text:
Here is my first-ever short story, written last fall for a class on "City in Literature and Early Cinema" (hence the borderline-fetishistic focus on the physical character of the city itself). I am just not-ashamed of it enough to post it on the Internet for the world to laugh at. Here it is, so you can laugh at it too.
We don't to go to the old city if we can help it. No one does. It's a depressing place if there ever was one, a towering mass of dark metal, with occasional patches of dilapidated property within which are situated the odd, stubby corpses of buildings, slowly growing darker in color and breaking down like rotting teeth. To walk down the streets, during the day or especially at night, feels like experiencing death itself. What few inhabitants live there – the impoverished, the failures, the criminals, and the fanatics – rarely seem to show themselves outdoors if they can help it, or if they do, I've only ever caught fleeting glimpses of them in the few times I've been there. We don't know how many people live in the old city, but I highly doubt the number is even remotely proportionate to the sheer size of the place. You'd think that we, the people of the city, the people of society proper, would be eager to know such a thing, if only by virtue of it being unknown, creatures desperate for complete and total knowledge that we are. But honestly, nobody seems to care. We are secure just as we are. The city proper is our stronghold, eternally bathed in light: the shining glass and steel during the day, and the brilliant flashing neon at night. Just as it is never dark there, so is it never quiet; at any given place, at any given time, information is being disseminated, whether through the calm, maternal voice of the intercom network, or the flashing billboards, always eager to inform us of the newest ways to enhance our lives and ourselves, or the babbling mass of people in every space, or the communicators that are nearly as much a part of us as our own bodies. The old city, by contrast, is an old, decaying heap of memories we want to forget.
As a contributor for a certain very fine and respectable publication which, this piece being off-the-record and in fact rather personal, I shall not name, I have had a chance to leave the city – with proper authorization, of course (I am not an affiliate of those sorts of publications) – several times. It's a hell of a place out there, and it's not unlike the old city. Much of it seems blasted and barren and alien, and the people I've spoken to who work out there are all people who don't seem to care much for casual conversation. I can see why. Out there is an environment, a state of being, that exists without man, perhaps even in spite of him. I feel unwelcome just staying at one of the rickety, understaffed facilities out there for a couple nights – I can only imagine what it would feel like to live there. The city is man's place – made by man, for man. It's where we're meant to live. I can't imagine it any other way.
But, I'm losing myself here. Editorializing will do that to you – start asking "why?" instead of "what", "when" and "how", and you can't seem to stop. It's not good for a person.
It was one afternoon early last autumn that I found myself wandering aimlessly down the streets in the southeast part of town, my mind in a jumble and my senses in a spin as the result of a particularly invigorating night at a certain out-of-the-way hovel for adventurous and well-financed gentlemen such as myself. I go there sometimes when I'm not inclined to take my business to the regular uptown bar, usually because I need to spend an evening without seeing the people from work stare at me out of the corners of their eyes. Incidentally, I wasn't kidding when I said the place was out-of-the-way. Specifically, it's a mere couple blocks away from the undrawn line that constitutes the outer limits of the city proper. On that day I was stumbling about without purpose or destination, inebriated and exhausted and underslept, my eyes and ears open yet my senses blind, my mind an ill rush that was contemplating nothing. It was as if I was walking within a dream, though in fact I'm pretty sure I have had dreams in which I've found myself more lucid than I was at that time. As is always the case when I am in such a state, eventually there came a moment in which, without warning or precedent, I abruptly woke up. Like a commuter emerging from a long tunnel, all of a sudden I was struck by the vastness and imminence of my surroundings, and I had to stop and squint for a moment as my eyes and mind adjusted to the light. Looking around me, I saw the empty streets, desolate except for the stray bit of garbage crawling around in the wind, and the large, lifeless black buildings looming over me, and the gray sky in turn looming over them. I was in the old city. Around me was total silence, except for the faint, raspy whispering of the wind, punctuated only once or twice every few minutes by the faintest sound of a vehicle's horn who-knows-how-many miles away. The air was thick; it was going to rain.
My first thought was to call a cab and get a ride back to my apartment; I didn't like paying for cab fare and, to be honest, I didn't much care how unhealthy it is to stand in the rain, but all the same I was wearing my favorite jacket today and paying a little money was a preferable alternative to having it ruined by rainfall. While still (for some reason) shuffling along the sidewalk, I reached into my pocket to pull out my communicator and input a cab request; I felt a seizing grip in my chest as my hand entered the abyss and found nothing. I frantically grabbed around in my other pocket, then in my jacket pockets (all four of them) and, hell, even my breast pocket just to be absolutely certain. There was no doubt about it; the damned thing had slipped out last night at the hovel I mentioned earlier. I could try retracing my steps back there, but in truth I had been wandering now for a good hour or so and no longer quite knew where, exactly, I was. (In the old city, who would?) At this point, it seemed like a safer bet to try and see if there was a spot with decent shelter within the next couple blocks, and worry about finding my way back after the rain had cleared.
I staggered along the sidewalk in a daze, taking in my surroundings with half-focused eyes. It all seemed to me a mass of brown, gray and black, all of these colors bleeding into one another beyond the point of recognition. I walked to the end of a block, turned, walked down another, rinse and repeat. It was an odd place, the old city – unlike the residential districts in the new city, the buildings were not uniform in design, which struck me as unnecessary and awkward, and yet by all being in roughly equal states of abandonment and decay, they were far more indistinct than the buildings in the new city. Everything looked dusty as hell (I have rather severe dust allergies), and most of the buildings were fenced off.
After a while I was no longer in the residential district, and instead was in what appeared to have once been a center for business. Faded signs hung above sealed-off store windows, the best-preserved of which displayed faint traces of long-forgotten names, and the worst were little more than rusted slabs of metal. In a few places, windows and doors stood open, naked amongst their covered-up comrades; these had likely been the temporary abodes of squatters, gangs or cults or fugitives or whatever, and perhaps still were. These made me uneasy, though it's hard to say which I feared more: the possibility that there might be people somewhere near me in this empty, lawless wasteland, or the possibility that there might not.
All the while that I wandered, the sky was growing darker and more threatening. I knew I had to pick a building in which to shelter myself soon, but some inscrutable force within me compelled me to keep going onward, just to see what was around the next corner, and the next after that. I told myself, at the time, that I simply wanted to find a place that didn't look so damned dusty.
Eventually I found myself in a region beyond both the residences and the stores; I suppose the place I was in now must have been an industrial district at one time, or maybe another sort of business district. To be honest, I don't remember the specifics of the place that well, perhaps because my line of sight was no longer at the ground level; my eyes were fixed straight upwards, gawking at the giant, thin black buildings that stared down at me from above, with the imposing dark mass of sky just beyond their pinnacles. Unlike in the previous districts, here colossal tower seemed indistinguishable from the last, and there was little space between them giving each side of the avenue the impression of being a continuous wall, making the street a great hallway through which I was proceeding to an unknown destination. It was as I stopped to stare at these buildings that the first droplet of rain fell, as luck would have it, directly in my eye. I immediately doubled over and pressed my hands to my eye socket, the pain searing through my eyeball like fire; the rain was especially bad today. When the pain in my eye subsided enough for me to regain my bearings, I realized just how bad a situation I had managed to get myself into; it was starting to rain, now, and it would be even harder to find an accessible entrance in one of these towers than in the other buildings. Maybe I should've just tried to find my way back to the hovel in the first place. Maybe it would've taken me less time than I had thought. Maybe I could have avoided all this in the first place.
Such thoughts were of little use to me now. I turned my unblemished eye (the other one was still tightly shut in discomfort) to the ground level, scanning my surroundings for an open or openable entryway, or a broken ground-floor window, or something. I started sprinting, going down to the end of the street, but the tall black towers seemed to stretch out forever, with no end in sight. The rain was still only dripping now, and every minute or so I could feel the slight burning on my head or hand of a droplet hitting skin. Eventually I needed to stop, simply to catch my breath. I seemed entirely pretty well out of luck; I realized I might have to ruin my prized jacket simply to shield myself from the rain. It was then that I noticed it: a large, awkward gap between two of the towers, a square of land that seemed to stand out from the rest. I could glimpse the very edge of what looked like a modestly-sized building. Still breathing heavily from all the running I had done to get here, I began to hastily walk over to it; I knew it was my best shot.
It was an odd little plot of land I saw before me. In the center was a fairly small building, rectangular in shape and mildly vertical in design; it was much larger than a shed but far too small to be an apartment. In front of the building was a set of concrete steps leading to a large set of doors that looked unlike any I'd ever seen. The roof was shaped like what appeared to be two edges of an upward-pointing equilateral triangle. It was a bizarre design that I had only ever seen before in images of the old world. It was practically hidden in the shade of the two massive buildings to its left and right; behind it, there was a huge wall. Compared to the dilapidated, pitiful things I had seen in the residential and small business districts, this one was in surprisingly good condition; the wall and buildings on three sides must have sheltered it from a lot of rain damage – or perhaps someone, or some group of people, was going out of their way to keep the place intact. That in and of itself seemed odd, and I wondered whether I might find myself unwelcome and endangered if I chose to enter the building for shelter. I had only barely got to thinking about this, though, when the loaded silence was torn asunder by a crackle of thunder, and mere moments later the rain changed from a trickle to a downpour. The water was falling all over me, soaking and burning and stinging my skin, and who knows what it was doing to my goddamned jacket. I decided I'd take my chances with this odd little place.
I rushed forward, up the steps, and grabbed the handles of the doors. I pulled with all my might, eventually managing to heave the great doors open. I rushed inside and, feeling the need to ensure I hadn't done things halfway, slammed them behind me after I did, and promptly collapsed onto the floor, leaning against the wall and staring at the floor straight in front of me. Outside I could hear the furious torrents of rain pouring down outside, punctuated every so often by the pounding of thunder. Staring at the floor and squirming about in my de facto seat, I noticed it was made up of a creaky, flimsy-seeming substance consisting of boards that, despite the appearance of having been polished some time in the last several years, were nevertheless collecting dust and beginning to warp around the edges. I guess they must've been wood, which was something all the more unusual to find in such a run-down locale as this one. My curiosity about this old hut was growing by the moment.
Upon catching my breath, I looked around and took in my surroundings. The building was a strange and quaint little place that seemed in stark contrast to any and all of the places uptown. Most of the interior appeared to be one great room, with that semi-triangular ceiling situated a few dozen feet above. On the walls on either side of the door I had entered through were windows; looking out of them I could see that the sky had gone nearly pitch black, with rain falling in great torrents outdoors and flashes of lightning on occasion violently penetrating the gloom. On the walls of the chamber within were windows of a different sort; they were very large (which, in and of itself, was only slightly unusual) and from what I could discern in the dim light, they appeared to be decorated with many sorts of shapes and colors – including, most interestingly, what appeared to be crude illustrations of people. Squinting to make out further details and, between the darkness in the room and the dust and muck covering the windows, failing to do so, my eyes instead turned to the body of the room. On the floor were two long rows of benches, all of them empty, and in between the rows was an aisle leading up to some place in the back; bathed in shadows as it was, I could not clearly make out what was there, so in time I picked myself up and began, as if in a trance, to walk slowly down the aisle in the center, flashes of lightning faintly illuminating the great windows on either side of me and the sounds of the storm making their presence inescapably known outside.
As I passed each successive row of benches, the formation at the back of the room became more apparent to me. It looked like a small stage, and on it seemed to be a table of some sort. Behind that table was a large object, cloaked in shadow. As I reached the table the object became clear. It looked like a statue. I walked up to it. It appeared to be of a person – a woman, or a man, I couldn't tell. Blackened and dirty, it stood gazing over the great chamber before it, its eyes featureless and blank yet a strange look of serenity about it. One of its arms was outstretched, as if offering up some invisible gift to me, or perhaps someone standing above me. It appeared to be wearing some kind of simplistic, loose garb, like the kind one might see on a girl some nights at the burlesque, or worn by a leader of one of the cults. The statue was situated on a pedestal, and holding my face directly in front of it and squinting in the dim light I could just barely make out what appeared to be letters. They looked similar to our letters, yet something about them was not quite the same. Even looking at the letters I could recognize, the words they spelled out were none that I'd ever seen. I looked back up to its body, and then noticed the strangest thing about it. Protruding from its back were two large appendages, and they looked strangely like the arms of a pigeon, only blown up to human size. The sheer absurdity of it struck me powerfully, and a broad grin erupted across my face; I was almost inclined to laugh. But, in moments, my grin left me.
I had noticed the wall behind the figure. Somehow I had not noticed it prior. Though the building had appeared small from the outside, the wall now seemed to tower over me, as vast as any of the city buildings, and in the dim light I saw that on the wall were… names. From foot to ceiling, every visible inch of the wall had been marked or inscribed with people's names. Some of the names, particularly towards the bottom, were written over the others where there wasn't room enough to write them in an open space. There must been hundreds of names there. Probably thousands. There were more names on that wall than names I myself know. Maybe more than I would ever be able to know.
I looked back at the statue. I looked into its eyes. Those eyes, blank and cold and lifeless as they were, seemed to be looking straight into me… as if they could see something about me that I could not see myself. I had to look away. I looked around the room, and suddenly the place seemed to have taken on an entirely different character than that which it had possessed when I first entered it. All of a sudden I was overwhelmed by a sensation that I struggle to this day to find words for. If I had to try, I suppose I would call it a sense of… presence. The room was closing in on me – all of a sudden I felt that I was not alone. I frantically looked over the benches, to the sides of the stage, yet no other human being was in the building with me; only the statue and the windows and the wall of names. Yet this "presence" I felt… it was overpowering. I couldn't stay in this place. I shouldn't be here. I had to leave.
I rushed out the door and into the street, the rain still falling around me. I looked up at the towering buildings, with the dark sky just beyond their pinnacles, little cracks of light showing through the grayness even as the rain continued to fall. I could feel the burning on my skin, but I didn't care anymore. I had to get as far away from this place as possible. I ran and ran, through the endless mass of buildings. Suddenly the great towers felt less like pillars in a hallway than bars in a prison cell. The sky was sneering down upon me as I ran from nothing in a cage of black metal. Everything was all fucked up. I kept running, away from the black towers, back into the barren land of the business district. Now I felt as though I was in the place outside; I was running through a barren world, a place man was not meant to live. I wasn't the master of this place; I was merely its prisoner. I thought of home, of my roomy little apartment in uptown, but now even these thoughts were of little solace to me; in my mind's eye, my beloved room warped and transformed into a chamber of solitary confinement, and the bright and familiar city surrounding it became an open range just as lawless and inhospitable as the old city and the world outside, in a bizarre and inexplicable way perhaps even moreso. I was trapped, and I could blame no one for entrapping me but myself. At the same time I realized that I was not alone, and never could be, and at the same time I was more alone than I could have ever realized; and both of these realizations terrified me in equal measure. Knowing that there was nowhere to escape to, I had to escape. I ran and ran in a feverish delirium, these thoughts grinding like a broken gear through my brain, my line of vision fixed in front of me, waiting to spot some sort of light in the darkness. And all the while my skin seared and my clothing began to stick.
I don't know how long I ran for. It felt like an eternity. All I really remember is that at some unspeakable hour of the morning I stumbled into a building, my entire body aching from without due to the burning of the rain, and from within due to the extreme exertion of hours of running. There were some people there, and they contacted the medical services. I was taken to the hospital and stayed in a ward there, barely talking to anyone and barely doing anything. I still hadn't got back my communicator. No one knew what the hell had happened to me and I didn't know how to explain it, so I didn't try. After a couple days they got me out of bed and gave me a psych test, which I passed, and then sent me back on my way with some lotion to treat my burns. I needed it, because those damned things tormented me for weeks. It took a couple days after I'd gotten back for me to leave my apartment, after which the first thing I did was force myself to go back and try and find my communicator. Turns out by that point, someone had pilfered it, and it was probably on the black market already. I had to go to the communications center, wipe the device, and apply for a new one. It was more of a pain in the ass than the damned burns.
Nearly a year later, here I am, composing this in my apartment. It's the first time that I've made any attempt to talk about where I was or what I did that day. No one else knows – the couple of people who are close to knowing believe that I had an unfortunate experience while under the influence of mind-altering substances, and those who might have been in a position to terminate my employment were generous enough to sweep the incident under the rug and never speak of it again. So, things haven't really changed. I'm still running the same job, still talking to the same people, still going to the same hangouts. But in my mind, I can't help but suspect that some intangible change has taken place – some valve has been opened, some bolt has been unscrewed, some gear has run awry. I haven't gone back to the old city since that day and I don't plan to. But I feel as if there is something I must do, though I could not for the life of me tell you what, and perhaps I will, against my better judgment, act on that irrational impulse at some point down the road as the future sprawls out like the tracks of an endlessly turning wheel before me.


