text:
Crochet Flower Spring Wreath
Disclosure: Some of the links below may be affiliate links. Meaning, if you click on them and make a purchase, I make a commission at no cost to you
Snow and Easter should never be said in the same sentence. One might have thought it was an April Fool's joke, but it wasn't. Yesterday, it was our reality. It made me wonder if Spring would actually ever make it or if we'd be stuck in the frozen tundra forever. For "Made it Monday", I was determined to embrace Spring in all it's glory despite the current weather conditions. So today, I want to show you my crochet flower spring wreath!
This whole wreath is pretty inexpensive to make. The wire wreath structure and jute twine came from the Dollar Tree. Then I used yarn I had on hand to create the leaves and flowers. Last Monday I shared with you how I make my yarn daisies. For the rest, I picked a few patterns I found on Pinterest. I'm very pleased with how it came out and intend to make more in the future. Since the materials only cost me $3, plus what I already had on hand, I felt like it was well worth the time!
You'll Need:
Wire Wreath
Jute Twine (About 300 feet)
Various colors of yarn
Glue gun
Size I crochet hook
1. Wrap the wreath with twine.
I started off wrapping the twine firmly (but not too firm) around the wire wreath. I kept the strands as close together as possible. Once I made it all the way around this way, I went around again to fill in gaps where I could see through the strands of the first pass.
2. Crochet flowers.
Besides my yarn daisies, I found these patterns using Pinterest. If you would like to use the same, I have a round-up of all the links for these:
3. Attach flowers to wreath with glue gun.
I first arranged the flowers how I liked them on the wreath. Then, I took a glue gun to fix them to it. Arranging leaves behind the flowers themselves really made the wreath look more realistic and more full. You can decorate with them all the way around, or just a portion of the wreath leaving the rest to be the exposed twine.
4. Attach hanging loop.
You can tie a ribbon around the top for hanging or glue a loop of the twine to the back to hang on a hook.
This project was inexpensive, simple, and so beautiful in the end. I hadn't ever made my own wreath, so I loved marrying my love of crochet to a new project with a new outcome!
What do you think? Will you be trying something like this?
4 Comments
This is lovely, gives all the spring vibes 🙂
I'm definitely making Christmas wreath this year if something!
The other flowers look out of my capabilities (LOL) but I think I could manage the yarn daisies!!! I'm going to try to make a few and see what happens. Another GORGEOUS creation, Kari!
I love this creation Kari, I think it would be lovely for an empty wall and looks minimalistic
I really want to try my hands on DIY's. This is a nice inspiration amongst others I've seen as well. Already have a space where this will fit in nicely. I just need to get some free time


text:
The microfictions of Raúl Brasca
The microfictions of Raúl Brasca
Raúl Brasca (Buenos Aires, 1948) is an author of short stories, microfictions, and essays. In 1989 he founded, with four other writers, the magazine Maniático Textual, which was sold in kiosks and bookstores until 1994. He has compiled fifteen anthologies, eleven of them microfictions, some of them in collaboration with Luis Chitarroni. His fictional and essayistic work has been published in anthologies, magazines, and literary supplements in Argentina, Germany, Brazil, Colombia, Spain, Honduras, England, Italy, Mexico, Peru, Portugal, Serbia, Switzerland, USA and Venezuela. In his country he has received, among others, the Fondo Nacional de las Artes prize from the Municipality of the City of Buenos Aires. The University of Carabobo (Venezuela) conferred on him the Order of Alejo Zuluoga. He has given talks at international congresses, dictated classes, workshops, and seminars at a number of universities in Europe and the US, and served as a jury member for national and international literary prizes. He created the 'Jornadas Feriales de Microficción' which have taken place annually at the Feria del Libro de Buenos Aires since 2009. He also writes for ADN, the cultural supplement of Argentina's La Nación newspaper.
As one of the foremost practitioners of the microficción in Argentina, Brasca is master of a form that creates powerful images with an economy of space. Brasca sent English versions to Ventana Latina of a few of his works, which lie in the creative interstice between poem and short story.
* * *
I drive the car through fog so thick I can't see the road. I drive from an intuition for the road and, inexplicably, I don't go wrong. I haven't seen a pair of headlights for some time and have a feeling that the road exists under the car only because I believe it does.
Now the fog is starting to clear. The headlights illuminate only the undulating grey space in which I travel. First a gull and then a flying fish pass my windscreen. I keep believing in the road. I have to.
I was halfway down the block when I saw myself coming round the corner. I was clearly coming for myself, and my face was accusing me. As always in such situations, I was afraid of myself. And as always, I couldn't pass myself or send myself back. Wretchedly, I handed myself over and pleaded guilty.
for José María Merino
When the steam cleared, he saw a detailed replica in the mirror of a bathroom identical to the one he was in, but not that bathroom. He saw the image of a naked man who looked just like him, but not his image. He saw the horror in the face in the mirror was identical to his own, but it was not his horror. And when he opened his terrified mouth to scream, he saw that the other was missing two incisors that he actually had.
'Ah, gotcha!' he mumbled.
He calmed down after that.
For Luis Chitarroni
It is not the Fates who cut the thread, nor the illness nor the bullet that kills. We die when, by pure chance, we perform the exact action that life decided for us at the moment of our birth: we shed three tears in our left eye while the right sheds five, all in exactly forty seconds; or we catch exactly one hundred hairs with our comb; or we see the steel blade flash two seconds before it sinks into our flesh. Methuselah died after blinking eight times in perfect synchrony with three of his grandchildren.
For Miguel Gomes
I've seen all the forests, deserts and icecaps on Earth. Alone, in the depths of the deepest cave, I've watched flowers die when light falls on them and heard the slow gurgle of invisible liquids, the world's continuous digestion. Neither the monsters of abysmal pits nor the gelatinous, transparent beings of nearby planets are strangers to me. I was in my prime when I ran out of spaces for adventure. Then I discovered boredom, the despair at having seen it all.
So I set sail on the sea of time. I saw Sodom sink amid sulphurous clouds, saw the library of Alexandria ablaze, saw a man release fire while the glaciers demolished the landscape. I had noticed that, almost imperceptibly, things happened increasingly slowly, but initially I paid no attention. First my beard stopped growing, then the asp didn't quite bite Cleopatra. Later I could follow the trajectory of a lightning bolt as if I were watching a plum tree grow at home.
Now I'm trapped in the eye of the whirlwind: in pure time. It's a terrible thing for a spirit like mine, this state where nothing can happen: neither my flight, nor my death.
When their coexistence became untenable, two highly competitive brothers made a tacit but unbreakable agreement: wherever one of them triumphed, that field of success would be prohibited to the other, thus preventing any comparison between the two. The pact turned out to be more of a prison sentence than a release. In the race to appropriate the most gratifying triumphs and the least painful privations, the first to show his intelligence demoted the other to stupidity and donkey work. Consequently, when the dumb but handsome brute won over the ladies, the intellectual had to prefer men. But he made up for it by getting rich, forcing his brother into bad deals and bankruptcy. He wasn't to know that so much poverty would make his rival long for death until it was his, thus snatching away that triumph from him. Ailing now, steeped in years, he bears his body's ruin and clamours for a forbidden death.

subset: commoncrawl


text:
What is a "Winter Mormon?"
a. Mormons that were baptized during the winter
b. Mormons that were baptized for healing during the Winter Quarter years
c. Mormons that left Nauvoo during the winter of 1846
d. Gold seekers that stopped in Salt Lake City and were baptized during the winter of 1850
Yesterday's answer:
B Polygamy
From the life of Abraham Hunsaker: He married Eliza Collings Jan. 3, 1833. They heard the gospel in the vicinity of his birthplace and were both baptized in November, 1840, by David Evans. When the law of celestial marriage was first whispered to him, he opposed it, exclaiming, "It is of the devil," but God knew his heart and in open day a messenger from heaven with three women clothed in white raiment stood before him several feet from the ground and addressed him thus, "you never can receive a full and complete salvation in my kingdom unless your garments are pure and white and you have three counselors like me." Thus he was convinced that the principle was right and he subsequently married five wives (two of whom survived him) and he became the father of fifty children.
Andrew Jensen, LDS Biographical Encyclopedia, (Salt Lake City: Western Epics, 1971), 3: 415.


text:
Let's be honest—jet lag is the WORST part of traveling to different time zones. In fact, jet lag is worse than packing. That says a lot! It's hard to be excited about a vacation when you arrive at your destination groggy and tired.
For anyone who has experienced jet lag, you know what it's like to feel your mental and physical performance diminish, and have poor concentration and low energy. Not how you want to start your vacation, right?
So how do you beat jet lag? Don't worry, I put a list of some of my favorite tips together to help you conquer jet lag for good!
Before Your Flight
Depending on how long you're staying at your destination, some experts suggest to start slowly adjusting your body to a significant time change one week before your flight.
By going to bed and eating meals closer to the local time of your upcoming destination, your body will be more adjusted and you'll be able to ease into your arrival.
This method isn't for everyone. However, for some it might just do the trick!
During Your Flight
So you've made it through security and you're about to board your flight – you did it! The tricky part is over!
Now, during your flight is the most important time to start preparing for the time change. Below is an in-flight checklist to help you prep:
Adjust your clock to the local time of the destination once you board your flight. Eat your meals and try to sleep at your destinations local time. (I can't stress how important it is to do this once you've BOARDED your flight. You don't want to be that person who misses their flight because they had their clock set to the wrong time zone lol…)
Stay hydrated! Jet lag is often brought on by dehydration. I know, you don't want to get up 10 times during your flight to use the restroom, but you'll thank me later! Staying hydrated also means to lay off the caffeine and alcohol. Ok, maybe one in-flight cocktail is fine to ease the stress of traveling. After that, stick to water! It will be your best friend during your long flight.
Consider taking a sleeping pill or melatonin during long flights. This works for some people! Of course, check with your doctor first to make sure this is an option for you. Sleeping on a plane isn't quite like sleeping in your own bed. Sleeping pills, sleeping masks and a neck pillow can help you fall into a restful sleep so you can still get some beauty sleep. One of our favorite remedies is No-Jet-Lag, this homeopathic product is easy to take and will no side effects.
Upon Arrival
Congrats, you made it! Now that you've arrived, it's time to get moving.
Frequent travelers often suggest to do some light exercise or walking once you arrive at your destination. Obviously, if your flight arrives at night then hold off until morning to go on a brisk walk. The physical exertion will help your body transition, and being in the sunlight will help you adjust to local time.
I hope these tips help you beat jet lag on your next flight. Check out BETCHES article for more tips, we might even be featured!!!
What jet lag prevention tips do you swear by?
Let me know, and I'll add them in!
Happy Long-Haul!


