ninth-day-of-christmas My true love sent to me: nine ladies dancing, which probably refers in the song to the nine fruits of the Holy Spirit, which include Love, Joy, Peace, Kindness and so on. Well, it's a bit early for dancing, or even joy. Believe it or not, but if you live in the United Kingdom you are going to be working for the government every single day between now and 30 May, which is when Tax Freedom Day falls. Roughly 40% of what we make and earn is snatched from us by the tax authorities to be spent on things that our governments in London, Holyrood, Cardiff and Belfast think that we should be given. Tax Freedom Day this year is three days later than it was in 2010 – due almost entirely to the increase in VAT that came in on 1 January, and which, according to Chancellor George Osborne, is 'not likely to be temporary'. Well, it should be. When VAT is as high as it is, the temptation to evade it – and just pay cash – becomes much greater. And what do we get for all this tax money? Surveys reveal that the average Christmas present costs 14% more than the recipient thinks it is worth. If you just gave cash instead, then the recipient could buy something they think is worth the money.. It is the same with government. They buy services for us which we don't want - usually because they are very ineffectively delivered. If they gave us the cash - or even vouchers - instead, at least we could get value for our money. (Actually, it's even worse than this. The government isn't giving us all these useless present with their money. It's paying for them with our money!)


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Vintage photos of:
A summer camp circa 1920 in the Washington, D.C., area. View full size. National Photo Company Collection glass negative, Library of Congress.
It could be a Graphophone, a Graphonola, or a gramophone, but not a "gramaphone."
[Anonymous Tipster is at least getting warm. Maybe he meant Gramma Phone. - Dave]
Dave--too many fingers. I meant gramaphone of course.
Just think of all the tiks and snaks. I'll sta hom thanx. (So it was these campers who invented the annoying slacker typing style used so heavily today!)
I guess this means we can add txt spk to the list of things our ancestors discovered long before we did...
It does look like a relaxing getaway, though.
What an inviting scene, just perfect for the dog days of summer. The porch swing is the crowning touch. I want to go to Camp Tak It Ezy and kik bak!
Presumably the titanafram is in its own tent out of frame.
WOW these folks know how to camp. Beds in the tent, a garapahone for music, rocking chair, hammock... Bet they ate well too.
[True. Can't remember the last time I saw a garaphone at a campsite. - Dave]

subset: commoncrawl


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Former selector Raju Venkat claims N Srinivasan saved MS Dhoni from getting a sack in 2012
Raju Venkat, one of India's former selectors has dished out an explosive statement. As per Venkat and the other selectors in 2011/12, Virat Kohli was supposed to lead the ODI team from 2012 onwards. But this development was ceased by the then BCCI President N. Srinivasan.
Venkat just didn't stop there. The former selector also alleged that there were several factions within the Indian dressing room during the team's 2011/12 tour to Australia. The Indians in that tour were found wanting and were massacred by the Australians. The visitors were whitewashed 0-4 in the tests, and failed to even qualify for the tri series which also featured Sri Lanka.
Venkat was pleased as Kohli was finally made the full time test captain and said, "We had thought about this (of making Kohli captain) three years back, we tried also. But because of then BCCI president Narayanswamy Srinivasan our efforts failed."
The former selector was also vocal about the various developments in Indian cricket in 2011/12. Venkat said that before the fourth test at Adelaide, selectors Mohinder Amarnath and Narendra Hirwani had travelled to Australia to assess the side which was already 0-3 down. "Before that two selectors Mohinder Amarnath and Narendra Hirwani had gone to Australia. After coming back they had reported about formations of several factions within the Indian team. There was no team spirit," Venkat said.
"We thought before the One-Day series there was a need to choose a new captain, we were on the look out for somebody who was above factionalism. We felt Virat was the right person to restore team spirit in the side," he said.
Venkat said that the selectors were quite impressed with Kohli's captaincy for North Zone in the 2010/11 Deodhar Trophy. Under Kohli's leadership, North Zone eventually won the title. "It was then that we understood that he has it in him to become a capable skipper. His captaincy in the Under-19 World Cup (in 2008) had also caught our attention," he said
The former selector once again shed some light on the functioning of the BCCI and said, "You cannot announce an overseas team without the BCCI president's approval. He (Srinivasan) did not give us the nod to change the captain."
However, it must be remembered that the Indian team achieved quite a lot under Dhoni post the 2011/12 Tri Series in Australia. Under Dhoni's leadership, India won the 2013 ICC Champions Trophy and made it to the semi finals of the 2015 ICC World Cup.
Get the latest news and updates from Indian Premier League, ICC World Cup 2019, Match Prediction & Fantasy cricket. Follow SportzWiki for all cricket news, WWE News & Sports News.
Krishna Chopra
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Where To Start with Attorneys and More
Benefits Of Having A Professional Car Accident Attorney If you know what a car accident is you will know just how costly it can be, right? Car accidents will really be expensive since the car repairs will mean a lot of cash and also paying for the medical bills. And in cases it would also lead to lost wages and that is not what you want right now. You have to prove to them that it is not indeed your fault and any expense that is addressed to you must be removed since you are not accountable. The most important thing you can do is to file a case of accident compensation claim to the erring party if the other part was liable for the compensation of the damages dealt. If you want to get the deserved compensation, you will have to file for personal injury settlement so that you can bring it up legally and you will be able to get the compensation if you prove your claim. Sometimes, even if you already gotten everything to plan and did everything that was needed, you still might end up empty handed or just get a portion of what you were promised. If you want to win the law suit for this one, it is important that you work with an expert on this type of domain and what better professional to hire than the best car accident attorney. These professionals will help you win and get the compensation that you need since working with this type of professional will really give you the advantage that you need. ' What kind of service can a car accident attorney provide?
What Do You Know About Attorneys
Any case that was due to a car accident will be handle by these car accident attorneys. They will have the skill set and knowledge to help a person win the case. If you are able to provide the needed information that a car accident attorney will need, you will have a much easier time win winning your claim to the personal injury settlement. The attorney will be able to evaluate your claim before submitting it. He will be examining the body and the injury that was inflicted and also see if the car was indeed damages by the accident and not by purposely damaging it to avoid any foul play. The best car accident attorney will be able to work with the documents and information easily and submitting the claim for him or her will be as easy as pie. That is what you get when you have studied carefully the laws and the things that you need in order to become the best car accident attorney.