text:
SHSU Rewarded For Energy Efficiency
Feb. 3, 2014
SHSU Media Contact: Julia May
|SHSU has been awarded almost $105,000 in cash incentives for energy conservation. From left are Megan Frisa, Entergy; Sandra Gray, SHSU; Stan Foley, Entergy; SHSU President Dana Gibson; Phil Lanier, Entergy; Al Hooten, SHSU; and Doug Greening, SHSU. —Photo by Brian Blalock.
Sam Houston State University has been recognized for continued success in energy efficiency improvements.
Campus officials accepted a check last month for $104,842 in cash incentives the university earned through its participation in the Entergy Texas SCORE Program in 2013. The incentive represents another achievement in the SHSU's long-standing involvement in the program. Since joining SCORE in 2009, SHSU has earned $261,892 in incentives.
The SCORE Program provides energy performance benchmarking, technical assistance and cash incentives to help schools save energy and money.
"Energy conservation is important for everyone. The energy savings allows SHSU to spend our limited resources on other initiatives," said SHSU President Dana Gibson.
The university plans to use the cash incentives for additional improvements, which will result in future energy savings.
"We are putting together information for Phase III Energy Savings Project," said SHSU Energy Manager Sandra Gray. "This phase will consist of adding controls that will automate the operation of the building heat and cooling systems and possibly recommission several buildings. Also, Residence Life is installing new LED lighting in the Sam Houston Village parking garage."
The university has significantly reduced its energy usage through various projects—including updating its lighting and HVAC systems. In total, since 2009 SHSU has slashed 5,084,917 kilowatt-hours of energy annually, equal to the carbon dioxide emissions from the 402,204 gallons of gasoline, according to U.S. Environmental Protection Agency calculations.
"Now more than ever, it's vital our schools have the resources they need to implement energy efficiency improvements in their facilities," said Entergy Texas Customer Service Manager Stan Foley. "These projects are exactly the type of energy-saving projects the SCORE Program was created to encourage."
This page maintained by SHSU's Communications Office:
Associate Director: Julia May
Manager: Jennifer Gauntt
Located in Administration Building Suite 115
Telephone: 936.294.1836; Fax: 936.294.1834
Please send comments, corrections, news tips to email@example.com.