text:
Get INSPIRED to get your actor tools in shape!
With this FREE powerful (and empowering) 11-day email-based training series, you'll receive daily action items and quick bursts of inspiration for getting your tools and your mindset READY for success thanks to a combination of audio, video, and written training modules.
Bonnie Gillespie's Self-Management for Actors tools are powerful, and this revolutionary FREE training series is the simplest way to start your journey to the next tier. A proven system that WORKS… and it's only the beginning!
Cut through the overwhelm, take control of your creative career, and find joy along your journey! FREE!
No more excuses! It's time to claim the career you crave!


text:
Episode #14: Jodie Cariss
Jodie Cariss is the founder and Creative Director of Self Space and www.carisscreative.co.uk. She is a Therapist with over 15 years experience in the field and a Tavistock trained executive coach. She has a direct and dynamic approach to her practice and a deeply empathic and approachable manner to the way she works. She is a Sesame trained drama and movement therapist and uses a mixture of tools in her practice.She began her career as a children's presenter working for many years in the industry.
Continuing her academic training some years later as a drama therapist, she teamed her therapeutic work for The Learning Trust Specialist Intervention Team with a private therapeutic practice and corporate consultancy, working with leading global creative and media agencies to develop models that promote social and cultural change. She believes in solving genuine problems with innovative solutions, understanding human behaviors and real life challenges to pave a way forward for change. She is dedicated to growing awareness and raising the profile of mental health and in supporting individuals, groups and companies to be the best version of themselves. She believes her role is to support and illuminate a journey towards reaching full potential personal and collective.
When you picture a typical therapy office, you might imagine something tucked away in a big office building, recognizable only by the small sign on the door. Self Space, founded by Jodie Cariss, is just the opposite. With its storefront location and flexible booking options, the modern therapy practice is like nothing you've encountered before. And that's 100% intentional, because Jodie wants to normalize the idea that it's okay to talk about how we feel with someone who can help. On today's episode, Jodie and I discuss why it's critical to hear outsider perspectives when we're facing challenges, why she thinks a therapy session should be the price of a haircut, and how Self Space is seeking to change the status quo in the mental health service world. (I've also done my best to convince her to open a practice in NYC, but for now, you'll have to visit London to check out Self Space for yourself.)
How her training as an actress sparked her interest in becoming a therapist
Why she doesn't like the idea that you have to feel unwell to seek mental health
How being able to book a session online normalizes the idea of talking to a therapist
The flexibility built into Self Space's model, and how it removes barriers to access
How having a storefront changes the whole dynamic of the therapy experience
The trends she has noticed among clients, and how they relate to conventional therapy
How Self Space partners with companies to support employees in a confidential way
Her thoughts on the stigma around mental health, and why it makes it hard to get help
Why an outsider's perspective is sometimes required to bring about real change
The cultural shift that needs to happen so that it's NOT taboo to talk about your feelings
Her practical advice for people who are curious about therapy, but reluctant to dive in


text:
Finer S G™ 1300 / 1800Consistent, reproducible fineness-to-throughput characteristic.
The high-precision, reproducible intake gap is a precondition for achieving a high end product quality. Thanks to the floating rolls and the neat removal of the product film by scraping it off the fifth roll, the product is optimally transferred. This ensures a maximum throughput rate as high as 4.2 t/h for a given product fineness.
Food- and personal safety on highest level.
Foodsafety and personal safety are a priority for this five roll refiner. The comprehensive hygiene concept for an easy cleanability increases the efficiency of the machine, without compromises on personal safety. On demand, the complete process zone is available in stainless steel.
Ideal machine characteristics for high production efficiency.
The roller speeds and roller speed differentials, which are matched to the specific production process and masses, and the useful roll length enable the Finer S G™ to be applied both for flexible small production runs and for monolines with high throughput capacities. Thanks to controlled roll cooling, this is also possible with temperature-sensitive products.
Reliable operation and low maintenance thanks to high-grade components.
- Bühler centrifugally cast rolls have an extremely hard surface and are therefore very wear-resistant. Thanks to their uniformly distributed hardness, the rolls can be reground several times.
- The use of high-grade, tested machine components and performance monitoring guarantee high operating reliability.
- Further improved access to all areas allows efficient maintenance and cleaning of the machine.


text:
Vacuum Shopping for Today's Carpets
According to Consumer Reports Magazine, ultra-soft and thick carpets have become more popular recently, and sales have grown to more than 10 percent of the market in the past five years. So in reaction to this trend, carpet makers have begun testing and recommending vacuums that can handle the needs of their super thick (often hard to clean) carpeting. (Examples of plush carpet include Caress by Shaw and Karastan by Mohawk.)
In fact, vacuum manufacturers have begun designing models specifically for "ultra-soft" carpeting. Which is good news to consumers, if in fact these machines can perform as their claims say they can. Too often consumers purchase the perfect vacuum only to learn within a couple of months that the suction is inadequate and poor or it decreases continually over time, despite the cleaning of the bags and filter systems.
Consumer reports has done some product testing for those of seeking a better machine to clean our homes and they found that Kenmore vacuums designed for thick carpets work very well. The magazine sites the Kenmore Elite Crossover Ultra 10335 upright, $300, and the Kenmore Elite 700 Series 81714 canister, $400 as cleaning well and moving easily (some other models can get bogged down by the thickness of a carpet, making it hard to move and maneuver) on thick carpeting.
Off their list of recommendations were the Maytag M500, $300, the Fuller Brush Mighty Maid FBMM-PWCF, $400, and the Oreck Magnesium, $500. These were not recommend because they were not top performers overall.
The other issue with vacuums is how long they last. Didn't your mother's vacuum last forever? But today, grab a cheaper model off the shelf and you will find yourself needing to purchase a new one far sooner than you should have to.
Dyson has excellent customer reviews. Many of which claim to have their vacuum for more than 8 years with it still going strong and cleaning well.
But, the lifespan of any vacuum cleaner will depend on the quality of the brand, if you clean out the bags and filters, and provide proper maintenance to it. Some brands boast they will last up to 20-years or longer, although some studies of vacuum cleaners estimate a lifespan for many is about three years. According to Great Vacs, Kirby brand vacuums can last for 25 years, but there is disputed evidence on these figures.
One of the influential factors for vacuum longevity, along with maintenance, is if you have pets. Pet hair contributes additional hair, which will burn out the motor of a vacuum faster than if you were living pet-free. But, if you are looking for performance and durability, there are several other things you should take into account when looking for in your next vacuum.
The best advice is shop around within your price range and find the best quality construction you can afford. Seek metal over plastic parts, even if it means your vacuum is heavier than some other models.
Share This Post


text:
- 2 Tbsp. Pure Maple syrup
- 1 tsp. Dijon mustard (Maille preferred)
- 2 Tbsp. Apple Cider vinegar
- ½ cup olive oil
- 1 tsp. Lemon juice (fresh preferred)
- 1 tsp. Chopped fresh thyme (dried also does the trick)
- 1 minced clove garlic (or jarred)
- 2 Tbsp. Minced shallot (or green onion bulb)
Combine all ingredients and serve immediately over your favourite salad.
Click here for a printable pdf version of this recipe.
Festive Holiday Salad
- Small container mixed greens
- Small package of goat cheese (plain or fig)
- 100 g chopped pecans
- 1 pint fresh raspberries
- Maple Dijon Dressing (recipe above)
Combine all ingredients, toss, and serve. This makes a large salad that will serve 4-6 people.


text:
Distinguished Gentleman's Ride Turns Heads in NYC
At 11:45 a.m. on an otherwise still Sunday morning, an abnormally large entourage of motorcycles appeared out of nowhere on Central Park West. Thousands of bikes, smelling of gasoline, roared down the avenue, bearing dapper riders in suits—both men and women. Police barricaded the surrounding roads; cars were diverted, passers-by stopped.
The motorbike ceremony slowed down the road and began parking in rows stretching as far as the eye could see below the American Museum of Natural History, turning heads on the street. Riders and their dates hopped off and stood around fixing windswept hair, waiting for something.
One in a lime-green tweed suit and colorful helmet, having parked right in front of me, mocked my dumbfounded expression playfully.
"What is it?" he said in a thick foreign accent.
"What is it?" I repeated.
He told me that it was the annual Distinguished Gentleman's Ride—a fundraiser to support prostate cancer and men's mental health; nearly 700 cities were participating.
Maira from Queens, one of the participants, said, "The whole thing takes about 40 minutes; we're going through most of the boroughs. We started off by the South Street Seaport; we went through Queens, we're going to do a little bit of Brooklyn."
DGR's website states the event's fashionable theme was inspired by classic TV star Don Draper from the show "Mad Men," played by Jon Hamm. The objective is to "bring together the classic and vintage styled motorcycle community" around the world.
Riders have to register each year to participate. If they don't have a suitable vehicle, they can still sponsor a rider or donate.
The crowd gathered on the steps of the museum for a massive group photo, and then they were slowly off as ceremoniously as they had arrived.
In partnership with the Movember Foundation—the world's largest men's health organization—this event raised $6 million last week.
According to previous investment reports, nearly $2 million in 2016 and 2017 funds had been allocated to various biomedical research, survivorship and suicide prevention projects in the United States alone.
The DGR website offers links to various resources for suicide prevention. Projects they have funded include the Making Connections Program—a 5-year, $9.5 million national initiative that aims to build prevention and health equity into federal and state policies.


text:
Here at extreme diet pills.com we aim to to bring you the latest information on safe weight loss products and developments.
Safe Extreme Wieght Loss Find out whats hot and whats not.
Discover the importance of having a well thought out diet plan that will ultimately lead you to your successful safe weight loss aspirations.
Have you ever considered appetite suppressants to control hunger the biggest reason for failing to lose weight is hunger.
Perhaps you may be looking at the beneficial affects fat burners that reduce the amount of fats your body retains and speeds up you metabolism to burn off even more of thoughts troublesome unwanted body fats.
you might want to take a good look at this extreme safe wieght loss pill that is the fastest acting die pill and it will help you stick to your chosen safe wieght loss pills regime .