Experts – Getting Started & Next Steps
It is normal for people to try and cheat their way to victory and that is why you need the best car accident attorney so that you will be able to know whether the things they are doing are legal or not. It would be hard if you do not have the knowledge and you also do not have anyone to help you with it, some insurance companies will be able to use that to their advantage.


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At Freedom Energy we simply give consumers the choice of where they receive their power. With a simple process, we have made switching to solar an easy solution to avoid the ever increasing utility bill. Switching to solar energy is not like it used to be, where you would spend tens-of-thousands of dollars up front in order to have solar installed on your home. With Freedom Energy, there is no up front cost, a 30% tax credit, instant tax free equity, worry free warranty and clean power production. Request more information and speak with a specialist today about your options.


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Why not take the calculated risk and start your own venture?
You have been contemplating on starting your own business for quite some time now. You've weighed the odds and you believe you can do it. There are risks involved, you know that too! The truth is entrepreneurship and risks go hand in hand. This is a tough game and definitely not meant for the faint-hearted. As the world-famous actor, Jim Carey, says "Life opens up opportunities for you, and you either take them or you stay afraid of taking them"
All entrepreneurs have their own story behind their start-ups and there is no such thing as a one-size-fits-all formula that can guarantee success. Things are going to get scary and doubts are going to crop up at every opportunity. Taking risks will increase your confidence every step of the way. So why not take that risk?
Calculated risks
Entrepreneurship consultant Leonard C. Green always tells his students that "Entrepreneurs are not risk-takers. They are calculated risk-takers."
Risks that entrepreneurs take are not random ones but something that will benefit them in the long run. Green also adds "The difference between risk takers and calculated risk takers is the difference between failure and success."
Removing all the "What ifs" from your life
You'll never know until you try- is the mantra that many entrepreneurs use. At least in the future, you will never ask yourself "What if?"
You can never be real and one hundred percent sure if the risks you take will actually pay off, no matter how calculated they may be. But this shouldn't stop you from taking them if you want to end up as an entrepreneur.
Taking risks can be a learning experience
Taking risks will teach you something whether they are successful or a failure. What is important to remember is that all risks cannot be good ones but all of them are opportunities to learn, and if you fail to learn from it and move on. Risks that entrepreneurs take are made up of two parts- assessments and action.
Risks foster innovation
Without risks, there can be no innovation. The whole idea of innovation itself is based on risks. There is always the risks of failure, however, risks can be leveraged with proper calculations and evaluations.
What are the different kinds of risks that entrepreneurs should take?
Every business involves risks and some are worth taking. These are market risks, competitive risks, technology risks, credit risks and financial risks.
As an entrepreneur, certain things are important to the understanding about the kind of calculated risks you are going to have to take. But first, you will need to be honest with yourself. Be aware of how tolerant you are of taking risks before setting up that business venture. Because no matter how much you calculate and evaluate there will be failures along the way, both insignificant and massive ones. How will you respond if something like this happens?
What are the advantages of taking risks?
Risk and its connection with the opportunity
Customers' demands are constantly changing, therefore, businesses should be in a constant state of change and progress too. Business leaders understand this and they have learned to accept risk as a cost of opportunity. This attitude pushes them to realize their goals and be successful.
Risks takers have a competitive advantage
Very few people are brave enough to take risks, those who do already have a competitive advantage over those who don't. Can everyone achieve the same as those who take risks? This is something that cannot be answered objectively. But if you do not venture into those waters you will never find out.
So what are you waiting for? If you have thought things through and you have calculated the risks involved then go for that venture you have in mind. You might just be the next entrepreneurial success story that inspires the world!


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8.1 Rethinking Watersheds and Planning
"When we try to pick out anything by itself, we find it hitched to everything else in the universe"
Integrated watershed planning provides a means for coordinating decisions among government and private agencies in order to resolve land use and resource management conflicts and issues. The resolution of these issues is typically done through multi-stakeholder collaborative planning; through monitoring, research and consultation; by negotiating consensus; and by ensuring accountability through open communication, education and public access to information. Integrated watershed planning combines scientific and technical information with cultural and social values to resolve conflicts and identify a desirable future outcome.
8.1.1 Water Centric Planning
Water centric planning refers to planning with a view to water, on any scale. The underpinning premise of water centric planning is that resource use, land use and community design will be done with an eye towards their potential impact on a watershed. This approach puts water stewardship and sustainability at the centre of land use, development, or resource planning initiatives. Water centric decisions consider the amount of water available, the amount of water needed, the use of innovative efficiency strategies, the quality of water leaving an area, how rain and snow water are managed, and the impact of development on the natural environment. As such, it requires that missions, mandates and accountabilities of participating agencies be ultimately integrated.3
Many policies and tools are available to local governments to implement water centric planning, including:4
The water centric approach also builds on lessons learned from past and recent practices related to integrative planning and implementation of planning decisions. It operates within the context of existing regional and municipal strategies, such as Regional Growth Strategies and Official Community Plans. It can also involve inter-municipal cooperation where watershed boundaries cross local government boundaries.3
8.1.2 Design with Nature
"Design with nature" is not a new concept. Originally coined by landscape architect Ian McHarg in 1969, design with nature is founded on the principle that the human and natural worlds are inextricably linked. It maintains that planning and design of the land for human use needs to be based on an understanding of natural process. Erik Karlsen, (formerly with the BC Ministry of Municipal Affairs) suggests that the key message of design with nature is that "the tool is a means to an end…. The vision is to change the way we develop land…it is about a different way of thinking." 6
It has been suggested that designing with nature is a more "user-friendly", intuitive approach to implementing Smart Growth principles.
8.1.3 The "Soft Path" Approach
The "soft path" for water, developed by the POLIS Project on Ecological Governance, is a holistic approach to water management that seeks to move beyond demand management to planning for sustainability. Rather than the conventional approach to water management (supply-focused planning), which treats water as an end product, the soft-path views water as a means to accomplish certain tasks. In this way, planners are able to explore innovative solutions to manage demand rather than just delivering more water to satisfy demand. The soft path approach begins with envisioning a desired future state for water resources that reflects human needs and ecological limits. From there, planners determine what water might be available in the future, and then work backwards in time to find feasible paths to meet long-term social and economic needs.9 The soft path promotes using alternative and more ecologically sustainable water sources, including rainwater harvesting and water reuse and recycling.