subset: commoncrawl


text:
Your project can't fail. That's a lot of pressure on you, and yet you don't want to buy into any one specific process, methodology, or lifecycle.
Your project is different. It doesn't fit into those neat descriptions.
Manage It! will show you how to beg, borrow, and steal from the best methodologies to fit your particular project. It will help you find what works best for you and not for some mythological project that doesn't even exist.
Before you know it, your project will be on track and headed to a successful conclusion.


text:
Chopped Herring x Carharrt Radio
The good folks over at Chopped Herring Records invited me to do a mix for their Carharrt Radio Special this month. For those who don't know about this label, these guys collect crazy rare demos from the 1990s + a few new boom bap tunes for their vinyl only catalogue. An extremely limited amount of copies of each release gets put out each week with no promo campaign prior to release day. Yet just about each 12" released sells out pretty quickly. Artists involved include Action Bronson, Masta Ace, J-Zone, Junior Mafia, Da Buze Brovaz, JVC Force, Fatnice, Paula Perry, Bahamadia and many more. For this mix, I brought in my dude Matthew Law for some added flavor on 4 turntables. These tunes take me right back to how the early to mid 90s felt musically. Hope you all enjoy!


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The Sukosol, Bangkok
- Free WiFi and free parking
- Collect nights
The Sukosol, Bangkokfrom $87
- Deluxe King Bed, Ayuthaya Wing
- Premier Family Room, City View
- Executive Room, Business Lounge Access
- Sukosol Suite, Business Lounge Access
- Executive Room, City View
- Siam Suite, City View
- Siam Suite, Business Lounge Access
- Premier King Room
- Deluxe Twin Bed, Ayuthaya Wing
- Premier Twin Room
- Premier Family Room (Triple)
- Executive Room, Business Lounge Access (Single)
- Siam Suite, Business Lounge Access (Single)
- Sukosol Suite, Business Lounge Access (Single)
- Premier Sustainability Room
- Family Suite
- Family Suite (Triple)
More great choices
What's around The Sukosol, Bangkok
- In Bangkok City Centre
- Suan Pakkard Palace - 4 min walk
- Victory Monument - 12 min walk
- Jim Thompson House - 19 min walk
- Platinum Fashion Mall - 19 min walk
- Pratunam Market - 20 min walk
- MBK Center - 21 min walk
- Siam Center - 22 min walk
Getting around
- Bangkok (DMK-Don Mueang Intl.) - 17 min drive
- Bangkok (BKK-Suvarnabhumi Intl.) - 19 min drive
- Bangkok Makkasan Station - 17 min walk
- Bangkok Chitrlada Station - 24 min walk
- Yommarat - 26 min walk
- Phaya Thai Station - 4 min walk
- Victory Monument BTS Station - 8 min walk
- Ratchaprarop Station - 10 min walk
At a glance
Key facts
Hotel size
- This hotel has 500 rooms
- This hotel is arranged over 23 floors
- Check-in time 2 PM-11:30 PM
- Check-out time is noon
- Express check-in/out
The credit card used to book the reservation must be presented by the cardholder at check-in along with matching photo identification. Any other arrangements must be coordinated with the property prior to arrival. For more details, please contact the property using the information on the reservation confirmation received after booking.
This property comprises 2 buildings. All facilities, including the front desk, restaurant, pool, fitness and spa are located at the main building. The other building is located approximately 4 meters away.
Required at check-in
- Credit card or cash deposit required
- Government-issued photo ID required
- Minimum check-in age is 19
Travelling with others
- One child stays free when occupying the parent or guardian's room, using existing bedding
- Babysitting/childcare *
- Pets not allowed
- Free WiFi and wired Internet access in public areas
- Free WiFi and wired Internet access in rooms
- Free valet parking
Payment types at the property
- Cash
In the hotel
- Buffet breakfast daily (surcharge)
- 2 restaurants
- Bar/lounge
- Coffee shop/café
- Poolside bar
- 24-hour room service
- Outdoor pool
- Pool sun loungers
- Fitness facilities
- Full-service spa
- Spa treatment room(s)
- Pool umbrellas
- Health club
- Steam room
- Sauna
- Number of meeting rooms - 13
- Conference space
- Conference space size (meters) - 726
- Conference center
- Computer station
- 24-hour front desk
- Concierge services
- Tours/ticket assistance
- Limo or Town Car service available
- Dry cleaning/laundry service
- Laundry facilities
- Hair salon
- Free newspapers in lobby
- Luggage storage
- Wedding services
- Multilingual staff
- Porter/bellhop
- Number of buildings/towers - 2
- Year Built - 1988
- Elevator
- Designated smoking areas
- Garden
- Disabled parking
- Wheelchair accessible path of travel
- Accessible bathroom
- In-room accessibility
- Chinese
- English
- Japanese
- Thai
In the room
- In-room climate control (air conditioning)
- Air conditioning
- Minibar
- Coffee/tea maker
- Bathrobes
- Slippers
- Iron/ironing board (on request)
- Blackout drapes/curtains
- Separate sitting area
- Bidet
- Designer toiletries
- Hair dryer
- Cable TV channels
- Desk
- Free WiFi
- Refrigerator
- Free bottled water
- Daily housekeeping
- In-room safe
Also popular with travelers from the USA
Special features
Lotus Spa of Siam has 6 treatment rooms including rooms for couples and outdoor treatment areas. Services include deep-tissue massages, hot stone massages, sports massages, and Swedish massages. A variety of treatment therapies are provided, including aromatherapy and Ayurvedic. The spa is equipped with a spa tub and a steam room.
The spa is open daily. Guests under 7 years old are not allowed in the spa.
DiningSapphire Bar - This cocktail bar specializes in international cuisine and serves breakfast, lunch, and dinner.
Chao Coffee Company - Onsite coffee shop. Open daily.
Lin-Fa - This restaurant specializes in Chinese cuisine and serves lunch and dinner. Open daily.
Patummat - This restaurant specializes in international cuisine and serves breakfast, brunch, lunch, and dinner. Open daily.
The Sukosol, Bangkok's small print
Also known as
- Sukosol
- The Sukosol Hotel Bangkok
- Sukosol Bangkok
- Sukosol Hotel
- Sukosol Hotel Bangkok
- Bangkok Siam City Hotel
- Siam City Bangkok
- Siam City Hotel Bangkok
- The Sukosol Hotel
- The Sukosol Bangkok
All guests must register upon arrival. This property charges an additional fee for visitors or unregistered guests in the guestrooms. For more details, please contact the property using the information on the reservation confirmation received after booking.
Guests under 7 years old are not allowed in the spa.
Parking height restrictions apply.Please note that cultural norms and guest policies may differ by country and by property. The policies listed are provided by the property.
Reservations are required for massage services and spa treatments and can be made by contacting the property before arrival at the number on the booking confirmation.
The name on the credit card used at check-in to pay for incidentals must be the primary name on the guestroom reservation.
Mandatory fees
Deposit: THB 1000 per night
Optional extras
Buffet breakfast is offered for an extra charge of THB 590 for adults and THB 300 for children (approximately)
Babysitting/childcare is available for an extra charge
We have included all charges provided to us by this property. However, charges can vary, for example, based on length of stay or the unit you book.
Didn't find the right property?Continue searching for Bangkok, Thailand
Recent reviews
Very Good 8.4 From 521 reviews
Very good stay and hotel
short business trip, great hotel and service
Great experience. Excellent location. Close to both the BTS and MRT train lines.
Bed was a bit stiff but the location was excellent and service was great. The staff were always able to help me get a taxi and even had umbrellas when it was raining.
Wonderfully comfortable hotel, and very friendly and attentive staff. I chose it because of location - near the end of the train from the airport, N'Dri it was very easy to find. I saw it from the train and walked the 1.5 blocks to it with ease. A local friend met me there and we'd walked to an observation deck in the Baiyoke Sky Hotel. I wasn't my here long enough to explore more.
Is the description of this hotel not correct? Tell us


text: January 19, 2014 Nate Smith @abbijacobson @ilazer on the COVER of the LA times. I know those ladies. Once on New Years I got real drunk and embarrassed myself around them and they were cool about it. They also have a tv show. I mean- just top notch. Go get em BC.