text:
Mobile ERP Software SolutionsMobility services have a huge impact on the way business conduct their day-to-day activities.
Mobility and real-time interaction plays a vital role in the software space. In a mobile ERP setup, end-users have the facility of using their ERP system via mobile devices such as smartphones and tablets, instead of a fixed desktop location. Mobile ERPs enhance mobility within the framework of an organization, thus it maximizes the business productivity to higher levels.
In the mobile ERP software environment, end-users can generate, access and share the business data easily. This ensures the real-time interaction is available on fingertips. Mobile ERP applications are capable of streamlining communications for enhanced work collaboration and greater productivity.


text:
thyssenkrupp Industrial Solutions Oil & Gas
Getting the best from people
The vibrant working atmosphere of our offices fuels enthusiasm for delivering our services, and we are committed to ongoing training and development.
We support all the development required by the engineering and management institutions to which our people belong, and encourage staff in academic study.
This helps our people further their personal development, and maintains the thyssenkrupp Industrial Solutions Oil & Gas leading position in rapidly-advancing technology.
If you would like to work in a fast paced environment that offers the chance for study, continual development, travel and opportunity, then please take a look at some of our current vacancies.


text: On Sale! Jellycat Bashful Bunny Large Beige Plush Toy $59.00 $54.95 $48.68 Bashful Beige Bunny is a popular fellow with scrummy-soft Jellycat fur and lovely long flopsy ears. With just one cuddle, you'll never want to let go. Irresistibly cute and a perfect gift for boys or girls. Everyone treasures this little beige... Add to Cart


text:
Earlier this week I delivered a webinar to Engineering New Zealand (NZ) member regarding Client Hierarchy and how understanding your client cohorts enables organisations to design their business development or growth strategies more effectively.
One of the questions I get asked most often (after the 'how do I pronounce your name, oh that is unusual, where is that from?') is how do you find out so much about people so quickly? And I cheerfully tell them the secret is one question, 'Tell me your story'.
Over the past twelve months I have been working with Blair Enns to establish a new consulting service, Win Without Pitching (WWP) - Professional Services. Our partnership brings together the proven WWP value creation and growth approach and First Follower's expertise in successfully growing professional services.
We truly believe this unique approach will transform those working in consultative environments, including architectural* and design firms, legal services, consulting engineers and accountants.
Have you ever sat down in front of your computer, with an electronic request for proposal (RFP) or template open on your monitor? The cursor blinking as you try to draft a methodology in 250 words.
Well it is official!
I am thrilled to finally announce the launch of Win Without Pitching - Professional Services together with the amazing Blair Enns, Founder and CEO of WWP and author of Pricing Creativity: A Guide to Profit Beyond the Billable Hour.
This is a collaboration Blair and I have been working on for over twelve months. Let me tell you a little bit about its gestation.
I've never been great at mindfulness or meditating, and yoga well let's just say I'm the person at the back of the room looking decidedly like a downward dog but with far less grace. Namaste indeed!
Part of the issue is having a way too busy brain which is always making lists, analysing what has gone on that day, what could have been done better, following up on the actions from last week, scooting ahead as I calculate what needs to be done for my clients (there are apparently 80 odd working days left this year everyone…!) and and and…you get the picture.
Earlier this week I was reading my eldest daughter's electronic journal (Seesaw) which enables you to view photos and updates of the work being undertaken throughout the term. The update related to a story plan Olivia was developing, and her teacher had commented 'pebble, rock, boulder'.
This month is all about hard hats, construction, consent, compliance and seismic engineering. Which may seem somewhat of a juxtaposition to the perception of the work undertaken by First Follower.
But let me take you back twenty odd years. I was the Communications Manager on the Hallam Bypass freeway project (which to this day I can recite the spiel 'this $165M, 7.5km freeway project will reduce congestion and improve access through the growth corridor of Casey, the fastest growing municipality in Australia. Removing 10 sets of traffic light…' oh boy!
It is a well know fact I love champagne.*
But is it nature or nurture that has bought about this love?
It could be the by-product of my food and wine loving family (if you'd want to know more about the amazing work my brother does for Singapore Airlines, follow him here), and is therefore nature?
Here at First Follower we design and execute growth strategies for professional services firms.
Growth can mean different things to different organisations. The first thing we do is ask about the desired future state, and how the firm is looking to grow. For example, is the organisation looking to:
That was the question my youngest daughter asked me last week…
The conversation, like all good conversations with your children, occurred in the car on the way down Glenferrie Road to run some Monday afternoon errands.
Over the past three weeks I have been living on campus at Harvard Business School (HBS), undertaking the first unit of the Owner President Management (OPM) program. It is a three-year program, with participants coming from all over the world. The faculty is phenomenal. It is absolutely like drinking from a fire hose.
Last week I travelled to the US, firstly to Nashville to meet the amazing David C. Baker (more on that another time) and then onwards to Austin, Texas to join the inspirational Win Without Pitching Team. We had a phenomenal afternoon filming with Chad Owen from Stimulus followed by a private tour and dinner at the University of Texas Longhorns stadium, courtesy of the lovely Jeff Hahn.
I'm a great believer in learning from other industries, which is why over the past twelve months I have become slightly obsessed with the quiet revolution that has taken place in the creative services and design industries over the better part of the last decade, led by Blair Enns.
It is true. I did get fired…as a client. Or as they very politely put it "we are retiring ourselves from your account". After three months. Ouch.
I'm not going to lie, it caused significant issues in my business. The projects they were working on were on a critical timeline. Their decision to cease work resulted in stressful days and sleepless nights to get things back on track. Then I started to reflect. Was I a bad client?
Most of us can name several companies considered to be successful disruptors. But what happens when we apply these principles to our own personal ecosystem? We can easily overlook our own disruptive strengths instead of striking out on a new path that could significantly increase our chances of success both financially and emotionally.
I recently had the opportunity to return to Hong Kong, the city I first discovered 20 years ago as a scholarship student. It was 1997 and the end of an era with the handover from the British to the Chinese taking place on 30 June.
I flew Ansett. We landed at Kai Tak, on the infamous airport runway where you could see the washing on the lines of the high rises lining the approach.
Following on from International Women's Day, I have been inspired and challenged by those internal and external to my organisation to think about practical actions that can be taken to achieve gender parity in the workplace. I note here that diversity is not limited to gender, but also sexuality, nationality, age and disability. My reflections apply to all of the categories.
Today I have had the opportunity to spend the day with the KPMG National Infrastructure, Government and Healthcare leadership team. We stopped to think about the question 'what does government look like in 2020?'.


text:
Situ Qiao
Situ Qiaoxing
|16 February 1958
|Known for
|Oil painting, graphic art
Notable work
|Put Down Your Whip
|Lingnan School
|Feng Yimei (冯伊湄)
Situ Qiao (Chinese: 司徒乔; 1902 – 16 February 1958) was a Chinese oil painter and graphic artist. An important member of the Lingnan School of art, he was also known for his friendship with the influential writer Lu Xun. His most famous work is the 1940 painting Put Down Your Whip.[1][2]
Situ Qiao was born to a poor family in Chikan, Kaiping, Guangdong province in 1902. His name at birth was Situ Qiaoxing (司徒乔兴). His father was an amateur painter.[3]
In 1924 Situ entered the School of Theology of Yenching University in Beijing, but was more interested in painting. In 1926 he held his first personal exhibition, which was noticed by Lu Xun, who purchased his drawing Five Policemen and an O. When the Northern Expedition war erupted in 1927, he moved to Wuhan to work for the Soviet advisor Mikhail Borodin.[4]
By 1928 he had moved to Shanghai and set up a studio. He held an exhibition in March 1928, which was again noticed by Lu Xun, who wrote about his conversation with Situ Qiao. In winter 1928 Situ left for France to study painting, and exhibited at the Paris Salon the following year.[4]
In 1930 Situ Qiao left France to study in New York City.[1] He supported his studies by selling his own paintings. However, his activity was considered working, which was illegal for a holder of a student visa, and he was arrested.[3] While being held in a prison for immigrants, he painted a painting entitled Painting the Statue of Liberty from the Most Unfree Place.[3]
After being deported back to China, in 1931 he taught at Lingnan University in Guangzhou. In 1934 he went to Beijing, working as an art editor for Ta Kung Pao, and moved to Shanghai in 1936. Situ Qiao was present when Lu Xun died on 19 October 1936 in Shanghai, and drew the famous final sketches of the writer.[4]
He soon moved to Nanking, then capital of China. When the invading Japanese army attacked Nanking in 1937, all his personal collection of paintings were destroyed.[4]
Fleeing from the Sino-Japanese War, Situ Qiao left China for Rangoon, Burma, and later to Singapore.[4] In 1940 he saw actor Jin Shan and actress Wang Ying's performance of Chen Liting's patriotic play Put Down Your Whip. He invited Jin Shan and Wang Ying to his studio, and painted his eponymous oil painting,[5] which has become his most famous work.[1]
When Singapore also fell to the Japanese in 1941, Situ Qiao escaped to the wartime Chinese capital Chungking.[6] After WWII, Situ Qiao went to New York City with his wife Feng Yimei in September 1946 to seek treatment for his lung disease. They returned to Beijing in 1950 after the founding of the People's Republic of China.[6] He taught at the China Central Academy of Fine Arts[4] and helped to set up the Museum of the Chinese Revolution.[1][6]
On 16 February 1958 Situ Qiao died in his studio in Beijing.[3][6] He donated all his paintings to the state, which are now in the collections of various museums in Beijing, Shanghai, Guangzhou, and his hometown Kaiping.[6] A compilation of his paintings was published by Beijing People's Art Publishing House.[6]
|Wikimedia Commons has media related to Situ Qiao.
- ^ a b c d Sullivan, Michael (2006). Modern Chinese Artists: A Biographical Dictionary. University of California Press. p. 140. ISBN 9780520244498.
- ^ "Commemorate 110th Anniversary of Situ Qiao". Government of Guangzhou. Retrieved 2013-10-20.
- ^ a b c d 司徒乔 《古琴图》 [Situ Qiao's Guqin] (in Chinese). Xinhua. Archived from the original on 15 November 2013. Retrieved 20 October 2013. Cite uses deprecated parameter
- ^ a b c d e f 司徒乔 [Situ Qiao] (in Chinese). China Central Academy of Fine Arts. Retrieved 20 October 2013.
- ^ 油画《放下你的鞭子》 [Oil Painting Put Down Your Whip] (in Chinese). Xinhua. 17 June 2005. Archived from the original on 14 November 2013. Retrieved 21 October 2013. Cite uses deprecated parameter
- ^ a b c d e f 司徒乔 [Situ Qiao] (in Chinese). Chinese Culture and Art Network. 20 May 2011. Retrieved 3 November 2013.
Further reading
- Appreciating Situ Qiao's Paintings: Lu Xun's reflection on his conversation with Situ Qiao (1928). (in Chinese)
- The Situ Qiao I Knew: writer Shen Congwen's memoir of Situ Qiao (1980). (in Chinese)
- Situ Qiao: an Unfinished Painting: a biography by the painter's wife Feng Yimei, first published in Hong Kong in 1976. (in Chinese)