A "real world" application of the soft path concept has been written up in A New Path to Water Sustainability for the Town of Oliver BC: a Soft Path for Water Case Study (2007). The report provides an overview of the soft path approach, analysis of three potential scenarios in the Okanagan, and recommendations for the town of Oliver to take steps towards developing a sustainable approach to water management. Soft path strategies have also been developed for Saltspring Island (2010) and the City of Abbotsford and District of Mission (2009) by the POLIS Project on Ecological Governance.
8.1.4 First Nations' Approaches to Planning and Decision Making
"In our language there are no words for "environment" because we have always been taught that this is part of our everyday living. Our everyday teachings from our parents, grandparents, and great-grandparents show us how to look after the foods that we depend on and that are part of the environment, and that's also part of spirituality."11 - RUBY DUNSTAN, a Nlaka'pamux Elder
8.1.5 Moving Towards a Water Ethic
In theory, integrated watershed planning is an attractive concept. As an approach, it seeks to reconnect society to water's life-giving role. In practice, however, it is a challenging new path for some communities, in part, because it represents a new ethic for many.
Many of these challenges and limitations are identified, explored and addressed in this guide, and insights are offered in the literature that was reviewed in the preparation of this guide, through interviews with local government staff, within case studies and from project advisors.
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Bowen will be at the National DBIA Water/Wastewater Conference next week in Portland, OR. Mike Soller, P.E. CPC, DBIA and Sam Fackrell, DBIA, will be attending sessions and assisting with beta testing the new DBIA exam on the updated core curriculum.
Connect with Mike and Sam at the conference to catch up on the latest information about how Bowen provides D/B water and wastewater projects for our clients.
Click here to register for the conference.


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I'm currently writing this so it will be coming soon. It will be filled with how-to information, travel tips, and none of the bogus claims you may have seen in others. Just honest, down to earth information on how to travel the world affordably and make money while you are at it.
Join the newsletter to get updated and have tips sent directly to your inbox. As well as sneak peaks on the book!


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Meagan R. Brien Named 2018 Up and Coming Lawyer by the Indiana Lawyer
Bingham Greenebaum Doll LLP is pleased to announce that attorney Meagan R. Brien has been selected as a 2018 Up and Coming Lawyer by the Indiana Lawyer.
The annual Leadership in Law Awards honor 15 Indiana attorneys in two categories: Distinguished Barristers, attorneys with 20 years or more in practice, and Up and Coming Lawyers, who have practiced for less than 10.
Meagan is an associate with the firm's Litigation Department in Evansville. She focuses her practice on business/corporate law, commercial litigation, fiduciary litigation, creditors' rights, and employment law, as well as estate planning and probate administration. Meagan has assisted clients in their litigation in both federal and state courts and administrative proceedings in Indiana, Kentucky, and Illinois.
"Meagan is a valuable and involved member of the firm and her community," said Tobin McClamroch, Managing Partner of the firm. "We are thrilled to see her recognized by the Indiana Lawyer."
Leadership in Law Up and Coming Lawyers are chosen based upon their meaningful professional accomplishments, community involvement, positive effect on others around them, and leadership qualities in the workplace or community.


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This is Part 2 of Danielle's serialised blog leading up to her big event in June. For the other chapters, click here.
'All the leaves are brown and the skies are grey'*
It's funny the tunes that pop, uninvited, into your head on a long ride. Mostly I ride alone, so I've only my own ponderings for company, but I love that. Cycling is great for shaking thoughts up or clearing blockages in your brain. It's like all the good stuff rises to the surface and little nuggets of wisdom that were hidden decide to show themselves in mini eureka moments.
I've not quite managed my one long ride a week as planned, but when I have I've been rewarded with beautiful, life-affirming moments. Moments like watching the sun burn away the morning mist or having the whole towpath to myself so I could charge through muddy puddles and not worry about splattering someone.
Of course it's not all been good. I've suffered a couple of punctures in the recent bad weather and on one ride had to push 2 miles to get home. On this occasion the earworm wriggling around my head was the rather irritating, all time classic by Wizard, 'Oh I wish it could be Christmas everyda-a-a-y…..' I think you'll forgive me for not feeling very festive at that particular moment!
So, I am just over a month into my half Ironman training and things are going pretty well. The hardest session of the week by far is triathlon club where we spin and then run on the track. It's brutal but brilliant.
By contrast to the hippy, dippy, wistful tunes* that drift through my head on solitary rides, the music here is, well, I guess the opposite! We listen to banging, high energy, doof, doof, doofs that help us push those pedals and work our muscles. I've no idea who makes this music, but it does the job and we train till we drop – which is good practice, because I am going to have to keep going till I drop on race day next June.
One of the motivations for taking on this challenge is to honour the memory of a dear friend of mine, Emma, who died in 2013. Emma and I used to run together and she was always up for a challenge. She would have loved the idea of an epic triathlon.
When she was too ill to work we would share films and music; she used to say I was her cultural secretary. The last tune I shared was Facing West by the Staves which, although melancholy, is also beautiful. Inevitably this is now the tune that reminds me of Emma and although it makes me cry, it also motivates me to get out there and grab life.
So this weekend I am avoiding the Christmas shopping and aiming for my first 50 miler. Wish me luck, as I will probably have to endure another pesky little earworm or two…Ding, dong merrily on high anyone?
My aim for this month is pretty simple: not to let the momentum drop off amidst a pile of mince pies and chocolate snowmen. And Santa, if you're listening, some pedals to go with my new shoes would be most welcome and will definitely help keep me on track!
Happy Christmas all!
*Mamas And The Papas, California Dreaming. 1966.
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Introduction and beginning
"The List" is a screenplay I wrote between 2001 and 2003. It was registered with the Writer's Guild and copyrighted in 2003. I sent it and a one page summary out many times and did not hear anything back. So I buried it in the chest my Great Grandmother left me when she passed. People who read it before I buried it, have come back to tell me it is a lot like "The Bucket List" and all I can say is I wrote mine first. It was a way for me to process some things I had witnessed and experienced in my life, such as the loss of well loved female student I went to high school with and a the loss of a male student I went to another high school with. It was told to me by a friend, that the male student's best friend, had decided to live out himself, the plans the male student made before losing his life. That was where the bases of my story came from. Anyway, I dug it out and I have decided to post at least 10 pages a week from it, until all 118 pages have been posted.