text:
With each wave of new interns comes a challenge to creatively capture what the internship experience at LPK is like. And the 18 interns who called LPK home this past semester did not disappoint.
They wrote, directed and starred in "The Fresh Interns of Bel-PK," a parody of the classic '90s TV show theme song.
"We had complete creative freedom for the project," says Design Intern Michael Emerick. "We chose to create a music video because we thought it would be a fun way to portray the playful, collaborative culture at LPK."
They also produced a more introspective video, reflecting on what inspired them while working here—and what kept them coming back for more.
"It was awesome to be able to plan something from start to finish and see it develop right before us," says Client Service Intern Ryan Montgomery. "It definitely came with some growing pains, but we worked through them together to produce something we're really proud of."
Want to know what it's like to be an intern at LPK? Follow their Tumblr for regular updates, including day-in-the-life posts from all fields of the brand design spectrum.
"The Fresh Interns of Bel-PK" lyrics
Now, this is a story all about how
My life got flipped-turned upside down
And I'd like to take a minute
Just sit and wait
I'll tell you how I became an intern at Bel-PK.
From all different colleges, we found our way
To Cincinnati, where we got jobs at LPK
Nervous but excited we were losin' our cool
But let's be honest, co-op's way better than school
Then a couple of guides who told us we could
Really start making waves in the branding hood
I got my first real project and I'm a bit scared
They said "You'll be fine, just don't get locked in the stairs."
Holy crap free coffee, gonna be a great day
I settle down at my desk and start earning my pay
Check email, open PowerPoint what a joke,
Switch to my favorite program, Keynote.
Dull X-Acto, yo this is bad
Switch to a fresh blade, start comping fast
Is this how the peeps of LPK workin' like?
Hmmmmm this might be alright.
But wait I hear they're creative, inspired and all that
Is that the type of place they'd let me co-op at?
I really think so
What a wonderful day,
When I found my way to LPK.
Well uhh, now it's time for lunch, let's go out
Skyline, Graeter's, Chipotle with the longest line no doubt
I ain't trying to stay out long
I got a meeting at 1
So I sprang to my desk to get one last thing done.
I pinned my work on the wall and when we stepped near
My guide said, "Hey, fresh work you have here!"
If anything I can say this opportunity was rare
I'm finally a step closer to my future career.
I walked out of the office real satisfied
And I say to JJ "Have a goodnight, bye"
I looked at my kingdom
I can finally say
I'm proud to have interned at Bel-PK.


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Masala Chai Tea Bags
A Guide to Chai Tea
Commonly known as the national drink in India, the popularity of Chai has spread worldwide over the last few years.
In India, it is known as Masala Chai, Masala is the word for spice in Hindi, Chai simply means tea.
There is no traditional recipe for Chai, Indian families mix up their own spicy brew, using black tea with milk, sugar, and aromatic spices.
Spices like cardamom, ginger, coriander, cinnamon, cloves, fennel, and pepper are most commonly used.
The increase in popularity has led to a range of new variations of Chai. The spices are these days not just married with the original Indian black tea but also green tea and Rooibos to create a warming drink of different kind.
We stock a range of top-quality Chai teas that are delicious served with milk and sugar to taste. Not for the faint hearted is our extra spicy Red Chili Chai, or if you prefer it slightly more sweet give our Chocolate Chai a go or the smooth Chai Vanilla. For the true classic, there is only one answer - Classic Chai. This category also contains herbal chai based on rooibos and chai based on green tea.
History of Chai Tea
Legends differ on when Chai Tea's history began, some say it started around 9000 years ago!
The first appearance of Chai Tea arrived after 1835 when the British set up tea gardens in India.
In the 1900's vendors used milk, sugar and spices to replace the expensive black tea ingredient and Chai Teas popularity soared. This was due to its inexpensive prices but flavorful taste!
Variations of Chai Tea
With no traditional recipe existing and the taste for Chai Tea steadily growing, many new creative blends have been launched over recent years to tickle customers taste buds. Some of the more recent blends include:
- Chai Vanilla: Mixing the typical tastes of India and mingling with vanilla, this gives a balanced mix of leaves and spice, creating a tea with a smooth, milky character. Our Ronnefeldt Chai Vanilla is a perfect example.
- Chocolate Chai: This tea tastes like a creamy cinnamon chocolate with a slight hint of ginger. The aromatic Assam tea blends perfectly with the spices and the intense note of cocoa. Try the Ronnefeldt Chocolate Chai to taste it for yourself!
- Chilli Chai: Mixing the spicy taste of India with real chillies, this tea is sure to warm you up! Try our Ronnefeldt Red Chilli Chai & see if you can handle the heat!
HOW TO BREW Chai Tea
Whether you want to use the loose leaves or try a tea bag infusion, the standard process is the same.
The standard process is as follows:
- Boil some freshly poured cold water
- Place the tea leaves in a tea strainer
- Pour the hot water over the leaves
- Steep the tea for the appropriate amount of time
- Strain the tea
- Add a dash of milk to taste, sweeten if required
- Sit back and enjoy!
Brewing Table
Ranging from 1 levelled teaspoon to 1 heaped teaspoon
2 – 6 minutes
A range of colours including: Orange Brown, Light Brown, Brown, Yellow/Green
NOTE: Please make sure to read the individual brewing instructions on each package of tea.
Our top recommendations are:
- Ronnefeldt Chai – This exotic, spicy tea from India is both mysterious and delicious. If you like you can enjoy this with milk and sugar.
- Ronnefeldt Red Chilli - A genuinely hot spiced chai: real chillies with a fruity background
- Ronnefeldt Chocolate Chai - This tea tastes like a creamy cinnamon chocolate with a slight hint of ginger. The aromatic Assam tea blends perfectly with the spices and the intense note of cocoa.
If you can't decide, why not try our Chai Top 3 Hamper – Mixing the top 3 Chai Teas from our range, all beautifully presented in a wicker hamper!
Was £5.50 Now £3.85


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Small Groups exist to provide a context for mutual encouragement through food and fellowship in a share-care-prayer format.
Christ Covenant have two small groups meeting in members' homes on a rotating basis.
The NBNW Group meets monthly after church.
The Woodstock Group meets bi-monthly (second and fourth Sundays) at 5 pm.
The Acworth Group meets bi-monthly (first and third Sundays) at 6 pm.
Check our Events page to find out when and where the next small group will meet.


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Quick Dry Blackboard Black
Rustins Quick Dry Blackboard Paint provides a matt black non-reflective surface for blackboards and photographic work. Suitable for interior and exterior use. Clean brushes in water.
Conforms to the Toys (Safety) Regulations 1995, BS:EN71 Part 3, which makes it ideal to use on children's toys.
If you have any questions about our Quick Dry Blackboard Black then call our sales team on
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Mind Drink
|This article is non-canon.
The subject matter of this article does not take place in the "real" Half-Life and Portal universe and is considered non-canon.
|The title of this article was translated for the wiki.
The name of this subject in the original language, Japanese, is "マインドドリンク".
|Mind Drink
|Production information
taito pharmaceutical company
|Technical specifications
|Max ammo
|Used by
|Game information
The Mind Drink is an item (used as a weapon game-wise) in the Battle Mode of Half-Life 2: Survivor, available for purchase to the Combine Medic for 80,000 SG. It was added to the game in the Survivor 2.0 update,[1] which was released on November 29, 2007.[2] Resistance Medics use the Power Drink instead.
The player can drink it by pressing the secondary attack, thus applying it to himself. It can also be thrown by the primary attack button, allowing the it to be used on a player who picks it up. The Mind Drink applies the Concentration status effect to the player who drinks or picks it up.
While under the effects of Concentration, the player's bullet spread is reduced by 50% and screen will shake 30% less at the time of taking damage (does not seem to affect shake when firing the Gatling Gun). The player also becomes immune to Poison, Paralysis, Paint and Marking status effects, but is still susceptible to Capture and Whiteout. This status effect's maximum duration time is 13 seconds. The player's view becomes blue, with a circle around the center, others will see blue flames covering the player (burning sound can also be heard, even by the affected player).
- After being dropped, it can be picked up both by teammates and enemy players, but teammates will also see a flashing Mind Drink symbol with an arrow pointing towards it, even through walls, making it easier for them to find it.
- Only one of the three drink effects can be active at a time (the other two being from the Power Drink and the Jump Drink). This means that the Concentration effect will get canceled if the player uses a drink of other type, and vice versa.
- This item, along with other drinks, is available from the Surprise Box.
- The Concentration effect is removed after player's death, submerging in water or using the Recovery Injection.
List of appearances[edit]
- Half-Life 2: Survivor (Non-canonical appearance)
- ↑ Mind Drink on the official Survivor website (archived)
- ↑ Latest news on the official Survivor website (archived)
External links[edit]
- Mind Drink on the official Survivor website (archived)
- Mind Drink on the Survivor wiki


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Reading Matters
Children's book for interfaith families
Suzan Loeb, author with Lucy Ravich of "The Elephant in the Room: A Holiday Tradition for Interfaith Families," will be signing books at three locations in the next couple of weeks.
On Thursday, she'll sign copies from 6-9 p.m. at Main Street Books, 126 Main St., Davidson.
On Saturday, from ll a.m. to 3 p.m., she'll sign at Barnes & Noble at Birkdale Village, 8725 Towey Rd.
And on Saturday, Dec. 10., she'll sign from 11 a.m. to 2 p.m. at Barnes & Noble Morrison, 4020 Sharon Rd.
"The Elephant in the Room" is for children in families who celebrate both Christmas and Chanukkah.
All signings are free and open to the public.
Dannye: email@example.com


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§352. Minors
1. Application for registration. The Secretary of State may not approve the application of a minor for registration of a vehicle unless the minor is at least 15 years old and the application is signed by:
A. A parent or guardian who has the custody of the minor; [1995, c. 482, Pt. B, §2 (NEW).]
B. If the minor has no parent or guardian, the minor's employer; or [1995, c. 482, Pt. B, §2 (NEW).]
C. If the minor is emancipated, the minor. In this case, the application must be accompanied by an attested copy of the court order of emancipation. [1995, c. 482, Pt. B, §2 (NEW).]
[ 1995, c. 482, Pt. B, §2 (RPR) .]
2. Suspension. If a person who has signed the application files with the Secretary of State a notarized written request that the registration be suspended, the Secretary of State shall, pursuant to chapter 23, suspend the registration without hearing.
[ 1995, c. 482, Pt. B, §2 (RPR) .]
3. Minor.
[ 1995, c. 482, Pt. B, §2 (RP) .]
1993, c. 683, §A2 (NEW). 1993, c. 683, §B5 (AFF). 1995, c. 482, §B2 (RPR).