text:
Browse options
- browse new scammers
- browse all scammers
- browse scammers by name
- browse scammers by city
- browse scammers by country
- browse scammers by web site
- scammers with fake docs
- scammers with media
- stolen celebrities photos
Search options
- database search
- search scammers by age
- letters search
- who write me
- photos search
- check hidden photos info
- search fake docs by number
Virtual assistant
Report scammers
Helpful information
- scam scenarios
- warning signs
- resources for reporting
- all scam reports
- all female scammers
- all scam emails sets
- all photos used by scammers
- all fake documents
Social tools
Scam Letter(s) from Elena Sergeeva to Tim (USA)
Letter 1
Hi my lovely! It is pleasant for me to read your words. I send you my foto. I hope it is pleasant to you. I am glad to learn, that you are ready to accept me in the house. Thank, that you trust me, my dear.
Tim, I want to tell to you that in the past the message I wanted to check, as far as seriously you treat to me . Forgive for this lovely, but you should understand me. For me was it is very important to know, whether you will agree to accept me in the the house whether or not.
If you insisted, that we met somewhere in hotel or in the other place, - that to me should to think, what not you want to play host to me because you have the wife or or you not it is serious enough to me, and you want to meet me for an entertainment. It check - was small precaution. I heard, that many people get acquainted to have only sex with the new person, though in the structure inform, that have serious intentions. Now I am sure in you Tim, and I am glad, that you appeared really that the person whom I want to meet! Loved, I with big pleasure, I shall carry out at you some days. These days I shall reach in agency of travel and to receive the information for that, to reach to you the next month. I shall inform you for detail about it in the
following e-mail. I wait your messages. I of you adore mine dear Tim!
My kisses!!! Yours Milana.
Created: 2006-11-20 Last updated: 2006-11-20 Views: 200


text:
Your feedback is important to us!
We invite all our readers to share with us their views and comments about this article.
Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.
Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)
The World Summit on Sustainable Development in Johannesburg (Rio+10) identified the corporate sector as a main actor in poverty reduction in developing countries.Both the private and public sectors have long been guilty of a linear approach toward development and economic growth. "Partnerships" between government, civil society and business were suggested as one means of addressing this vital issue. PPPs combine social responsibility and public interest of the government with the competence, management and financial resources of the private sector.Promoting cooperation between civil society and private and public sectors is vital for sustainable development.However, the cooperation in many developing countries is still limited and the actors' capability to plan and implement a partnership with the private sector is often weak.
Food waste: The world's dirty secret
The destruction
of our collective
cultural identity
How to ensure effective learning