I was loving the idea of what Matt Damon and Ben Affleck did with "Good Will Hunting" and trying my own hand at something similar. I did consider submitting to Project Greenlight but I didn't believe my story was a good fit for that. Like me it's more mainstream (cliche even) rather than niche indie feel.
If you like TV shows like "ONCE UPON A TIME" or "JANE THE VIRGIN" or the 90's show "ALLY MCBEALL" I think you will enjoy my story. I originally wrote the lead Jenny with Marisa Tomei in mind and her love interest with Robert Downey Jr. in mind as I loved their chemistry in "ONLY YOU" and the movie!
So, here we go... "The List"
Red carpet award show.
Close up on JULIETTE CARTER, a TV entertainment host. The camera pans down to her bosom, as we see her pull two ice packs out of her dress and hand them off camera.
CAMERA MAN: And three, two, one, you're on!
JULIETTE: This is Juliette Carter, live from the hot, red carpet. Giving all you voyeurs your first unadulterated peek at this evening's award contenders.
The CAMERA pulls back to reveal a TV set on in a bar restaurant.
OLIVIA and JOE MATISSE, a couple in their early sixties are seated at a table.
Joe looks angry.
OLIVIA: I didn't realize the award show is on tonight.
Joe looks at his watch.
OLIVIA: Maybe she had to work late.
Joe gives Olivia a look like how stupid do you think I am.
WAITER: Can I get you another Pepsi sir?
Joe nods, yes.
EXT. OF AN OFFICE BUIlDLING WITH A SIGN THAT SAYS P.B.I.
JENNY MATISSE, an attractive thirty year old female is packing a few items from a receptionist's desk.
Camera close up on a clay box turtle that looks like a kid made it, It is on a stack of papers. It is decorated with the Yin and Yang sign.
The guitar riff from the song, "WISH" by NAKED BLUE, is playing in the background. It plays in a repetitive pattern. From here on, this piece of music will be referred to as, "THEME MUSIC."
*AUTHORS NOTE it is suggested you download this song to get the full feel of what I'm going for.
Jenny picks up the turtle and turns it over. On it's belly it reads, "Rebecca, 1986". Jenny carefully puts it in her box, grabs her coat and purse and heads for the door.
The employer stops her.
Theme music fades.
EMPLOYER: Hey Jenny. He rubs her arm in a smarmy way and growls out) Umm (in a low voice)
Jenny shrinks away from his touch.
EMPLOYER: I hate to see you go. (He raises his eyebrows.) We could still change that.
Jenny closes her eyes for a second and shudders a sickened shudder, then shakes it off, literally, and walks out the door.
EMPLOYER: (calling behind her) I hate letting you go, you know, being that it's your birthday and all!
The theme music plays.
It's a cold March evening.
Jenny is walking down the sidewalk, sniffing and blinking as if she's trying to hold back tears. She walks by a TV store. There are TVs in the window. They are playing some local news show. The box Jenny is carrying breaks and everything falls to the ground. Her hands come up to cover her eyes. She bends down and grabs the turtle. As she stands up, there is a picture of Rebecca Norton with her name written under it, on the TV in the window. Jenny looks at Rebecca's name on the turtle's belly, and then back at the TV. Rebecca's picture is gone. Jenny blinks, puts the turtle in her pocket and walks on leaving the broken box and the rest of the stu
ff behind.
The theme music gives way to the beginning of the "WISH" song, which stops before it reaches the first verse.
Jenny sees a church.
With each Amen and Alleluia, the camera tightens in more on the church.
Jenny walks into the empty church and sees a beautiful stained glass window over the pulpit.
The third verse of "WISH" begins.
Jenny looks around the church. She bows down and says a prayer.
The chorus of "WISH" begins.
Jenny stands back up, wipes tears from her eyes, looks at the stained glass window again and heads out.
The chorus transitions back to theme music.
Jenny enters through the restaurant door. She scans the room and waves across the restaurant, as she runs into an occupied chair.
Theme music fades.
JENNY: Oh, I'm sorry, I'm so sorry.
Jenny continues limping over to her parents, Olivia and Joe. Jenny is calling and waving as she limps.
JENNY: Sorry I'm late.
OLIVIA: (In a hushed tone to Joe.) Now be nice and don't say anything about her...
Olivia and Joe are talking at the same time.
OLIVIA: Break up with Brad.
JOE: So, what's new? (This is his answer to Jenny's, "Sorry I'm late." He gets up to hug his daughter.)
OLIVIA: (Shooting a disagreeing look at Joe and getting up to hug Jenny.) Happy birthday, Joe, our little girl is thirty. (She ends the hug and holds Jenny's cheeks in her hands.)
JOE: How's your job going?
JENNY: (Her cheeks are still in her mother's hands. Her face appears to be smushed.) Ah, which one?
JOE: (pleasantly surprised) You have more than one?
Olivia lets go of Jenny's face and stares at her with concern.
JENNY: Well I left, HOWE AND HOWE.
JOE: When?
OLIVIA: What happened?
JENNY: I don't know.
Jenny is at a receptionist desk with all of the phone lines lit up.
JENNY: Hold please. Howe and Howe, How may I help you?
The phones are constantly ringing.
We hear the voice on the other end. It is MR. HOWE SR.
MR. HOWE SR: First you put me on hold for three minutes. Then you put my call through to the wrong person and now you're asking, "How you can help me?"
JENNY: I'm sorry sir, I just started yesterday and there's two hundred, something lines in this building and the phone directory, it seems, is not up to date and...
MR. HOWE SR: I don't want to hear your excuses missy, put me through to Leonard Howe Jr., immediately!
JENNY: Well screw you! (Jenny slams the phone down.)
JENNY: The lady who hired me just called me into her office and let me go.
Jenny is sitting in the office of the HUMAN RESOURCES MANGER.
HUMAN RESOURCES MANAGER: I'm sorry but I have to let you go. It seems you told the owner of HOWE AND HOWE to screw off. On behalf of everyone in this company who has wanted to tell Mr. Howe to screw off, I personally thank you. However, on the behalf of MR. Howe Sr., I must say "You're fired." In about a minute, two security guards will come to escort you out of the building. (In a whisper) You might want to grab your purse.
JENNY: It just wasn't the right job for me.
Jenny takes off her coat and hangs it on the back of her chair along with her purse and sits down.
JOE: Well, maybe there is no right job for you.