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nun is a room located in a private ground floor apartment in Berlin Neukölln, which becomes an exhibition's space at regular intervals.
The program is dedicated to artists already engaged in a professional career, invited either for a solo presentation or as part of very reduced groups.
Without medium restriction, the shows are conceived as a response to the room's characteristics in a close collaboration between the artists and the hosts.
Each exhibition lasts just one evening long and is accessible only through a hand-made staircase lodged within the window.


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Christopher Thomas Limbrick
Artist Statement on Photography
The style of the photographs that I create is abstract, because nature itself is abstract. My art is a reflection of nature's harmonious meditation. I see each creation as an exploration, a journey that is guided by celebration. The exquisite rawness of nature fascinates me. Nature is a powerful force that has no concern for anything. It cannot be captured, harnessed, or trained; nor can it be ignored.
Nature is purely honest and totally free. That is how I envision each work that I create. The four elements of earth and the four seasons are a dominant presence, which create the theme of my work. While I believe that the world is simply a beautiful playground, where time does not matter, such is the irony that timing is a critical element that drives my creative process. I strategically utilize the time of day and the time of the season to integrate the colors that Mother Nature provides for me to use in the camera. The richness of the colors at sunrise or sunset, the subdued earth tones during inclement weather, the light and darkness of the day, the hot and haze of summer and cold clearness of winter are all used with intent.
When creating my work, I become a witness to the combat that is inherent in nature. I explore and interpret the dominance and the submissiveness of the masculine and feminine characteristics that appear to continuously challenge one another. I watch the shifting of natural identities as each one wins and loses. I remain an observer in this dynamic environment as I enjoy its rawness, its explosive spirit, and its serene meditation.
The majority of my technique is conducted within the camera. I manually enter the settings and shoot the photograph in bulb mode. I begin by selecting the location. I then I create the composition or I allow the composition to be created on its own. I then consider how the time of day and the weather conditions will create the palette of colors and the contrast of light. Then, I leave it all alone and begin to play. I let my mind wander and allow my senses to absorb the surroundings. I allow feeling to subside into clarity. The moment that the work is created in my mind is the moment that I press the shutter open. When I know that the work is complete, I close the shutter.
The duality of existence is interesting to me. The balance that we seek in life should not be difficult to find if we are truly seeking it. Learning about the absence of anything real, the beauty of the truth, the shedding of fear, transcending the weight of care for the past or the future, and understanding the freeness of the moment; that is what drives me. That is where the art is and that is what I seek to share when I create.
Artist Statement on Painting
I most often work with acrylic paint on canvas, board or paper to create my impression of the absence of thought. For me, the creative process is about being centered in the moment. I see my work as an exposition of meditation, an exploration through emptiness. They are unconscious paintings that are empty of any particular form; with out specificity they are simply abstract renderings of the mind. My paintings offer me an analog interaction with art that contrasts with the digital production that is my photographic process. I get to touch and feel with my hands the creation of the art when painting. I often feel as if it is not my own hand that is moving the paint, but rather the hands of previous lifetimes. I realize that each work is my mind creating an illusion that I can share. The canvas and paint only serve as a delivery vehicle transporting that illusion to the viewer.
My technique is as abstract as the finished work itself. I use a variety of tools including brushes, knives and squeegees to place the paint upon the substrate. I custom make the large squeegees from wood and acrylic sheets to fit the dimensions of the canvas or board. I begin each work by building up multiple layers of paint onto the substrate. Paint is then removed from specific layers in selected areas. Many layers are rubbed down, sanded or scraped until the majority of the paint is removed. This process is repeated with some layers being applied in a wet fashion to create a fluid effect, while others are applied dry creating definition and contrast.
Each painting is a journey to an unknown destination. The process is an enjoyable one that creates excitement and brings to me much happiness. I most enjoy never knowing how each painting will look when finished. I simply paint until I feel that each particular work is complete, the emptiness in my mind has been reached, and the newly created work is ready to be born unto the world.
Born in 1970 in Fredericksburg, Virginia. Chris grew up in rural Stafford County, Virginia where he spent his days playing outside. At an early age he developed a love for the great outdoors and gained a sincere appreciation for the boundless beauty that is the natural environment.
He received a Bachelor of Arts Degree from Mary Washington College in 1995, and in 2010 graduated from the New York Institute of Photography. After a decade working in the business world as a real estate entrepreneur, he decided to return to his creative roots and to dedicate his life to what truly brings him happiness. While creating fine art through photography and painting brings its own personal rewards to the artist, Chris most likes that his works allow him to share with others the beautiful world as he envisions it.
Christopher Thomas Limbrick is an American fine art photographer and abstract expressionist painter. His artwork is inspired by the natural environment and created by utilizing nature's color palette. He creates by incorporating a human feeling of a particular moment as he explores the natural elements of the earth. While observing the interplay of its masculine and feminine characteristics, he bears witness to the inherent dependence of nature to capture its contrasts. A common spiritual theme joins together his body of work that includes the "The Departure Collection" of photographs and the highly collected acrylic and mixed media paintings on canvas and wood panel.
His photographic work has been exhibited locally in Fredericksburg, Virginia and in New York City, New York. His abstract paintings have been included in both regional and national juried exhibitions. Chris seeks additional opportunities for both exhibition and representation. Christopher resides in "the city of art", Richmond, VA, but spends as much time as possible in the Eastern Mountains and the American Southwest where he is most inspired.
Selected Exhibitions
The Story of the Creative
See Gallery and Exposition Center
New York City, NY
July 25th - September 10th 2013
Creatives Rising
Manhattan Projection Campaign
New York City, NY September 2013
Art Attack Fredericksburg
Plein Aire Creation/ Exhibition on City Streets
September 14th, 2013
Proof Positive Solo Show
Artist's Selections from The Departure Collection
Bistro Bethem
Fredericksburg, Virginia USA
February - March 2014
A National Juried Exhibit- Group Show
Liberty Town Arts Center, Fredericksburg, VA USA
February 2014
All Media Show
A Regional Juried Exhibit- Group Show
Fredericksburg Center for the Creative Arts, Fredericksburg, VA USA
February 2014
A National Juried Exhibit- Group Show
Liberty Town Arts Center, Fredericksburg, VA USA
October 2014
All Media Show
"All Media" Members Show
Liberty Town, Fredericksburg, VA
December 2015
Limbrick Cubed
Invitational Show "Limbrick Cubed"
Liberty Town, Fredericksburg, VA
Curated by Dolores and Kenneth Lecky, Christina Bendo
September 2015
Artist's Selections
Solo Exhibit, The Departure Proofs
The Betty on Davis, Richmond, VA
September 2016
All Media Show
"All Media" Members Show
Crossroads Art Center, Richmond, VA
July- September 2017
Printed Matter
Invitational- Group Show
Ponshop Studio and Gallery, FXBG, VA
October - December 2018
Awards & Distinctions
Panel Judge, FLAR Magazine, Vol.4 Issue 2, Fall 2016
Panel Judge, FLAR Magazine, Vol.4 Issue 1, Spring 2016
Cover Artist, Rappahanock Magazine, May 2015 Vol. 1 Issue 8
Seth Casana, "Gallery", Whurk Magazine, Issue 12, February 2014.
Jessica Koers, "Arts: Winter's Beauty Inspires Liberty Town Exhibit", The Free Lance Star, February 5th, 2014.
Rob Grogan, "Slices", Front Porch Magazine, January 2014.
Rinus Bakker, "BTP Top Photo Gallery Selection" January 17, 2014
Nicole Gruber, "Best Top Photographer Gallery, Editor's Choice" September 25, 2013
Jack Stepanyan, "Best Top Photographer Gallery, Editor's Choice" September 21, 2013


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DECA at Community and Family Expo - 2017
DECA at Community and Family Expo
The four students who will be competing at nationals for DECA this April in California represented Truman DECA club at the community and family expo at Kennedy High School. They showcased posters and banners that the student-run print company produced, as well as met with current clients who were also using banners produced by the students. They also discussed business partnership opportunities with community members and educated people on what DECA is and what has been accomplished this year, including the in-house food pantry and financial literacy campaign.