text:
Cult Conversations: An Interview with David Church (Part One)/
Interview with David Church (Part One)
In the following interview, published in two-parts, David Church and I discuss exploitation/ grindhouse cinema, the state of fan studies and more besides. David first came to my attention with the publication of Grindhouse Nostalgia: Memory, Home Video and Exploitation Film, a truly insightful and valuable study that Richard Nowell, author of Blood Money: A History of the First Teen Slasher Cycle, "ranks among the most important contributions to a recent upsurge in historical studies of lowbrow Anglophone cinemas" and "destined to become a seminal work in the field." It was an honour exchanging ideas and issues with David, and I hope readers enjoy this lively, and perhaps contentious, interview as the first part of the 'Cult Conversations' series.
In your first book, Grindhouse Nostalgia, you examine the Grindhouse phenomenon that was a key feature of fringe cinema in the 1960s through to the 1980s. How would you explain the characteristics of grindhouse cinema for someone who has little knowledge about the historical context?
"Grindhouse cinema" has really become a synonym for exploitation cinema—that is, low-budget, luridly advertised genre films capitalizing on some sort of timely or controversial subject matter—that linked these films in the popular imagination to what were called "grindhouse theaters." Grind houses were another name for movie theaters, typically located in downscale inner-city areas with low(er) rents and high foot traffic, which had fallen onto economic hard times and switched to a lower-than-average admission price for continuous shows of double- or triple-feature programs. Although there is a common misconception that the name comes from the "bump-and-grind" style of burlesque dancing, it actually comes from "grind policy," a trade term referring to the repeating of such programs of films or other popular entertainments (sometimes for up to 22-24 hours per day) for a flat fee that would typically ratchet up over the course of the day, thus stressing quantity of viewers over quality of clientele. Actual grind houses often showed a wide variety of films, including many subsequent-run Hollywood films that were either just about to drop out of circulation or were sold off to independent distributors for revival on the states' rights market. Meanwhile, the downscale but demographically diverse environs of these theaters gradually created reciprocal associations of disrepute between these cut-rate exhibition spaces, their transient patrons, and the movies that played there. By the 1960s, "grindhouse film" had become a way of describing a low-budget film that seemed destined only for play at such theaters, much as the term "drive-in movie" served a similar purpose—despite the fact that drive-ins also played far more sub-run Hollywood films that is often assumed today.
In the book, I explore the history of both drive-in and grindhouse theaters in relation to their more recent adoption by cult/exploitation movie fans as privileged sites of cultural memory. In particular, I look at how the increased availability of exploitation films during the DVD era and beyond—including in newly restored and remediated forms—has engendered a greater subcultural nostalgia for grindhouse and drive-in theaters as a means of compensating for the fact that the films themselves are no longer difficult to acquire. Moreover, I look at how the idea of the "grindhouse" has become as sort of transmedia concept associated with the surface aesthetic of badly worn celluloid and the abbreviated thrills delivered by trailers, and how this revaluation of physical degradation relates to the symbolic value of the grindhouse theater as an imagined site for not only justifying fans' more earnest revaluation of culturally denigrated movies but also justifying the mid-2000s production cycle of what I call "retrosploitation" films and media aping the look and feel of antiquated exploitation cinema. If there is a big takeaway for scholars of fandom, it would be an increased attention to the diverse uses of nostalgia and other forms of cultural memory in motivating fan practices, and how the materiality of "old media" opens onto a wider variety of fandoms than are typically figured into fan studies' predominant emphasis on new media and the rather limited umbrella of texts that tends to be explored under the rubric of "Fandom."
What facilitated your interest in the topic? Was it based in your own fandom initially? Or was it sparked by academic interest first and foremost?
I always loved watching horror and exploitation movies while growing up, and some of my earliest experiences with them were in remediated forms—such as old VHS tapes and Joe Bob Briggs's MonsterVision TV show. By the time I was moving from undergraduate to graduate studies, VHS tape trading was quickly becoming a thing of the past, with DVD and online access to such films becoming far more common. I was also very much inspired by the work of Jeffrey Sconce and Joan Hawkins on taste cultures and the potential areas of overlap between very high and very low culture—although I have been rather interested in how some fans approach exploitation films with far more sincerity than a merely ironic or "paracinematic" approach, especially now that easy ironic readings have become such a mainstreamed reading mode ("old" = "bad" = "funny") among younger folks with little interest to acquire enough historical perspective to appreciate such films on their own terms. So the ways that a sense of historicity—whether in accurate documentation or in the distorted form of nostalgia—becomes encoded into the remediated editions of such films is a topic that my most recent books have engaged.
With Grindhouse Nostalgia in particular, I was most intrigued by how a bygone exhibition context like the "grind house" became such a trendy concept for a few years, brought back into wider cultural circulation by the eponymous 2007 Tarantino/Rodriguez anthology film. I saw it at a packed opening-weekend screening in San Francisco, where the audience was very appreciative and it was a lot of fun—though I constantly wondered what kinds of overlapping reading strategies might be in practice there. A few weeks later, I was at a six-screen drive-in theatre in San Jose, where double features of the latest multiplex films were playing—and while I was watching some disappointingly Hollywood-style remake of a 1970s horror film, I kept being distracted by watching Grindhouse playing on an adjacent screen reflected in my rear-view mirror. There's probably a good metaphor in there somewhere—but suffice it to say, simultaneously watching a very contemporary Hollywood horror film that doesn't look like it belongs in a drive-in vs. a film deliberately made to look like a decayed old drive-in movie in this same setting got me thinking about how cultural memories of specific exhibition spaces can so vividly color our experience of different genre films and how we might value them based on our own ability to imaginatively project ourselves into past screening contexts that we never personally lived through. Most of my deepest experiences with fandom actually come from various music subcultures, especially around bands and subgenres three or four decades old, so it's probably no surprise that the negotiation of pastness and generational tension is something that animates much of my work in this area.
Your concept of 'retrosploitation' sounds interesting, especially given the wave of films that seem to 'borrow' from so-called low cultural forms, such as grind house and exploitation. You mention Tarantino and Rodriguez's Grindhouse as perhaps sparking a contemporary cycle or revival of sorts. What other films or media objects do you see as part of this cycle? And why do you believe this is occurring in an era of digital effects and more widely, and cheaply, available production tools? Does it seem odd to you that films that have been viewed historically as 'cheap and nasty,' or in other pejorative terms, to become part of mainstream media?
There were some examples of these retrosploitation films, trailers, posters, music videos, TV shows, and other forms of media released before Grindhouse, but that film's high profile and wide theatrical release definitely accelerated a brief cycle that peaked around 2009-2012 and has since largely abated (though not vanished altogether). Grindhouse itself came at a time when shooting and releasing films on celluloid was about to be supplanted by digital video (DV) technologies in cinematography and exhibition. Rodriguez and Tarantino have admitted that their film was a nostalgic reaction in that regard, as well as the fact that so many exploitation films were being re-released in restored form on DVD and lacked the auratic quality of a decayed film print. One other aspect worth noting, though, is how 1960s-70s exploitation films became so ripe for reinterpretation because they were often made on very low budgets by independent filmmakers, much as the mid-2000s coincided with a new generation of filmmaking with even lower barriers to entry, in the form of YouTube and prosumer-grade DV. Retrosploitation films seemed ideal for recapturing a similar spirit of scrappy, rough-edged DIY production through more contemporary means—but in more of a tongue-in-cheek tone.
Of course, some creators did more with this than others. It became quite easy to see which ones were simply the Tarantino fanboys jumping on the bandwagon, using a digitally created veneer of aged celluloid as an excuse for lazy shock value or a cover for subpar creative skills. The connotations of 1970s grindhouse films as "cheap" and "schlocky" can be revived here to condescendingly internalize a self-parodic acknowledgment that these retro-styled films and other media are just a bit of mindless fun or not worthy of being treated with the respect of other media. Indeed, many examples of retrosploitation media work far better as paratexts (e.g., trailers, posters, etc.) than as feature-length films in their own right—which could also be said of many period-era exploitation films as well. But some of the most interesting examples of retrosploitation media actually do more with the concept by putting different temporalities into dialogue via pastiche. Whereas some creators simply used the nostalgic aesthetic as an excuse for contemporary viewers to wallow in "nasty," politically unreconstructed attitudes, more thoughtful creators set up a productive friction between political past and present by asking us to imagine ourselves as viewers occupying two historical periods at once—and therefore able to assess what has or has not socially changed between the 1960s-70s and today. It's this ability for different nostalgias to overlap and conflict with one another within the same text (and not merely be used to privilege a more conservative past) that makes nostalgia, as an affectively charged mode of historically informed imagination, such an important thread stretching across most of my recent books and articles.
Can you add a little to the above about what media objects you have noticed coming in the retrosploitation cycle? I'm sure readers would love to hear more! Also, if the cycle has fizzed out, how would you explain Blood Drive? And what about films such as Machete etc. coming as they do out of the Grindhouse project of Rodriguez and Tarantino? Eli Roth's The Green Inferno (2013)? Hasn't the exploitation aesthetic become part and parcel of mainstream culture? Or do you see new directors and creators that were inspired by exploitation cinema carrying the torch for a gentrification of grindhouse at least?
Some of these later entries in the cycle were either held up in distribution limbo (e.g., The Green Inferno [released in 2015]) or didn't last very long (the one-season TV series Blood Drive [2017]), which demonstrates how the gimmick of a retro-styled aesthetic had largely played itself out by then and had to evolve into something else. A film like The Green Inferno, for instance, seems like little more than Roth's cynical attempt to "troll the libs" by depicting some college-age do-gooder types getting eaten by the same 'Scary Brown People' they go to save from Amazonian deforestation (compare this to a film like Get Out [2017], which calls out white liberalism far more insightfully). But the film's xenophobic politics, consistent as they are with many of Roth's other films, were honestly less offensive to me than the film's sheer laziness in its attempts to outrage. I can more easily forgive a film with ideologically reprehensible content if it's at least doing something interesting or innovative on another level, but The Green Inferno didn't even have the courage to try to "out-gore" its Italian referents, so to me it just fell flat as an over-hyped and empty provocation.
On the political flip side, Rodriguez's Machete films (2010, 2013) were fun in their blaxploitation-style glorification of Mexican-American culture, but I also felt they became too cartoonish and lost a lot of their edge when stretched out to feature length (a good example of how I prefer the original Machete trailer to the fully realized film). Among the more interesting later examples in the cycle, the comic book Bitch Planet (2014-17) is a smart reworking of the 1970s-80s women-in-prison exploitation cycle into a feminist sci-fi parable (somewhat akin to Stephanie Rothman's 1973 film Terminal Island)—although a far more mainstream show like Orange is the New Black (2013- ) certainly has some influence from the same type of exploitation films. I'd also point to low-budget films like Spring Breakers (2012) or The Purge franchise (2013- ) as great examples of the exploitation tradition—including their capacity to incorporate politically subversive messages about into sensationalistic genre material with mainstream crossover appeal—carrying on beyond where the retrosploitation gimmick ran out of gas as an idea that gentrified and genrified the idea of the "grind house" into a retro aesthetic choice that vastly oversimplifies how fascinating those historical exhibition sites actually were.
Q: Do you see your most recent book, Disposable Passions: Vintage Pornography and the Material Legacies of Adult Cinema, as continuing the work you began in Grindhouse Nostalgia? What did you discover about vintage pornography through your research? And why do you think this kind of retroactive history is valuable for the academy?
Porn fandom is a good example of a major media industry whose fans behave very much like other media fans in many regards, but whose objects of fandom fall quite far outside the purview of "Fandom" as reinforced by the field of fan studies. (Compare, for instance, San Diego Comic-Con and the AVN Adult Entertainment Expo in Las Vegas as the premier annual promotional venues for their respective products, fostering very similar dynamics between fan-attendees and producers/personnel.) At the same time, though, many of the exploitation and "grindhouse" movie fans explored in my previous book will readily admit (softcore) sexploitation films to their retrospectively constructed canon but arbitrarily cordon off hardcore adult films as outside the bounds of their fandom, despite the fact that hardcore pornography made up the bulk of grindhouse programming by the late 1970s and early 1980s. Whereas Grindhouse Nostalgia focuses in large part on the class and gender inequalities that fans reinforce through their selective remembrance of drive-ins, grind houses, and the films that supposedly played at them, Disposable Passions looks at how other fans have taken the reins in sincerely reappraising adult films that have otherwise been neglected by most formal archives and film preservationists. Here we have an entire genre whose history runs parallel to the history of cinema itself, and whose historical diversity indexes an important variety of changing attitudes about sexuality—but which has been very poorly preserved on both aesthetic and political grounds. What this book does is track the history of pornographic cinema through the various archive-dependent figures (including fans, historians, archivists, preservationists, and entrepreneurs) whose desires animate which material traces are left behind and on what terms they are revalued.