OLIVIA: Joe!
JOE: (Putting his hand up at Olivia, as if to say, "Back off") Sometimes, you have to stick with a job, just because it pays your bills. I certainty didn't work at Kmart all those years, just because I liked the blue light specials.
OLIVIA: (Pointing to the TV) Isn't that Becky Norton?
Jenny looks at the TV, stares and nods her head, yes.
The camera pans to the TV, showing Rebecca on the red carpet being interviewed. There is no sound on the TV.
OLIVIA: (voice over) I almost didn't recognize her. Her teeth look so perfect.
JOE: (voice over) How is ole Becky? Jenny?
The camera pans back to the table.
JOE: I bet her parents are proud.
JENNY: I don't know. We haven't talked in a few years. She sure looks happy. I would be if I were up for best writer award. "Catherine the Great," is a great success.
OLIVIA: Well you know, Nelly moved about two years ago.
JENNY: I didn't know her mom moved.
OLIVIA: To Arizona, I think... I still can't believe the way Becky's dad just took off with that young girl. Becky was only twelve and that girl... Well, she couldn't have been much more than eighteen. The skinny young thing didn't even have breasts yet.
JOE: Oh, but he bought her a nice set and I heard she liked to show em off too. Just think honey, (to Olivia) If they had em on blue light, I'd ah gotten you pair.
OLIVIA: (shocked) Those breasts should have been Becky's child support!
JOE: I'd say ole Becky's done okay. (to Jenny) So you don't keep in touch?
JENNY: Well, it looks like she's got a pretty busy life.
OLIVIA: That Alicia Hutton, she made such a great Catherine. Oh and there's Brandon Deveraux, the one who lost his wife last year. You know, I heard they were filming his death scene only a week after his wife was buried.
The camera pulls back on the TV, we see Brandon Deveraux.
JENNY: (voice over) That poor man, how awful!
OLIVIA: (voice over) Yes, he's up for an award for the part of Alexander and the one who played Grigory Orlov was arrested for drugs and won't even be at the award show tonight. I believe they're both up for the same award.
The camera pans back to the table.
JENNY: How do you keep up with all of it?
JOE: She knows more about their lives than ours.
JENNY: So mom, who's the woman with Brandon Deveraux?
OLIVIA: (looking at the TV) I don't know but I'm sure we'll find out, Enquiring minds you know...
JOE: (to Jenny) Where are you working now?
JENNY: Well, actually I'm not.
JOE: (raising his voice) How long have you been out of work?
JENNY: What time is it? (she looks at her mother's watch)
JOE: What happened this time?
JENNY: I don't know...
Her EMPLOYER from P.B.I. is slapping Jenny on the butt.
EMPLOYER: That's my girl!
This scene repeating various times, slightly different each time as Jenny wears different clothes in each repetition.
JENNY: You know, maybe I could write something. (To her mom.) Remember that book I started writing that time? I heard the woman who wrote those Harry Potter books...
JOE: What about health insurance and how are you going to pay your bills?
JENNY: Well I still have the twenty-five grand Grandma left me.
JOE: Oh sure, so you're just going to be a writer and what makes you think you'll be good at that?
OLIVIA: (Trying to distract them) Hey, there's Becky again!
JOE: I bet her parents sleep well at night. She's someone a parent can really be proud of...
JENNY: Oh, and I'm not! (Jenny picks up her purse and coat) You know what else I'm not?
OLIVIA: Joe!
JENNY: Hungry! (She then begins speaking on her way out the door and without pausing between sentences.) I'm sorry I dropped out of college. I'm sorry, I'm not the great business person you are and I'm sorry, I lost a great guy like Brad! Who, by the way, took his secretary to the Dave Mathews concert last night with the tickets he purchased as my birthday gift. (She pauses to breathe but just a second.) Happy birthday! I can already see my thirties are going to be so much better than my twenties!


text:
Yes, Kolkata is the city of glory, grandeur, hopes and dreams. It is regarded as the gateway of the east India. Several people visit this city for its charm, vibrant shades, vivid traditions, industry and commerce, politics, colors, cultures and moods. It fascinates everyone around the nation. You will definitely be able to find cheap air tickets to Kolkata. It is a mind blowing hub for all the people who are fond of creativity and culture. Why this city is so much popular? It is famous for the great ethnicity and folk they have. The excellent way to reach this city is by air.
There are so many airlines that operate their flights to Kolkata on a regular basis and that also through several key destinations such as Bangalore, Chennai, Delhi and Mumbai. There are so many places from where you can reach this place of your dreams. A decade or two back, it was not imaginable to get cheap air tickets to Kolkata but now you have wonderful alternatives in front of you. It has wide history attached to it. Numerous people are taking the advantages of going for the cheap airfares to this city in order to explore the intriguing city.
The Indian Airlines operates continuous flights to over 76 destinations around the globe including Indian places. 58 cities are within the country India. Indian Airlines offer its cheap air tickets to Kolkata too. It does not matter whether you wish to come from Ahmadabad, Lucknow, Pune, Delhi, Mumbai or other major cities, you will easily get cheaper airfares to this city from Indian Airlines. Teeming with life and tradition, this 300 year old city has outgrown from a cluster of villages to a growing metropolis. Titled as the city of joy, Kolkata is the nerve center of intellect and human values. A medley of vivid colors, lights, festivals and moods; Kolkata is one of the most alluring destinations.
The Netaji Subhash Chandra Bose International Airport is situated in Dumdum which is over 17 Km far from the heart of the Kolkata. It is well linked to other parts of India that includes the north east capitals.


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Day 3: Johannes Zits, Don't be so Hard on Steve, Steve
Posted by Riva Symko on November 8th, 2016
See Steve line up his driver on the green. See Steve hit the golf ball. See the ball soar into the water hazard. See Steve berate himself: "Ack-gaaah! C'mon Steve! It's not that hard of a game! So embarrassing." Next, as per standard commercial narrative, it is suggested that the protagonist's dilemma – his frustration – his self-chastisement – can be resolved via simple producer/consumer relations: if you can't do it, buy it. And so as the scene pans out to show us Steve's golf-mates awaiting their own moment on the green, the announcer chimes-in: "Go easy on Steve, Steve – that was the club's fault", and the Golf Town logo flashes onto the screen beside the tag-line: "TRADE IN YOUR OLD CLUBS – TRY ALL THE NEW ONES".