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Any company's corporate culture should be one in which employees feel motivated to do their best work. All employees, despite any protected characteristic, should feel at ease and be treated equally in the workplace. A former employee in Zillow's California office is claiming that she suffered a hostile work environment, was the victim of discrimination and suffered a wrongful termination.
According to her complaint, she was injured in an automobile accident, and, due to lack of accommodation by her employer, her condition worsened. She claims that she was required to stand for hours at a time and was not permitted to sit down. Because of this, she asserts that her condition became worse and she was hospitalized. Upon her return to work, she claims that her responsibilities had been reassigned to someone younger. Ultimately, she was fired for job abandonment due to her hospitalization.
The plaintiff also claims that the corporate culture was sexist and had a fraternity-like feel. She said that those who participated in heavy drinking and improper conduct were rewarded with better sales leads. The woman did not participate in the activities, which she alleges resulted in her manager purportedly making negative comments about her age, insinuating that she was unable to keep up with her younger co-workers. Zillow contends that the company fosters an environment that disallows such behavior.
Employees who find themselves in similar situations may first consider discussing the problems with their employers. If the issues remain unresolved, workers may choose to file legal claims in California civil courts for any allegedly illegal actions taken by employers, such as discrimination or wrongful termination. Workers who win their claims may be compensated for being subjected to illegal practices.
Source: Fortune, "Zillow's alleged "frat house" culture leads to new lawsuit", Erik Sherman, Dec. 5, 2014


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The Leet botnet was discovered on December 21, 2016 by cybersecurity firm, Imperva, that reported its Incapsula network suffering a DDoS attack beginning approximately 10:55 AM that day. The company believes that those behind the Leet attack were most likely interested in targeting the website of an Imperva customer but were not able to resolve an IP address beyond those of the Incapusla proxies. Leet attacked Imperva's network twice – the first time lasted 20 minutes at 400 Gbps and the second lasted 17 minutes at 650 Gbps. Both attacks failed to bring down Imperva's network. Imperva analyzed the network traffic generated from the attack and determined that the attackers used spoofed IP addresses and generated the payload content using shredded and scrambled IP lists which they describe as "a mishmash of pulverized system files from thousands upon thousands of compromised devices." They named this botnet after they discovered that the TCP Options header of the regular-sized SYN packets used in the attack were arranged to spell "1337," or "leet," a term used in hacker communities meaning "elite." Imperva noted there are drastic differences between Leet and Mirai, despite them both being capable of 650 Gbps attacks and suggested that Leet is brand new and not based on any previous botnet build.
Reporting and Technical Details
- December 2016: 650Gbps DDoS Attack from Leet Botnet Rivals Mirai Attacks (Bleeping Computer)
- December 2016: 650Gbps DDoS Attack from the Leet Botnet (Incapsula)


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BlogHealth Topics Regarding Your Health
Here are the blog posts, set up in categories, from The Nutritional Healing Center of Ann Arbor's practitioners.
We believe education is the best tool for our patients so that they have a thorough understanding of who we are, how we operate, and how we work with you to heal your body through nutrition and supplements. If you have any questions please feel free to fill out a form on our site or call the front desk at 734-302-7575.


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Interval AerobicsJoyce Vedral
Year Released: 2003
Categories: Floor Aerobics/Hi-Lo/Dance
Video Fitness reviews may not be copied, quoted, or posted elsewhere without the permission of the reviewer
Show newest reviews first
The workout is structured weight-training-style in sets: each set has a cardio interval, then three toning moves, and you do the set for each body part (legs, hip/butt and abs) three times. Joyce does marching, side-steps and a completely ridiculous Latin move during the interval sections, and Marthe does the bike. The strength moves are mostly leg lifts, kicks and the like. The aerobic intervals last about a minute, and while I think they could have easily doubled that and still come in at about half an hour, you do get a solid 9 minutes of straight aerobics by the end (1 minute per set, times 3 sets per body part, times 3 body parts). It was a little awkward going right from bike to floor for ab work, but I do all of that on the bed anyway so I didnt mind.
I dislike cardio, and find that during long aerobics tapes, one of two things tend to happen. Either the moves get so complicated in an attempt to keep up interest that my klutzy brain cant follow and I get frustrated, or the workout seems interminable because they try so hard to surprise you and keep you from getting bored that you can never be sure when it will be over. I think this is why Joyces tape worked out much better than it previewed: because you know exactly whats coming. There is a very clear pattern being followed, and you know at any moment what you still have left to do. Its the same methodical approach she uses in her weight tapes, and it might not suit everyone, especially where cardio is concerned. But it worked for me---it got me some nice lower body work and 9 solid minutes of pure cardio in just under half an hour, and for that reason, I am willing to overlook its somewhat amateurish instructor and goofy quirks.
This is an old Joyce Vedral workout on VHS that was later put on DVD. The biggest problem that I have with this workout is the use of the word "interval". Different people use it to mean either (a) a workout that alternates cardio and strength (which I call a circuit workout) or (b) segments of the same type of workout at different intensities (which I call an interval workout). I think that this workout was intended to be a circuit workout, but, for me, is a true interval workout - well, 2/3s of it.
This workout is made up of three sections where they alternate the same type of cardio (Joyce does walking type moves with her own unique twist and her daughter is on the bike) with three toning moves. They do each of these rounds of cardio/toning moves and then move onto the next section. However, the toning moves, to me, are more cardio effect than strength because they are shallow and quick. For the cardio, I either do walking type moves or use my gliding discs. In the first section, they focus on the thighs, in the second section, they focus on the glutes, and in the third section, they focus on the abs (and go to the floor). I hate going to the floor in the middle of a cardio workout, so I do standing moves like knee ups and punches. Once they have been through the three sections, they give you the option of repeating them - with the exact same footage. For some reason, this doesn't bother me.
I have had this workout for awhile and pull it out on mornings when I feel tired and brain dead. Joyce chatters a lot in this workout and will turn some people off. Given how I feel when I do this workout, it doesn't bother me. It's a good workout for me to keep because (a) I can use my gliding discs with it and (b) it's an interval workout, a type of workout I don't have too many of.
Instructor Comments:
Shes quirky. I only do this workout when I'm in the mood for her chatter.


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Separate names with a comma.
Discussion in 'FTA / Non Small Dish Satellite Area' started by harryjaswal, May 30, 2012.
n someone help me with dish installation please and some information as well please about NSS 6 95 E
Make sure the mast is plumb and securely attached.
Azimuth and Elevation here http://www.dishpointer.com/
Hi samrs,
Can you please tell me what is azimuth as in the attached picture and what's skew for LNB and how to set it up please.
And it's showing a blocking point I guess, so is it means I can't get the signal????????
Not necessarily, Harry. Do you have a clear line of sight to the satellite? Where I am it also shows a "block" of a building that is in line with the satellite, but from my elevation and the actual laser sight (if I were to use one that is) I have a direct line TO the satellite I am trying to receive.
You came in just asking "can someone help me with my installation" did you even install the dish to the pole, or anything yet? Have you installed it and made sure the pole was PLUMB, in other words NOT tilted or skewed- used a spirit level to make sure it's exactly level? How far have you gotten with it so far?
Have you installed it in a professional manner and are unable to receive any signal to the receiver? Please be more specific.