Overall, the book focuses on how the history of pornographic cinema has been funnelled into the catch-all category of "vintage" porn, which treats historicity itself as a source of eroticism. The project came partly out of questions of what it means to eroticize a sense of pastness (much as the pastness of celluloid decay was crucial to the retrospective construction of "grindhouse-ness") and how even academic scholarship is not immune to the erotics of the archive as ephemeral texts come into and out of visibility like a sort of archival "striptease." Much of my research was conducted at the Kinsey Institute, where I also discovered a 35mm print of a long-lost sexploitation film (The Orgy at Lil's Place [1963]) that has since been preserved and released on Blu-ray, so much of the book asks how historiography and affect intersect with each other over which films and filmmakers get written into history or forgotten to time. Whereas Grindhouse Nostalgia explores how home video formats reframe bygone exhibition contexts, Disposable Passions explores how the ethical issues raised by the sometimes-problematic sexual attitudes within adult films affects the ethics of film preservation performed by different generations of home video distributors. The fact that there is such a broad swath of film history yet to be written—and the labor of multiple generations of sex workers yet to be fully valued—is all the more reason to pick up the baton from adult film fans and begin filling in these gaps.
In your essay on horror films between 1991-2006 for Offscreen, you touch upon "the minor development in horror during the 1990s," that is, the so-called 'race horror films,' such as Candyman, The People Under the Stairs, Tales from the Hood and Bones, "which each took racial inequality as their basis, often using African-American characters as protagonists, and some directly targeted (however exploitatively, recalling the blaxploitation horror films of the 1970s) to African-American youth audiences through links to rap culture." Do you think that the recent Oscar and box office success of Jordan Peele's Get Out can be linked retroactively to that minor development? What are your thoughts regarding race, cult media and the horror genre in the contemporary moment? And what of scholars working in cogent fields? Is it predominantly white men? Or is there a broader spread of gender and ethnicities studying cult media and horror cinema in the academy?
In retrospect, I think some of those 1990s "race horror" films were unduly written off by a lot of critics and scholars because the films seemed too closely aligned with the supposed excesses of the hip-hop subculture, whereas other films like Candyman seemed more accessible because they still had white protagonists and didn't rely so much subcultural tastes for their appeal. Although an all-around better film, I also suspect Get Out will stand the test of time because it seems more resonant with the renewed activism of the Black Lives Matter era. Of course, one thing that makes Get Out so interesting is the question of who the film is really made for—and whether the bourgeois white critics, scholars, and viewers who so effusively praise the film's satire are also implicated in Peele's critique of white liberal complicity with systemic racism. Since the film is so clearly framed to present its Black male director/protagonist's perspective on the horrors of being Black in America, it seems to at least have that much in common with the "hood" films, but is more attuned to the spatial politics of how race operates beyond non-white enclaves. When you compare the upcoming Peele-produced Lovecraft Country HBO series with the recent uproar among Lovecraft apologists over the bust given out at the World Fantasy Awards, it's a good moment for reassessing what's so horrific about the deeper roots of racism.
Women and queer-identified people continue to make up a sizable demographic of horror and adult film scholars, but I think white scholars still tend to predominate the ranks—though that might be more broadly reflective of academia in general. When it comes to the more nebulous realm of cult film scholarship, Anglo-American scholars are perhaps more likely to exoticize as "cult" certain films that scholars from other ethnic backgrounds might be better able to contextualize as part of their own national-cultural tradition—but I also don't want to make too broad of an overgeneralization here.
What are your thoughts on exploitation cinema as 'trash,' or, to use Jeffrey Sconce's label, 'paracinema' as a way to describe 'lurid' and 'distasteful' films that lie outside the mainstream? It seems as if the current panoply of lavish blu-ray releases of cult objects—with all their extra features activating the cult fan as connoisseur, as various scholars have argued (Chuck Tryon, Mark Bernard, Janet Staiger)—work paratextually to imbue cult cinema with an auratic prestige of authenticity, and so forth. Does this discursively function as a gentrification of trash/ exploitation/ cult as a mode of championing paracinema—thus picking it from the gutters and transforming texts into an art/ pop dialectic? Cult fans seem to buy into the notion of 'trash' as a signifier of sub-cultural capital, but I wonder what your thoughts are about the label 'trash' per se. I recently equated Mario Bava's Blood and Black Lace (1964) with Alfred Hitchcock work, to rumbles of mirth amongst academics.
I don't care for the label "trash," because even when used to ironically celebrate low-budget exploitation films, it still has that a priori value judgment built in. Too many scholars have neglected Sconce's all-important caveat that "paracinema" names less a body of films than a specific reading strategy that's all about the ironic inversion of taste categories to elevate "bad" films that are readable as inadvertently avant-garde. And although it didn't originate there, the paracinematic reading strategy flourished during the pre-internet, pre-DVD/Blu-ray era of VHS bootlegs whose lo-fi, fifth-generation qualities merely heightened the supposed "trashiness" of such cultural detritus. To go back to a generic example mentioned earlier, that's certainly been true of 1970s-era adult films, which were very seldom re-transferred to formats beyond VHS and often existed in poorly transferred and re-edited forms—at least until a recently emerged generation of video labels like Vinegar Syndrome has come on the scene to respectfully restore such films in as pristine condition as possible and provide well-researched paratexts to place these films within their proper historical context. Adult films are especially interesting in that regard because, although it's readily possible to laugh at the awkward set-ups and dated mise-en-scene of a very "Seventies" porno, the fact that said film's continuing ability to arouse can cut through the mirth and still strike the present-day viewer on a visceral level, very much as originally intended, requires a far more circumspect, less historically chauvinistic approach.
As I've mentioned in Grindhouse Nostalgia, many scholars without much investment in taking exploitation films seriously have over-used Sconce's "paracinema" appellation as a convenient shorthand that allows them to reductively label an object and then move on—not unlike the dismissive attitude of many undergraduate students who see unintentional "humor" in classical Hollywood films because they seem dated, but who then don't move past those apparent deficiencies to take the films on their own terms. After all, not all low-budget genre films are uniformly and objectively "bad" in their execution, so an ironic reading strategy is simply one possible mode of reception—but a bit of an analytical dead-end for scholars who want to do more than enjoy some campy derision. I don't know how many times I've heard complaints from friends who attended rare repertory screenings of films by Bava and the like, only to have the experience spoiled by the hipster contingent cackling throughout in ironic default mode. That said, "paracinema" itself is not going anywhere, as evinced by Tommy Wiseau's cult reputation, video blogs like Everything is Terrible, or the recent revival of Mystery Science Theater 3000—but in an era when even the most obscure films can be easily accessed on DVD or Blu-ray editions, ironic laughter/celebration seems like an increasingly empty gesture. Still, if we could place a ten-year moratorium on Hitchcock scholarship and instead devote that time to earnestly investigating underappreciated films like Italian gialli, I certainly wouldn't complain!
The term 'exploitation' seems to be quite tricky to explain. On the one hand, it seems to signify low-budget B-movie products, often with lurid or 'distasteful' subject matter; and, on the other, the term has been described as the way in which exploitation cinema 'exploits' successful cycles of mainstream fare. For example, Spielberg's Jaws (1975) inaugurated a cycle of so-called 'sharksploitation' or 'aquatic horror' titles, such as Orca (1978) Joe Dante's Piranha (1978). Then again, more recent titles seem to demonstrate that it's less an exploitation cycle than perhaps a genre, with the Sharknado franchise (2010—); 47 Metres Down (2017); Mega Shark vs. Crocosaurus (2010), and The Meg (2018). The term also seems to connote 'trash,' and carries the weight of value judgement within its label, as you mentioned above. Scholars often conflate B-movie, low-budget, micro-budget, cult, grindhouse and exploitation as interchangeable concepts, which certainly problematizes their usefulness as analytic categories. How might you describe what 'exploitation' means to students, scholars etc. who are approaching the topic for the first time?
Following Eric Schaefer, I tend to think of "exploitation" as more as of a mode than a discrete genre, since that can include production concerns (low budgets; independent producers; lack of stars), exhibition/distribution patterns (grind houses; drive-ins; independent distributors; four-walling), textual qualities (lurid, timely, or sensationalistic subject matter; cyclical imitation of other films), and so on. Perhaps more importantly, the term itself comes from the mainstream Hollywood studio practice of creating stunts, gimmicks, and tie-ins with local businesses to help "exploit" the latest major-studio film that was coming to your town in the era before day-and-date wide releases. The majors often had advertising people working in in-house exploitation departments, and trade publications like Film Daily would publish exploitation tips for theater owners wanting to make fun enticements tied to a specific film. But "exploitation film" became more of a dismissive label in the trade press for a non-studio film that, because lacking decent production values, big stars, or subject matter with a built-in audience, seemed to rely on exploitation hooks alone (gimmickry, etc.) for its entire existence. So "exploitation" gradually shifted from a term used within the mainstream Hollywood industry to a marker of deviance—but I think it's still useful to see exploitation films as films marketed in very lurid ways, which helps explain how the quasi-generic label "exploitation" might seem more apt (and empirically grounded in period usage) according to historical period and viewing context. For instance, it helps account for the mutability of how the same film—such as an imported art film—could be luridly marketed as a sexploitation film when it played in grind houses or as a serious work when it played at more austere art houses—and, seen from another angle, how many art theaters switched to showing sex films when they fell on hard times, but still used "art" as a self-defensive cover to skirt various censorship restrictions.
So, to return to your question, high-concept Hollywood films from Jaws onward have increasingly used exploitation-style publicity tactics, but if there are recognizable stars (even B-list genre stars like Jason Statham) and enough passable special effects, the web of influences between exploitation cinema to Hollywood cinema can be a two-way street—as is especially visible in the realm of low/micro-budget horror. It's no surprise that Roger Corman, who is still producing movies like Sharktopus and the like, saw the writing on the wall when Jaws was released, remarking that it was basically a big-budget, more prestigious version of the monster-from-the-deep films that he'd been making since the early 1950s. And indeed, with the subsequent rise of blockbuster marketing and release strategies that accelerated with Jaws and are everywhere today, the major studios began colonizing theaters that had previously relied on exploitation films, thus pushing the independents into other markets, like direct-to-video and today's streaming platforms. Maybe it's just easier for movies like The Meg or kaiju movies like Pacific Rim to basically do upscaled versions of exploitation films when the cachet of a major-studio release allows audiences to not feel that these pleasures are not too guilty when they become mainstreamed enough for collective comfort!
There is a ubiquitous discourse in mainstream media regarding horror cinema and the way in which the genre is undergoing a 'renaissance' of some kind at the moment, with the second decade of the new millennium being described as a 'golden age of horror cinema'. How true do you think this is? Or is this an example of mainstream entertainment journalists over-amplifying such claims?
Between social relevance (Get Out) and huge box-office returns (It), horror is having one of its many generic moments in the sun, but I don't buy the "renaissance" or "golden age" claims—even if there are some interesting generic threads of late. If it weren't a genre with a lingering air of disrepute (and a film type that a lot of people simply dislike altogether), then such a consistently popular genre wouldn't still be treated like an underdog that keeps periodically surprising industry watchers who don't otherwise pay it much attention. It was too much of a "popcorn" movie for my tastes—the Marvel/Disney equivalent of a horror film—but I'd personally rather re-watch the first season of Stranger Things (which I loved).
What I find far more intriguing are what I'm calling the "new prestige horror" films—a new wave of independent art-horror films crossing over from film festivals to multiplexes, earning critical acclaim but proving very divisive among audiences. Films like It Follows, The Witch, It Comes at Night, The Blackcoat's Daughter, Hereditary, and mother! tend to have a cold, minimalistic aesthetic, including a stately narrative pace, slow and distant camera movements, lengthy shot durations, and tend to displace a clearly identifiable monster in favour of protagonists dealing with grief, guilt, trauma, and other negative emotions. These films all tend to generate strong feelings of apprehension and dread, refusing to alleviate those affects with either jump scares or reassuring narrative closure—and therefore seem much closer to art cinema's forms and affects than the populist associations that most widely released horror films tend to have. Judging by viewer comments, a lot of people feel duped by the marketing of these films, which they alternately dismiss as boring, confusing, depressing, pretentious—neither conventionally "scary" nor "fun." In other words, viewers with lower amounts of (sub)cultural capital are put off by these films, but the fact that the horror genre has more crossover appeal than, say, a dour chamber drama (despite the fact that these films bear more than a similarity there) means that these films are landing in front of multiplex viewers who might not otherwise expect something closer to an art film. So that clash of aesthetic styles, affective shifts, and audience expectations is really fascinating to me—over and above the fact that are lot of these new prestige horror films are also really damn good! But one generic subcurrent doesn't make a "golden age."
David Church is a Lecturer in the Department of Comparative Cultural Studies at Northern Arizona University, where he coordinates the Cinema Studies program. He earned his Ph.D. in Communication and Culture at Indiana University, and is the author of several books: Grindhouse Nostalgia: Memory, Home Video, and Exploitation Film Fandom (Edinburgh University Press, 2015) and Disposable Passions: Vintage Pornography and the Material Legacies of Adult Cinema (Bloomsbury Academic, 2016). He is also the editor of Playing with Memories: Essays on Guy Maddin (University of Manitoba Press, 2009), and is currently writing a mini-monograph on the Mortal Kombat video game series.