…Cut to Johannes Zits (as Steve) standing, shirtless, on a pile of laundry in front of an ironing board in the middle of Latitude 53's main-space gallery. He picks out a brightly printed blue cotton button-up shirt from the pile under his feet, and inspects it closely. Pulling off an indistinguishable piece of lint, he stretches it over the end of the ironing board, adjusts the collar and the sleeves, and applies the iron. Back and forth, methodically pressing out the creases, he shifts the shirt inch-by-inch over the board. Tipping the iron back onto the board, Steve gives the shirt a crisp shake, slips his arms through it, and fastens each button from top to bottom. Adjusting his shoulders a few times, pulling the left sleeve over his watch, and fixing the collar, Steve turns around to face a large, full-length mirror set opposite the ironing board. He peers at himself, scowls slightly, turns to the right, adjusts his collar again, turns to the left, scowls again. He walks back to the pile of clothes, chooses another brightly printed (this time red) cotton button-up shirt, turns back to the mirror, and holds it in front of his torso.
Finding this shirt equally dissatisfying, Steve returns it to the laundry pile, walks around to the outer side of a folding table standing to the left of the ironing board, and plucks a book from an unkempt stack on its surface. The book is heavily tabbed and notated. Steve pages through it, scanning for something – a chapter, a passage, a quote? As he begins to read aloud, it becomes clear the book is a self-help guide, and what Steve is really looking for is some guidance, direction, resolution to his incessant need to iron out every imperfection (real or imagined): "Make good decisions…bad decisions come from not caring enough…don't be careless."
Despite the fact that Zits' Steve is reading these passages aloud, there is nothing explicitly interactive about Don't be so Hard. (Zits as) Steve does not even allow us (the viewers) the satisfaction of acknowledging we are watching him, thereby inadvertently alleviating the innate awkwardness of our espial. Rather, both Steve and Zits are fully engaged in the task at-hand: self-criticism via dressing, and undressing/clothing, and more clothing. Visitors drift in-and-out of the gallery, some lingering in the seats lining each side of Zits' performance. We are rubberneckers here – as though we are watching Steve at home in his bedroom, or his laundry room – waiting in anticipation to see what's going to happen? But nothing really does – the cycle of Steve's self-doubt repeats and repeats for, in this iteration, a full three hours.
It could be argued that all performative art contains an element of voyeurism in the way it transports the viewer outside of the quotidian, and forces a complex power dynamic between the spectator's sense of self in the surrounding space, and the performer's body and actions in the same space. But Steve's actions/Zits' performance is a guilty voyeurism. We should probably help this guy out of his rut – we all know he won't really find what he is looking for in that pile of laundry. If only we weren't so paralyzed by our own self-dissatisfaction. If only we weren't just as critical of ourselves. If only we weren't stuck in this audience/performer interstice with Zits.
At one point, Steve reaches into the pile of laundry for a second? third? fourth? pair of pants, pauses, then moves instead towards the table. This time, he retrieves a paper shopping bag with the American Eagle Outfitters logo emblazoned on the side. He pulls out yet another printed cotton button-up, inspects it closely, ponders the (still attached) price tag. He fishes the receipt out of the bag and holds it up to read and we can clearly understand that he still has the option of returning it. He appears to consider the shirt's worth compared to his own worth, then slowly folds the shirt, and places it back into the bag.
In 1988, Stuart Ewen coined the term 'commodity self' in reference to what he observed as a new relationship between commodities (material objects carrying economic exchange value) and individuals. For Ewen, individuals living in Fordist North America during and after the 1920s began to recognize and form their sense of identity through the commodities they consumed.[1] This process of commodity-based identity formation has gradually intensified over the past five decades until today, when our sense of self is almost inseparable from the objects and services we buy. From this point of view, Steve is a physical manifestation of the commodity self described by Ewen – the 'self' Steve sees reflected in the mirror is contingent on the shirts and trousers he is trying on. Just like Golf Town can help their Steve become a better golfer with new clubs, Zits' Steve cannot see passed his outfit to any other 'self'.
Even I, as one of Zits' viewers, can't help wondering how Steve might look in the documentary stills of this performance – the 'final product' so-to-speak. Stacked in a grid, the photos of Steve pondering himself in the mirror could pass for one of VOGUE's seasonal high-fashion runway collection reports.
For Ewen, the emergence of the commodity self was a direct result of corporate advertising's ubiquitous extension into everyday life, and its promises of "freedom" and (American) "nationalism" for consumers.[2] Further to this, Jennifer Way has written that, today, individuals find their own value and meaning in the commodities they consume "by using them to establish, clarify, or change their identities and to communicate their identities as individuals and members of groups affiliated by ethnicity, nationality, region, religion, gender, sexuality, and generation."[3] For example, Christians might purchase and wear gold crucifixion necklaces, business professionals connect to one another through their iPhone mobile devices, eco-conscious citizens drive hybrid vehicles, Steve visits Golf Town to improve his game, and Zits' Steve likes to look good in a cotton button-up.
Steve is bound to his own indecisiveness, and stunted by an obsessive, performative quest for some ambiguously-defined perfection spurred on by the consumer cycle itself: need. buy to satisfy need. desire better. buy to satisfy desire. change one's image/status/social group/etc. buy to reflect this. repeat. Steve tries to counter this by turning to self-help: "No more self-bullying about your appearance," or, "You cannot earn worth through what you do". But even the most sincere self-help is part of a larger industry – one that idealizes certain 'types' of behaviours, successes, lifestyles, and people as a very commercialized quest. Although this quest promises fulfillment, it also intentionally fails to deliver in order to guarantee itself capital perpetuity.
Every so often over the course of his ceaseless task, Steve picks up a fresh piece of clothing from the pile, and one or two small stones fall from the folds and bounce conspicuously across the concrete floor. Steve bends and picks up each stone, rubbing them between his hands to warm what we learn are actually "healing crystals". He walks to his inspiration wall and reads out-loud a passage pertaining to the particular type of crystal (for example: "topaz: success, optimism, reduces procrastination"). Then Steve places the crystal in his ears, or in his belly-button, periodically adjusting them while he irons. The crystals function as part of Steve's self-helping, but they also happen to be his closest connection to the outside, natural elements.