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Sitting down one day in Britain long ago, JRR Tolkien decided he would stage a minor battle in the First Age of Middle-earth. This skirmish would occur on a rocky eminence he named Amon Rûdh, Bald Hill. This hill would also host the new home of his first dwarf, Mîm the Dwarf – a long-languished character from The Book of Lost Tales. Pondering the various roles Tolkien chose for Mîm, we glimpse mysterious and unexpected truths about the making of Middle-earth – about both the original version of that world, and about Tolkien's final unfinished visit there.
Mîm the Dwarf first appeared in Tolkien's legendarium sometime between 1917 and mid-1919. A brief mention and one swift scene in "Turambar and the Foalókë" brought the dwarf into "the caves of Rodothlim" where he is "an old misshapen dwarf who sat ever on the pile of gold singing black songs of enchantment to himself." Tolkien decided that Mîm would take custody of the treasury of Glorund the dragon, recently slain by the magic talking sword of Túrin, son of Úrin.
This version of Mîm can readily be identified as an incarnation of a dwarf named Mime, adapted by Richard Wagner for a role in his epic opera cycle, The Ring of the Nibelung. Tolkien became a fan of Norse and Germanic storytelling early in life, studying the same mythological sources consulted by Wagner. It is remotely possible that he came up with "Mîm" on his own, but in choosing that name, he more likely tipped his hat to Wagner and Mime. Tolkien's interest in Wagner at that point is unclear, but he was probably drawn to Mime because the various medieval accounts of dwarfs and smiths hinted at ancient tales told long ago around Germanic fireplaces across northern Europe.
In the wake of World War Two Tolkien decided he did not appreciate being thrust into the same literary light as Wagner. In a February 1961 letter Tolkien denied that Wagnerian influences had any hand in shaping The Lord of the Rings. An ever-growing analytical literature has since emerged to question that assertion. The Mîm / Mime connection has also been noted on occasion, adding to the argument that Tolkien's engagement with Wagner's legacy dates back to the early materialization of his Middle-earth legendarium. But the 1961 letter underscores Tolkien's frame of mind during the years after publication of The Lord of the Rings. That is, he had no wish for others to make too much of likenesses between his mythmaking and Wagner's.
This may help to explain Tolkien's decision to reshape the tale of Mîm sometime in the years around 1961. Tolkien must have known of Wagner's appeal in Nazi Germany, as well as the criticism Wagner received after World War Two for his attitudes toward Jews. In Leon Stein's The Racial Thinking of Richard Wagner (1950), for example, we find consideration of the Nibelung dwarf characters as representing "on the authority of Wagner himself, the Jews who having robbed the world of its gold, are determined to dominate it."
With the issuing in 2007 of the final incarnation of Mîm – in The Children of Húrin – we can see how Tolkien's new configurations distanced Mîm from Mime. Now he is not just a dwarf; he is a "Petty-dwarf." We find him residing in a secret underground mansion inside a hill new to Middle-earth, Amon Rûdh. There he has two sons. They are beset by Túrin's band of outlaws, and Mîm eventually betrays them to Orcs, "emissaries of Morgoth," who attack the men. This Mîm differs noticeably from the original Nibelung-like Mîm.
For the setting of this new tale, we can guess that Tolkien's imagination could have been sparked by the several thousand ancient hill forts that dot Britain's hilltops – one researcher has noted the faint silhouette of a hill fort in The Lord of the Rings; another has outlined Tolkien's experience with the barrows at Berkshire Downs. I am unaware of any research that examines Amon Rûdh for any arguable echoes of an actual site in Britain. But if Tolkien had in mind hill forts, Amon Rûdh doesn't much resemble such places – it is at best a fantasy version of a hill fort.
Tolkien could have adapted the term "Rûdh" from Irish dye traditions. In Eugene O'Curry's On the Manners and Customs of the Ancient Irish (1873) we find an interesting note: "In order to dye the same 'rimed' wool of a splendid crimson red, they cultivated a plant in ancient Erinn which they called Rudh and Roidh; but as the plant is not now known in the country, I cannot designate it by any more intelligible name." Tolkien's rûdh was intended to mean "bald" but on the bare summit of the hill we find in bloom "the red seregon that mantled the stone." This flower can be found nowhere else in Middle-earth; it seems to have been invented for Amon Rûdh.
With this possibility in mind, we might look for some further connection to ancient Ireland. In an 1842 publication of the Dublin Archaeological Society, for example, we find reference to "Clanna Rudhraighe" as associated with "Eamhain Macha, the name of their ancient palace…" This publication concerns the Battle of Magh Rath, and in a paper published in 1856, JW Hanna postulated that this battle occurred near Crown Rath, where we find "a mass of solid rock" and the "debris of a 'King's House.'" To make use of such materials, Tolkien would have had to mine assorted texts – none of which seem to have contained a convenient clustering of elements that then reappeared at Amon Rûdh. Tolkien did in fact weave together diverse materials to create his Middle-earth legendarium, but it is not ideal to suggest that he selectively extracted widely scattered obscure details to produce a given narrative setting.
There is an identifiable candidate for the raw material that could have given rise to the Petty-dwarf mansion at Amon Rûdh. During the late 1920s Tolkien prepared a short contribution to a report on an archaeological site at Lydney, Gloucestershire. This was a Roman temple complex with an adjacent hill fort overlooking the River Severn, and it had an ancient name: Dwarf's Hill. The two hills are very different, but decades later Tolkien could have taken inspiration to build his own version of a Dwarf's Hill.
These various postulated contexts are interesting, but there is more to consider. In 2013 and this year I issued Tolkien in Pawneeland, a book showing that from circa 1914 to 1942 Tolkien made occasional use of a 1904 collection of Pawnee stories. I describe in detail clusters of parallel textual elements shared between specific narratives in George Dorsey's Traditions of the Skidi Pawnee and specific texts authored by Tolkien. This technique of comparative textual analysis is a typical procedure in Tolkien studies, and following this analysis, my major findings touch on shared elements that are substantial and unusual. I think it is clear that Tolkien did consult this Pawnee publication. More recently, reading The Children of Húrin, I realized there were indications that in the course of reconstituting Mîm the Dwarf, Tolkien drew on another story in that Pawnee collection. This particular visit to Pawneeland may have been motivated by a wish to use exotic source-material to counter a comparison to Wagner, shifting Mîm away from Mime.
In "The Moon Medicine," told sometime before 1904 by a Skidi Pawnee priest named Roaming Scout, a war expedition traveled to a "high hill" called Pawnee Rock. As Roaming Scout described it: "There was only one path up to it, and the other side was rough and rugged; on the north there was a steep bank and a creek running by." Tolkien's Amon Rûdh rose above "a broken land" and its "steep grey head was bare." Only Mîm and his sons knew the single path up the "steep slopes" to "a bare flattened top"; and on the north side was "a shelf," and "sheer cliffs" dropped away east and west. But on the north side lay a path to a place "fed by a spring[.]" Both sets of descriptions focus on a stony hill accessible from one side only, with an associated water source.
Tolkien has one character ask about the bleak sight of the looming hill, "Do men hide on a hill-top?" The answer is yes; in each story a wandering party of warriors ultimately takes refuge on a prominent stony hill. The Pawnee expedition becomes trapped, seeking refuge at the summit of their hill, and Túrin's company of outlaws also finds a safe haven – both Pawnee Rock and Amon Rûdh prove quite suitable for companies of men.
Scouts figure in both narratives. In the Pawnee story there are "scouts" who "lay upon the high hills" and observe the coming of enemies. And they are observed by enemy scouts who "went back and reported" that the Pawnees had been found. In Tolkien's story Morgoth sends "his most skilled scouts" to lurk about, spying on Amon Rûdh.
Both Roaming Scout and Tolkien report on similar furtive negotiations. In the Pawnee story two men descend from the hilltop to negotiate in secret with the enemy; in Tolkien's story Mîm and his son descend from Amon Rûdh to make a secret deal with "the servants of Morgoth."
In the Pawnee story a key development occurs when the leader of the expedition receives magical help from Spider Woman – help that enables their escape from Pawnee Rock. When Mîm is asked about how the men "shall go out" and "how shall we return" he makes an interesting observation: "Do you fear that you have followed a spider to the heart of his web?" He next offers to serve as a guide to the men, just as Spider Woman provides guidance to the Pawnees on how to safely escape their rocky haven.
Spider Woman helps the Pawnee company by pointing out to the leader "a great rock that is loose" – this great rock plays an important role in the story. In Middle-earth, when Túrin's trapped outlaws do battle with Orcs, a few retreat "to the centre of the summit, where there was a standing stone" and there they make their last stand. The Pawnee standing stone proves very useful, but Tolkien's British version feels unfinished as a narrative element, a merely sketched-in idea.
In the aftermath of the Orc battle, Mîm "ran to the brink of the cliff and disappeared: he fled down a steep and difficult goat's path…" And in the Pawnee story, "a little fellow who was errand man for them rose up and ran down the hill." The fates of these variously "Petty" and "little" fellows differ, but both cases proceed down similar paths. As acts of desperation, a dwarf and a little fellow both run down their separate paths from similar hilltops.
Many major differences exist between the two stories, but the range of shared features is notable. Given the existence of these parallels, what are we to make of them? To begin, Tolkien did not retell the Pawnee story; he did not cut and paste sentences; he had no evident intention to cultivate in his audience any sense of appreciation for Pawnee tales. For that matter, as far as I know, he never mentioned any kind of literary inspiration for his evolving tale of Mîm the Dwarf – even Wagner failed to get any kind of nod from Tolkien.
In the chronicles of human history there have surely been many battles on many remote hilltops. Tolkien had no need to visit far-off Pawneeland for his hilltop massacre. He had no need to visit any historical battleground in order to create the fighting that occurred on Amon Rûdh. And yet the strange fact remains. Tolkien's depiction of Amon Rûdh features elements that look borrowed from a Pawnee story. These elements are mutually clustered – meaning that in Traditions of the Skidi Pawnee they can be found in one story over the space of about four pages; these details reappear together in two sequential chapters in The Children of Húrin.
It is possible that some or all of these shared traits are pure coincidence. In this kind of textual analysis, coincidence can never be completely ruled out. But its explanatory authority diminishes as the list of parallels grows; the interpretive power of coincidence withers when shared materials are unusual. We can evaluate the likenesses and contrasts of the compared traits; we can judge whether the comparisons are fairly drawn or stretched beyond reason. In this case, we must ponder a diverse list of traits: stony hills in remote lands with access up one side only; wandering warriors who occupy that hill; scouts sending in reports; enemies surrounding the hill; references to spiders who act to guide men; two people conducting secret talks; great stones upon the hilltops; and smallish people running down the hill in distress.
Some of these points of convergence do not seem particularly unique – like the roaming warriors occupying a hilltop, enemies surrounding that hill, and the mention of scouts. As war stories, we might reasonably expect to see certain kinds of overlap. The accumulation of weak parallels may draw notice, but the challenge is to explain the spectrum of more unique conjunctions. These include the comparable nature of the two stony almost inaccessible hills, the deployment of spider imagery, the two-member teams of clandestine negotiators, the standing stones, and the small individuals running off their hills in concert.
These diverse coexisting circumstances do not feel like elements that one would commonly expect to see repeated in war stories. We might well find them all randomly scattered among war stories worldwide, but what should really draw our interest are instances where a group of shared features appear in a more concentrated context, as with "The Moon Medicine." It is plainly evident that this is a meaningful clustering of unusual features, quite remarkable for two stories that are not supposed to have any connection.
In this case, given the range of congruent elements, the idea of coincidence is a difficult proposition to argue. It is indeed fair to conclude that a Pawnee source connection is more than just possible; deliberate borrowing offers a better explanation than a model of independent unrelated invention. This view is strengthened by another factor. In Tolkien in Pawneeland I explore other examples of similarly parallel constructions – that is, we find various components abstracted from a single Pawnee narrative and dropped into a single Tolkien story or poem. These borrowings happened between circa 1914 and circa 1942.
Tolkien's periodic interest in Pawnee mythological tradition is clear enough. In the present example, the evidence discourages the likelihood of incidental similarity. In the other circumstances I describe in my book, we find much stronger cases with even more detail, unique and convincing. Pondering this history, I favor a definitive conclusion. We can feel seriously doubtful about what happened only if we simply can't accept what happened.
Mîm the Dwarf started off as an arguable incarnation of Mime, a dwarf character in Richard Wagner's The Ring of the Nibelung. Later in life, resenting comparisons to Wagner, Tolkien decided to surround Mîm with a different narrative setting. To launch this project, he may have given thought to Dwarf's Hill at Lydney. The name for his hill could have come from some Irish text mentioning a dye tradition about rudh, a forgotten red flower. For additional help he turned to a very obscure Pawnee tradition. The borrowed details can be readily identified as elements from George Dorsey's Traditions of the Skidi Pawnee, a book that enjoyed a brief heyday in Britain during Tolkien's youth, but which was long forgotten by the 1960s.
Tolkien's handling of these matters came to a close in a leaf-mould of randomly piled papers. He never completed the legend of Mîm the Dwarf. It is a curious tale. As JRR Tolkien's first and last dwarf, Mîm traversed the making of Middle-earth – and his journey took him through the heart of Pawneeland. We can only wonder what Tolkien would have done further with Mîm, had he completed the story. Peering into the pages of The Children of Húrin, we only see a half-glimpsed hooded shape wandering in a forever unfinished dusk.
My related Pawneeland essay: "The Moon Magic"
My related essay at The Wandering Company: "The Spider's Springs"