text:
Nola Faye, president and chair of the Itty-Bitty Kitty Committee, masquerades as a wabbit.
Baby's got a new pair of shoes
Three-inch pink glitter Chucks? Why don't they make these in my size?
Today is the auspicious 35th birthday of the woman who made me love women again: Salt Lake City's Amanda Jane Mitchell. I'm missing her big bash in lieu of raising babies, entertaining the folks in town from Florida and cashing in on the tickets we've had for 6 months — Kathy Griffin at the Paramount….


text:
Launched in 2006, the team at Luxe India has slowly and steadily built an impressive track record. From their constant efforts to fine tune the service standards, Luxe India is the first DMC to achieve the quality standards mandated by ISO 9001:2015, to their ongoing pursuit of introducing new products and experiences, the love
Smiling Albino
Located in Bangkok, Thailand, Smiling Albino is a leading Southeast Asian custom luxury tour and adventure travel company specialized in hand-crafting memorable journeys through some of Asia's most fascinating countries. Powered by a team of travel aficionados, Smiling Albino delivers engaging and attractive activities in a variety of mesmerizing venues, all woven in an
From the vibrancy of India to the ultimate Tibetan tranquillity, with Ventours you can experience the enchantment of the most opulent accommodations while touring a region that is wonderfully foreign and startlingly rich in new experiences. Ventours is all about the journey into
Creative Travel
Excellence in input, discretion in planning and subtlety in delivery – these have defined luxury travel at Creative Travel for 37 years. Privately owned and managed, globally awarded and recognised, and with a network all over India, Nepal, Bhutan, Sri Lanka, Tibet and the Maldives, the company offers experiences matched


text:
Main | Tours | Car Rent | Kyrgyzstan | About us | Contact us
Biking and horse riding in Kyrgyzstan
Kyrgyzstan Trekking: Trek 14
Tourism is one of priority branches of development of economy
Kyrgyzstan. Therefore the state creates favorable economic,
The political, legal and other conditions necessary for development
The international tourism. Thus, the state pursues a policy
Developments of the international tourism that the branch has turned in
Real source of incomes of the budget.
Policy of development of the international tourism and regulation of the tourist
The state spends sectors directly through the State committee
The Kirghiz Republic on tourism, sports and the youth policy. Indirect
Regulation is carried out by means of legal levers and international
Tours and travels in Kyrgyzstan
All rights reserved.
Made by SpinStyle


text:
We ask that you bend the knee: The heir to the throne of Guacshire has been crowned. Or should we say, necklaced. Express your affection for all things avo with this delicate sterling silver pendant dedicated to Avocado Queens everywhere. "While doing a stint eating 'raw,' I discovered a love for these little gems," says Barbara Gram. She began creating jewelry in her studio out of a belief that "the right piece of jewelry at just the right time can change a woman's whole day... outlook... or life." Clearly, Barbara believes in the power of avocado toast. Handmade in Portland, Oregon.
Made in Oregon
created by
"My first charm bracelet was given to me by my grandmother, Barbara, my namesake."
Barbara Gram believes we make the world a better place when we choose to add meaning and beauty to life. That belief inspired her to create the playful icons and monograms she is known for. Designing from her Portland, Oregon studio and working with local suppliers, she creates jewelry that celebrates the things that make us feel happy and connected, knowing the right piece at just the right time can change a woman's whole day... outlook... or life.
Still haven't found the details you're looking for? Check out our Product Q&A!
Please note: This item is not available to ship outside of the U.S.
I purchased this for my daughter for her birthday because she is obsessed with and in love with avocados!!! I thought is was super cute and eye catching and she does too!!!
Milford, MA
Avocado Queen Necklace on uncommongoods.com
Express your affection for all things "avo" with this delicate sterling silver pendant.
You have already added a Gift Certificate to your cart. To order multiple Gift Certificates, please call us at 888.365.0056


text:
2017-06-11 F4 US Championship Indianapolis Motor Speedway
This image is not available for online sale. Please contact us regarding the legal use of this image.
2017 F4 US Championship
Rounds 4-5-6
Indianapolis Motor Speedway, Speedway, IN, USA
Sunday 11 June 2017
#8 Kyle Kirkwood wins race #2 posed in traditonal Indy 500 podium
World Copyright: Dan R. Boyd
LAT Images


text:
* Occlutech Atrial Flow Regulator (AFR) is under clinical investigation – not approved for sale.
Product Used: Occlutech Atrial Flow RegulatorOperator(s): Dr Sivakumar
The products shown may not be available in all markets. Availability for a specific therapeutic purpose, in any specific country or region, is subject to obtaining necessary regulatory clearance.
Occlutech Atrial Flow Regulator (AFR)is under clinical investigation – Not approved for sale.
I understand
United States


text:
Green Heat
Hot and Cold have years of experience in the renewable sector having installed underfloorheating systems, wood pellet boilers and stoves, geothermal heat pumps, wood gasification boilers and solar water heating systems.
These products provide energy savings as well as high levels of comfort, plus health and safety benefits in its use for young and old alike. The many benefits of underfloor heating and renewable heating technologies like wood pellet boilers, make it the heating system for the future. Hot and Cold are fully trained and registered to install and service solar heating, underfloor heating and wood pellet heating, serving both the domestic and industrial market for many years.
Our green heat services at a glance:
For more information on any of our services please fill in our
enquiry form on our contact page for a fast and prompt reply.
Underfloor Heating
Knowledge and experience is key when designing and installing under floor heating systems. Having designed, supplied and installed hundreds of miles of flooring over many years we are extremely experienced in this field.
Hot Thermal Hot Water Systems
Hot and Cold are registered through APHC; a government authorised competent person scheme. Thus guaranteeing our ability to safely and competently install solar thermal water and associated unvented hot water systems.
Biomass Boilers
Are engineers are fully Btec trained to able us to install and repair woody biomass heating we can supply and fit a range of biomass stoves and boilers to intergrate into any heating system.
Wood Gasification
Like Biomass, wood gasification boilers are ideal retrofits to old oil heating systems, their installation is covered by Hetas and APHC competent person schemes. We can supply and install a system to fulfil your requirements.


text:
Free shipping in the USA (lower 48) when your order is over $89 (excluding gift certificates and sales tax, if applicable).
Customers who purchased this also purchased:
Jam With Buddy Holly - Softcover Book/CD Guitar Educational S...
Muddy Waters - Deep Blues Guitar Recorded Version (Album) Series
The Best Of Duane Eddy Guitar Recorded Version (Album) Series
More Products Like This >>
This new version has been given a complete facelift, with new songs and all new engravings! Includes transcriptions of 20 seminal tunes: Crying, Waiting, Hoping � Everyday � I'm Gonna Love You Too � It Doesn't Matter Any More � It's So Easy � Maybe Baby � Not Fade Away � Oh Boy! � Peggy Sue � Rave On � That'll Be the Day � Think It Over � and more. Includes "tab" tablature notation.
� 2019 Music44. All rights reserved.


text:
San Diego, CA 92123
United States
Mon – Sat 9am – 7pm
Privacy Policy
This privacy notice discloses the privacy practices for KelliMartin.com
We are the sole owners of the information collected on this site. We only have access to information that you voluntarily give us via email or other direct contact from you. We will not sell or share this information to anyone.
We will use your information to respond to you, regarding the reason you contacted us.


text:
The Prophet said, "My eyes sleep,
but my heart is not asleep to the Lord of created beings."
Your eyes are awake,
and your heart is sunk in slumber;
my eyes are asleep,
but my heart is contemplating the opening
of the door of Divine grace.
My heart has five other senses than the physical:
both worlds are the theater
for the senses of the heart.
~ ~ ~ ~ ~ ~ ~
Goft Payghambar keh "`Aynâya tanâm
lâ yanâmu qalb `an Rabb al-anâm"
Cheshm-e to bidâr va del khofteh be-khvâb
cheshm-e man khofteh delam dar fath-e bâb
Mar delam-râ panj hess digarast
hess-e del-râ har do `âlam manzarast
-- Mathnawi II: 3549-3551
Version by Camille and Kabir Helminski
"Rumi: Daylight"
Threshold Books, 1994
Persian transliteration courtesy of Yahyá Monastra
Archive for Sunlight can be accessed at:
http://groups.yahoo.com/group/Sunlight /messages
To subscribe, please send an email to : email@example.com
To unsubscribe, please send an email to: firstname.lastname@example.com
Yahoo! Groups Links
<*> To visit your group on the web, go to:
<*> Your email settings:
Individual Email | Traditional
<*> To change settings online go to:
(Yahoo! ID required)
<*> To change settings via email:
<*> To unsubscribe from this group, send an email to:
<*> Your use of Yahoo! Groups is subject to:


text:
Montce Swim Pixie Limon Euro Bikini Bottom
Past Favorites
The Montce Swim Euro Bikini is a favorite around here. It looks absolutely fabulous in this neon green and pixie purple combo. The bottom is also available in two cuts so you can choose the coverage you are most comfortable with. Pair this bottom with the Pixie Limon Euro Tassels Bikini Top for a look that's out of this world!
Get your Montce fix Here
Montce Swim Spring 2016
Montce Swim Pixie Limon Euro Bikini Bottom
- Cheeky or Full Coverage
- Color blocking combo
- Available in XS - XL
- High Quality Material


text:
Interview with Dr. Jeff Volek on EP (part 1)
I was fortunate to be able to get on the line with Tawnee Prazek,host of Endurance Planet, and Dr. Jeff Volek to discuss the findings of the FASTER Study. We recorded a three part series that will be released one week at a time. We broke down the science as well as our speculations about using fat as fuel in endurance.
This episode includes...
What you get in Part 1 of the FASTER Study and Low-Carb Fueling Series:
Introducing Jeff Volek
- Over the last 15 years Jeff's research has helped us better understand what constitutes a well-formulated low-carbohydrate diet and its impact on obesity, body composition, adaptations to training and overall metabolic health.
- He has published hundreds of scientific manuscripts and presented hundreds of talks at scientific and industry conferences. He is co-author of "The New Atkins for a New You" and two self-published books "The Art and Science of Low Carbohydrate Living" and "The Art and Science of Low Carbohydrate Performance."
- And he's an athlete: A former competitive powerlifter who continues to follow the principles of a low-carb diet while training regularly for strength and health.
- More at artandscienceoflowcarb.com
Re-introducing Zach Bitter
- Listen to Zach's previous EP appearances here and here.
- Ultrarunner and coach, holder of the 12-Hour World Record, 100-Mile American Record and numerous course records. Follows high-fat diet, has been on EP twice, writes a great blog, is a teacher and more.
Defining Low-Carb
- In terms of grams and percent of total calories per day,
- Low carb vs ketogenic,
- How Zach tackles LCHF with training/racing, including how and when he allows for more carb. Plus Jeff's take on Zach's approach.
Adapting to Fat as Fuel
- Define Fat adaptation & the shift we're seeing in approach to sports nutrition (maybe not new to Jeff, but new to masses ;))
- How to burn fat for fuel by restricting carbs,
- What we're seeing in fat-adapted athletes and the benefits, including the ability to run ultras on <2,000kcal vs. traditional 6,000kcal,
- At 7-14% body fat one still has 20,000-30,000 kcal of adipose tissue reserves.
Introducing the FASTER Study
- Jeff's inspiration for the FASTER study?
- How is the FASTER study different?
- What the FASTER study is about to show us in terms of sports nutrition and the body's ability to use fat for fuel, and the ground-breaking results,
- Zach's involvement as a subject in the study,
- High carb vs low carb being put to the test,
- Fat oxidation - what does it mean, and how does it differ based on your fat-adaptation. What Jeff and the researchers found was unlike anything every seen in a lab before! HOW MUCH FAT CAN HUMANS BURN?!