Zits' larger body of work demonstrates shares an ongoing interest in exploring the divisions between our bodies and our environments. For instance, his 2012 Re-Dressing Landscape (performed at StFX Gallery in Antigonish, Nova Scotia) attempted to extend the performer's bodies into the local landscape in a stripped-down, skin-to-elements walk, crawl, writhe, and brush through the sand and rocks of Arisaig's beach, the coastal grasses at Chez Deslauriers, and the softwood forest lining the Pomquet trails. Along the journey, the performers took notes, photos, and video, and collected natural materials (sand, rocks, grass, branches) which they later brought into the Gallery to make what curator, Tila Kellman described as "a second nature".[4] The crystals featured in Don't be so Hard function like a second nature for self-hood itself.
In previous performances, Zits was explicitly reconnecting what are otherwise culturally-reinforced disconnections between the body and the landscape. Our clothes provide a literal barrier between our individual bodies and the elements. But we also detach ourselves from nature in more concealed ways – by commercializing it for resource production, or romanticizing it for adventure and mythology. Ironically, these divisions have been both naturalized and politicized. For Zits, "Considering nature as a body and as an active participant, ensures that it can be neither construed as a passive prop or backdrop nor adored and fixed in the realm of the sublime."[5] Similarly, Don't be so Hard de-naturalizes the relationship between commerce and our sense-of-selves.
As the evening wears on (pardon the pun), Zits' face flushes – partially from the steam puffing and gurgling through the iron, partially from Steve's unending dissatisfaction, and partially from the endurance of the performance itself. In fact, the entire gallery feels at least a degree or two warmer. "Learning how to be kind to yourself takes practice, motivation, and patience", reads Steve as he continues to smoothe out the creases of self-doubt itself.
- Stuart Ewen, All Consuming Images: The Politics of Style in Contemporary Culture (New York: Basic Books, 1988). ↑
- Ewen, 30. Ewen places late nineteenth and twentieth-century American industrialization and commerce at the centre of his study. For him, the notion that individual progress and distinction can be obtained through consumption is the foundation of the 'American Dream', and even American democracy itself, 59. ↑
- Jennifer Way, "Commodity Self," Visual Arts and Cultural Studies Section, Encyclopedia of Identity, 2 vols., ed. by Ronald L. Jackson II (SAGE Publications Inc.: SAGE Reference). Retrieved May 23 2013 from: http://knowledge.sagepub.com/view/identity/SAGE.xml ↑
- Tila Kellman as quoted in Richard MacKenzie, "Performance artist coming to Antigonish", The Casket, August 15, 2012. ↑
- Johannes Zits, "Don't be so Hard on Steve, Steve", http://www.visualeyez.org/festival-2016/artists/johannes-zits/, September 2016. ↑
Day 1 & 2: Alexandria Inkster, We are in the folds
Posted by Riva Symko on November 4th, 2016
It is a blustery weekday afternoon shortly after lunch-hour in downtown Edmonton. Golden autumn sunlight is casting sheathes of warmth along the upper reaches of brick, concrete, and glass office towers. Alexandria Inkster – wearing white slip-on sneakers, white jeans, and a white cable-knit sweater – makes her way eastward along the north-side of Jasper Avenue like a striking, ghostly mime (with clear and serious purpose). She is carrying a heavy pile of white paper under one arm, and a wooden folding tv-table under the other. To her right, (handler/ photographer/ volunteer) Alice carries a matching set of folding chairs, and a camera around her neck.
The two of them pause just to the left of the 102nd Street bus-stop, unfolding the table and chairs like they are setting up an easel for a day's worth of land(urban)scape painting. Inkster arranges the newsprint-sized stack of paper on the tv-table and places a large rock on top to prevent the already fanning sheets from blowing off into the street. She chooses one of the seats for herself and sits tall, upright, deliberate: unflinching, but relaxed. She stares straight ahead – part-expectant, part-lonely, part-stoic, part-anticipatory, part-meditative – but also open. Tucked ever-so-slightly into the alcove where the faded brick of the CIBC building juts out from the shiny granite façade of Commerce Place, Inkster is both on-the-street, and in her own space. The wooden chairs, the table, and Inkskter's white clothing are framed by their own forms, looking and feeling like a Robert Rauschenberg White Painting (1951), while behaving something like a decontextualized White Cube.
A decade after they were made, composer John Cage described the White Paintings as "airports for lights, shadows, and particles…receptive surfaces that respond to the world around them."[1] In a similar way, Inkster – with her table, chairs, and paper – gives us, me, you, and the people walking-by a landing-pad for all of the quotidian things, thoughts, and seeings that we are carrying with us down the street that day. I approach the table and Inkster asks me if I would like to join her for "a wordless conversation?" I say I would and take a seat on the vacant folding chair across the table from her. She explains the parameters of what seems almost like a pensive game: "To have a wordless conversation we need to maintain eye contact without speaking – our communication will be through our eyes. If we break eye contact, the conversation stops, but we always have the opportunity to re-establish eye contact."
Although I have been looking straight at her eyes since she first mentioned "eye contact", at some inexplicably defined point we have initiated eye contact in a more decidedly inaugural way and, simply by non-verbal consensus, I know that our conversation has started.
The content of the White Paintings "lies in the shifts in attention they require from the viewer, asking us to slow down, watch closely over time, and inspect their mute painted surfaces for subtle shifts in color, light, and texture."[2] So too does this wordless conversation held via eye contact depend upon my own ability to contemplate on the moment itself. Given the theme of the week, I am trying to meditate on the idea of 'kindness' – I want to send warm, inviting, happy energy to Inkster. I have what I think is an ever-so-slight smile on my lips, and think about what it means to smile in/ with my eyes.
Inkster herself has written that kindness: "is a gift, an offering of sorts…a gentle touch, which may or may not be registered, accepted, or reciprocated, but is offered nonetheless…an invitation to form connections with the world one inhabits."[3] So I think about how I am connecting to this stranger in a strange situation. At one point, a wave of sadness, or melancholia, passes over me – maybe that would happen in any performance, or circumstance, where human connection is the forefront of the experience. But I try to conceal it from Inkster as quickly as possible. I am also drifting back-and-forth between determining what messages and affectations the eyes in front of me are holding, and what uncategorized thoughts of my own are randomly interfering with the concentration required to truly decipher those messages and affectations.