text:
Episode 101: IPC research into cross-border e-commerce delivery
Ian Kerr
Mark Harrison, Head of Markets at International Post Corporation joins me to discuss recent IPC research into cross-border e-commerce. We cover:
- Who is delivering the last mile for cross-border e-commerce?
- Trends in delivery direct to the post office
- Domestic delivery preferences vs international delivery
- Postal service points
- Cross-border packets weighing under 2kg
- Free shipping
- Parcels that fit in customers' letterboxes
- The importance of signature on delivery
- How much cross-border traffic comes from the dominant retailers
- Delivery speed
- Returns
- Direct mail and e-commerce
Listen to the podcast by clicking on the play button on the audio player above (may take a few seconds to load and start playing). You can also listen (and subscribe) to the podcast via iTunes.
Click here to download the IPC Cross-Border E-Commerce Shopper Survey. [PDF]
Follow the Postal Hub on Twitter and LinkedIn.
Never miss an episode! Get the Postal Hub delivered free to your inbox. Sign up in seconds:


text:
Hello, I try to use freemaster. I created a KDS project and compiled it. And then I opened the Freemaster, add the MAP file as below:
And then an error occured:
It's very weird. I use CodeWarrior V10.6 created a project and compile, there are no this kind of error. Anybody can tell me why?
Best Regards,


text:
About Us
Grand Theft Auto 4
I'm Over Starting Over - Article
- By Randy Kalista - Posted on 2/21/2013
Fixing Grand Theft Auto - Article
- By Sean Colleli - Posted on 4/16/2010
Grand Theft Auto 4 - Review
- By Cyril Lachel - Posted on 5/12/2008
Grand Theft Auto IV and Episodes from Liberty City is now available on Xbox One via backwards compatibility
- Posted 2/9/2017
This week's Deals with Gold on Xbox Live
- Posted 1/6/2015
PSN is having a major sale on Grand Theft Auto games right now
- Posted 9/9/2014
Photographer wants to punch reality in the face with his Grand Theft Auto V project
- Posted 5/3/2014
GTA IV with realistic mods looks absolutely mind blowing
- Posted 3/11/2014
This black and white "Liberty City Walkabout" is going to make me replay GTA IV right now
- Posted 2/28/2014
Now you can enjoy your favorite GTA tracks on Spotify and iTunes
- Posted 4/14/2013
$50 million for one year of exclusivity? Someone at Microsoft is probably asking WTF...
- Posted 1/29/2010
More gaming goodness on sale via D2D
- Posted 11/25/2009
Direct2Drive Deals of the Week
- Posted 11/20/2009
Extreme base jumping in Liberty City will get the blood flowing
- Posted 10/22/2009
F!ZZ TV gets down and dirty with the Liberty City elite
- Posted 10/15/2009
Xbox 360 Platinum lineup adds some heavy hitters
- Posted 10/5/2009
Weazel news states the obvious about Liberty City
- Posted 9/17/2009
GTA IV title update awaiting for the Xbox 360
- Posted 9/4/2009
Rockstar twitters about second GTA DLC
- Posted 5/15/2009
PC version of GTA IV gets patched
- Posted 3/21/2009
GTA IV: The Lost and the Damned Pricing announced
- Posted 1/24/2009
GTA IV PC patch v1.2 now available
- Posted 1/24/2009
Grand Theft Auto IV finally on PC
- Posted 12/2/2008
Grand Theft Auto IV PC has some cool new features, out December 2
- Posted 11/21/2008
Grand Theft Auto IV Xbox Live Weekend in progress
- Posted 9/27/2008
Grand Theft Auto IV is a Games for Windows Live product
- Posted 9/23/2008
Grand Theft Auto IV Live Weekend next weekend
- Posted 9/20/2008
Rockstar bringing Grand Theft Auto IV to the PC
- Posted 8/6/2008
Rockstar patches up Nikko and GTA IV
- Posted 6/23/2008
GamesRadar parodies The Naked Gun with Grand Theft Auto IV
- Posted 6/8/2008
Take-Two announces delay of Xbox 360 exclusive GTA IV Content
- Posted 6/6/2008
Liberty City is out of control
- Posted 6/5/2008
This car is ALPHA Baby! ALPHA!
- Posted 5/21/2008
GTA IV on Xbox Live and the Xbox 360
- Posted 5/8/2008
PS3 version of Grand Theft Auto IV patched
- Posted 5/7/2008
5 million in two weeks? Hogwash! Try 6 million copies of GTA IV sold in the first week
- Posted 5/7/2008
Circuit City enforcing ESRB Ratings
- Posted 4/29/2008
It's Grand Theft Auto 4 day
- Posted 4/29/2008
Grand Theft Auto IV gameplay montage
- Posted 4/29/2008
GamingNexus Interview: Geoff Keighley
- Posted 4/28/2008
Chicago bans GTA IV ads from busses
- Posted 4/21/2008
RockStar Social Club now open for business
- Posted 4/18/2008
Microsoft to spend as much money promoting Grand Theft Auto IV as they did on Halo 3
- Posted 4/17/2008
Grand Theft Auto 4 expected to break Halo 3's first week record
- Posted 4/17/2008
Grand Theft Auto IV website updated
- Posted 4/11/2008
New Grand Theft Auto IV trailer - "Everyone is a rat"
- Posted 3/27/2008
GTA IV site update, and final Trailer coming 3/27
- Posted 3/20/2008
No GTA IV Demo or Sixaxis support
- Posted 3/1/2008
Take a virtual tour of Liberty City at new GTA IV website
- Posted 2/10/2008
New Grand Theft Auto IV shots - April 29th can't come soon enough
- Posted 1/27/2008
The PS3 is partly to blame for the delay of GTA4
- Posted 1/25/2008
Grand Theft Auto 4 release date
- Posted 1/24/2008
Rumor: GTA IV to hit the UK on April 25th
- Posted 12/19/2007
Rockstar releases 18 new GTA IV screenshots
- Posted 12/7/2007
New GTA IV trailer has arrived...
- Posted 12/6/2007
New Grand Theft Auto IV trailer hitting Xbox.com and XBLM Today
- Posted 12/6/2007
The delay of GTA4 to 360 caused by PS3 complications?
- Posted 8/3/2007
The GTA IV delay - Does it really hurt Sony that much?
- Posted 8/3/2007
Grand Theft Auto IV delay will be more painful for Sony than Microsoft
- Posted 8/3/2007
GTA IV delayed to 2008
- Posted 8/2/2007
Sony let Take 2 out of GTA IV exclusive contract for rights to franchise to be named later
- Posted 7/28/2007
New GTA IV trailer online
- Posted 6/28/2007
The trailer for Grant Theft Auto IV hits Marketplace and website tomorrow
- Posted 6/27/2007
GTAIV Special Edition details emerge...
- Posted 6/27/2007
Microsoft shells out the big bucks for GTA IV exclusive content
- Posted 6/18/2007
Take Two says GTA IV episodic content only for 360, thumbs nose at the PS3
- Posted 6/17/2007
New GTA IV trailer due 6/28/2007
- Posted 6/11/2007
New Grand Theft Auto IV screens
- Posted 5/26/2007
Rcokstar says 360's limiting GTA IV because of non-guaranteed HDD
- Posted 5/3/2007
GTA IV trailer online - It's Liberty City
- Posted 3/29/2007
GTA IV trailer next week
- Posted 3/25/2007
GTA IV Trailer Coming
- Posted 3/4/2007
A grand theft by Microsoft
- Posted 5/9/2006


text:
Eat & Drink
Dining Guide: 5 places to warm up with a hot cocktail
The weather in Maine this fall has been especially glorious, with many more warm days than usual stretching well into November. Now that the seasonally appropriate chill has arrived, hot drinks are starting to show up on cocktail menus. Here are five places to enjoy them. Read on
Friday Happy Hour
Three hot drinks to warm up Maine winter nights
A fresh take on the classic hot toddy, a hot buttered rum and boozy coffee drink are just the thing to shake off the chill. Read on
Eat & Drink
Dining Guide: 5 notable Maine steakhouses
In a state with 3,478 miles of coastline, it's no wonder so many Maine restaurant menus feature its bounty. But as much as we love our seafood, sometimes we just want to tuck into a juicy cut of beef. Read on
Eat & Drink
Timber Steakhouse: Prime cuts for a cosmoplitan crowd
Yes, Timber is expensive but worth every bit for its prime beef, chicken, seafood, glorious side dishes and expertly mixed cocktails. Read on
Eat & Drink
Not your grandma's toddies: Six hot drinks for cold Maine nights
On a cold winter night you could warm up in that time-honored Maine way — slugging Allen's Coffee Brandy straight from the bottle. But if you'd rather sip, Portland bartenders will be happy to mix you up a hot toddy, mulled cider or other winter warmer. Read on
Eat & Drink
A night out at 'The Rooms' with Portland Taste Tours
Portland's latest food tour enterprise, Portland Taste Tours, kicked off with a progressive dinner that stopped at each of chef Harding Lee Smith's four "Rooms." Read on
Fried Oysters 'BLT'
The Grill Room: Portland Read on


text:
We'd love to install custom bathroom cabinets in your home.
Renovating the bathrooms in your home is one of the best ways to improve the appearance of your space while increasing its value. You can make a variety of changes to your bathrooms, including adding luxury flooring, high-end countertops, premium sinks and fixtures, and upscale cabinets. Custom bathroom cabinets add a lot of value since they provide a high-end feel while improving the functionality. With many items stored in the bathroom, it's important to have enough space to keep everything you need within easy reach.
When you're shopping for custom bathroom cabinets in the Charlotte, North Carolina area, contact our team at LJ Flooring & Multi Services Inc. We provide custom cabinetry that is sleek and stylish, making it easy to choose the option that works best in each bathroom of your home. Our team members provide the installation services, so you don't need to worry about the time or effort it will take to get your cabinets upgraded.
In addition to our high-quality options and leading service, we also provide a warranty on our workmanship. Investing in custom bathroom cabinets is easier when you know the work is fully backed by a guarantee. Our team members don't cut corners or skip steps in the installation process. Instead, we'll focus completely on the task and painstakingly install your new cabinetry to get the look you want for your home. Visit our showroom to take a closer look at the options. We'd love to install custom bathroom cabinets in your home.
At LJ Flooring & Multi Services Inc., we can install quality custom bathroom cabinets in Charlotte, Concord, Davidson, Gastonia, Mooresville, Rock Hill, Kannapolis, Lincolnton, Statesville, and Hickory, North Carolina.


text:
Hello everyone, I hope your week is off to a great start! Today's outfit is a "casual slay" - Desi Perkins. This look is perfect for day or night and is super comfortable as well. I am all over these Public Desire Winnie boots. I have linked all three colors down below, happy shopping!
Muscle tees are always a win in this hot Florida weather. This Riot Muscle Tee was courtesy of Sub_Urban RIOT and can be found here: Riot!
This choker is super easy to make as well. I find it's easier to purchase the suede or string at your local craft store, it's very inexpensive and it makes enough for you and a friend! This one was given to me by my darling friend- @StephiVelez
I hope you all enjoy this 'fit!