I can only see it peripherally, but I know the pile of paper is there, and I know Inkster is doing something that resembles folding with a sheet of it during our conversation. I am aware of the paper, aware that her gestures with the paper seem repetitive, aware of the labour required by Inkster to fold the paper. As the performance goes on, I am mindful that it is becoming more and more difficult for her to fold the paper as its' thickness increases. I can feel it billowing up onto my arms in the wind and I rest my hands on it to help keep it from blowing around. But, at the same time, I am resisting the urge to notice the paper. I am trying to not to contemplate anything but holding eye contact (and staying 'kind').
As one reviewer described, Marina Abramović's well-known performance of The Artist is Present (2010) at the Museum of Modern Art in New York City was "largely about experience in time. Abramović's goal was, essentially, to remain present, to remain 'in the present' for the approximately 731 hours and 30 minutes that the performance lasted. The work invited audience members to both witness and join in this present. A teenage visitor to the show was reported as observing of those who sat with Abramović in the work, 'I think they lose all perception of time when they get up there.' "[4] But sitting in Inkster's piece, I am actually more aware of time – aware of holding a gaze for a particular duration of time and wondering how long I can hold this eye contact. I think it is Inkster's act of paper folding, in particular, that is grounding me in time, and keeping me on the street with her. Her repetitive gestures act like a metronome that ground us in the present of where we are and what we are doing. Where the perception of time, or even the perception of present-ness, might be the signature context of The Artist is Present (especially given it's physical relation to the rest of the exhibition it is situated in, that is; Abramović's retrospective), We are in the folds is about perception itself. Inkster's modus operandi, here, is to "make art to precipitate an awareness of different ways of perceiving, and actively participating within, our shared and overlapping lifeworlds."[5]
However, since We are in the folds is not completely stationary (Inkster with her table, chairs, and paper literally move – west down Jasper Avenue – as the day progresses), there is also something unfixed and unspecific about it. Inkster's path is not random, and the locations (and the spaces they create) less defined, less significant to her action than that of Abramović sitting in the centre of an exhibition space at the MoMA. Inkster's direction is as controlled and aesthetically minimal as the rest of her performance. She moves west down Jasper Avenue in a straight line, and she creates a space with every new stop along the way (an architecturally-absent, momentary gallery site).
As the day progresses, Inkster also experiments with changing the parameters of some of her wordless conversations. At times, audience members participate with her in the folding. Inkster taking the lead and the viewer simultaneously mimicking her actions while trying not to break eye contact: starting at opposite ends of the sheet, both make a one-inch fold, press the crease, flip the whole sheet over, and repeat until the paper has become a pressed-spiral cube. In this iteration, the conversation is even more like a game, and the dialogue held less in the visual than in the act of folding itself.
At the end of each performance, Inkster gives the participant the folded sheet of paper held together with a rubber band. It becomes a sculptural record/remnant of an exchange. Our conversation(s) to be left in the folds of the pleated cube, "or to open up to the air to breathe."[6]
- John Cage as referenced by San Francisco Museum of Modern Art online: https://www.sfmoma.org/artwork/98.308.A-C ↑
- San Francisco Museum of Modern Art online, as above. ↑
- Alexandria Inkster, We are in the folds artist statement: http://www.visualeyez.org/festival-2016/artists/alexandria-inkster/, September 2016. ↑
- Abigail Levine, "Marina Abramović's Time: The Artist is Present at the Museum of Modern Art", Hemispheric Institute, online, 2010. ↑
- Inkster. ↑
- Inkster. ↑


text:
Simply plug in an external DAC device and the operating system should get the necessary handshake done.
Open "Settings" (under "Welcome User Name") and select the audio API and external DAC as audio output device. Click "Save Settings".
On MAC, Core Audio interface is used to set up the audio queue on the default hardware. On Windows, either kernel streaming (WDMKS), WASAPI, ASIO, DS interface is possible. For general users on Windows, DS audio API is recommended.
See next article "Connecting to Bluetooth-enabled speakers".


text:
Let me guess, you have been playing New York Times crossword and got stuck on the clue Stomach acid, to a chemist. Well, you have come to the right place to find the answer to this clue.
While some crosswords are much simpler than others, most require that players have a vast knowledge of the language and possibly even various topics. So while crossword puzzles are seen as a more intelligent game, they can be very frustrating for players to complete and even experienced crossword players need some help occasionally.
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|New York Times crossword of January 24th, 2008 other clues
|Hockey great Jaromir
|How trapeze artists perform
|Johannesburg-to-Nairobi dir.
|Largest of a septet
|Laryngitis symptom
|Locks horns (with)
|Morgue ID
|Mrs. Dick Cheney
|Mrs. Woody Allen
|Musician Brian
|Naturalist Fossey
|Not Rx
|Phil who sang 'Draft Dodger Rag'
|Rand who asked 'Who is John Galt?'
|Served, as time
|Shakespeare title starter
|Star Wars, briefly
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|Swell place?
|Telephone triad
|The usual amts.
|Tick off
|Ticker tape letters?
|Vein locale
|'The Dukes of Hazzard' network
|*1961 chart-topper for Ray Charles
|*Get it exactly
|*Get off to a quick start
|*Party game
|*React to gunfire, maybe
|*Shoot perfectly
|*Vie for votes
|10 Benjamin Franklins
|A.M. drinks
|Actor Brynner
|Algerian port in 'The Plague'
|Announcement to passengers, for short
|Baseball stat.
|Bygone potentate
|Calif. setting
|California hometown of the Six Million Dollar Man and the Bionic Woman
|Capt. Sparrow, e.g.
|Carried on, as a trade
|Chapter's partner
|Classic Studebaker whose name means 'forward' in Italian
|Corrida chant
|Designer Vera
|Dolly, for one
|Doth own
|Escape ___
|Fictional C.I.A. unit on 'Alias'
|Gets all ditzy
|Gym bag items
|Hair net
|Have as a channel
|'Mother of all rivers'
|Walter who wrote 'The Hustler' and 'The Color of Money'
|What's up?
|Where Wounded Knee is: Abbr.
|Words missing from the answers to the eight starred clues
|You, to you, or me, to me
|___ Jeeves of P. G. Wodehouse stories
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text: Ahead of tax season, accountants are scrambling to understand the new lawBy Marielle SegarraDecember 21, 2018Joe Raedle/Getty ImagesIt's been a year since Congress passed the $1.5 trillion tax overhaul. And there is still a lot accountants and lawyers don't understand about it. POSTED IN: Economy tax tax bill accountants accounting CPAs ListenreadDownloadDownload