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SAN ANTONIO. Ask Rush Enterprises COO Michael McRoberts and he'll tell you: There is absolutely a technician shortage.
"We could probably hire about 500 technicians right now," McRoberts said during a press conference on Tuesday ahead of this year's Rush Enterprises Tech Skills Rodeo. "I was talking to one of my regional managers in Ohio today and asked how many you'd need tomorrow, and he says 50. That's just Ohio. So there is absolutely a technician shortage and there's no supply change in sight on that."
The key, according to McRoberts, to evolving with a growing technician shortage is developing younger talent and attracting them into the industry to begin with in this tech age. Part of that includes increasing recruiting efforts within local high schools and vocational schools, he noted.
"For the first time in the history that I've been here we're really accepting that we have to target the level one and level two technicians and make those investments," McRoberts explained. "The biggest investment we're making right now is investing in the younger techs and their development."
Career advancement and development, pay, and training have historically been the biggest challenges in retaining technicians, McRoberts explained. And throughout the industry, keeping technicians past the first year is always hardest.
"It's that first year where there are higher disproportions in turnover," he noted. "If we could really be successful in enhancing our training in that first year, recruit from the right places and have good screening processes, keeping [technicians] longer goes way up."
When asked about working to recruit women as truck techs, president, CEO and board chairman W.M. "Rusty" Rush said it's something the company and industry as a whole should do a better job with.
"It just doesn't lend itself historically speaking to the job description," Rush explained. "But because the job description of a technician has changed, it should be more conducive to attracting a younger workforce with more females into that workforce."
And with less than a week left to go before the electronic logging device (ELD) mandate goes into effect on Dec. 18, Rush mentioned he doesn't expect the industry will see true enforcement until April. He added that it will be interesting to see how the mandate will impact smaller carriers and owner operators from a productivity perspective.
"I think it will take a full year at least really to see where it's at because you really don't start enforcing it off the bat – you get a warning – until April," Rush explained. "It'll be interesting to see how the states and the feds get this sorted out. It's the states that have to enforce it."
McRoberts pointed out that ELDs will continue to improve diagnostic work for technicians. For instance, he said technicians could spend an hour or more trying to find an electrical problem, but telematics are helping techs fine-tune and identify issues they wouldn't be able to without a fault code.
When addressing the outlook for trucking in 2017 and heading into 2018, Rush told reporters he is "cautiously optimistic."
At the start of the year, some analysts' numbers projected Class 8 truck sales would be about 154,000-155,000 this year. However, it's looking like those numbers will be around the 195,000-197,000-mark for U.S. retail, Rush noted.
"Obviously, this is a bump of close to 25-30% better than what people anticipated coming in," Rush stated. "At the same time it's been pretty broad for us from coast to coast and in between. Whether it's on the Navistar side, the Peterbilt side, or even all of the medium-duty side, it's been very broad based across the organization. We feel really good about where we began."
However, Rush stressed that his cautious optimism comes into play due to winter and the holiday season.
"I can tell you I feel as good as I usually do about this time in December," Rush noted. "Typically, in November, December and January, February, you get a little bit nervous because you're in the holiday time. Right now I'm cautiously optimistic about where we're at and where we're headed."
Rush projected that next year will be higher from a delivery perspective from Class 8 vehicles. He added that medium-duty has been strong and should remain somewhere around where it's been.
Heading into 2018, Rush said there isn't anything in particular he's worried about.
"I've done this long enough and you just get a little bit nervous when things are running really well," he explained. "What I see is good. As an organization, I think it's key that we best the market. I feel good about where we're at as an organization regardless of where the market goes."


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The Science Museum's 'atmosphere' gallery, supported by Shell, will play a key role in helping people understand climate science.
'atmosphere' includes interactive exhibits and a variety of displays to explain how the climate system works and summarises the current state of knowledge about climate science.
James Smith, Chairman Shell UK said at today's opening ceremony: "The atmosphere gallery promotes better public understanding of climate science. I hope this can lead to a better appreciation of why we in Shell believe climate change has to be tackled. We are facing the challenge of meeting growing global energy demand while reducing emissions. That is why companies, Shell included, are developing new technologies for lower carbon energy."
atmosphere will attract large numbers of visitors from the UK and around the world. It also has an outreach programme for schools and extensive online learning resources to extend its impact beyond the Museum.
Shell is continuing its support for the Science Museum, having previously sponsored the very popular Launchpad gallery.
James Smith, continues: "Knowing how the atmosphere works is essential to looking after it. The physics and chemistry of the atmosphere is complex and fascinating. I hope the gallery will be especially interesting for young people. I hope it will stimulate their interest in science and the natural world and encourage them to take up studies in science and technology."
The Science Museum sponsorships complement Shell's other investments in UK science education, including the now 50 year old Shell Education Service (SES). SES provides a series of unique, interactive physical science workshops to over 60,000 young children a year in over 600 hundred primary schools. SES also organises science days for local communities and trainee teachers, building their confidence and skills in teaching science.


text: On Mon, 2005-04-18 at 17:00 +0100, Jamie McCracken wrote: > Christian Neumair wrote: > > I've recently decided to implement a D-Bus-powered bookmarks system, > > which aims to provide categorized file and web bookmarks. > > > Whilst not wishing to put you off implementing this, I was kinda > hoping something like DConf will do away with propriety storage (dot > files, xml files and all the other crap freedesktop currently uses). Is > there a reason DConf could not handle the bookmarks? > > (of course Dconf is vapour ware, might not be ready for months or years > and might not even succeed so dont let that stop you!) Agreed bookmarks are very close to configuration data (preferences), in fact they are application-data. That's because they are created because of interaction with the user. Preferences are more static: The user sets them, and then works with the application that will play by the rules it can read from these settings. So it's not a valid use-case to add bookmarks to the configuration data. At this moment one of the few applications that shares application data across different desktop applications is the Evolution data server (eds). It's main purpose is to share contacts and calendaring information. It would be a very good idea to create a generic shareable application- data access system. Some use-cases to start with: o. Bookmarks o. Browser/WebSurfing bookmarks o. Filemanager bookmarks o. My Documents o. My Photos o. Etcetera o. Contacts o. Instant Messaging Contacts o. Calendar o. Agenda I'm not sure this belongs to D-Conf. However. It can be integrated with D-Conf. Provided the use-cases of D-Conf will be extended. So more analysis, more code, more ... Also don't forget not all platforms want such a rich configuration and/or app-data-access system (mobile devices, etcetera). -- Philip Van Hoof, Software Developer @ Cronos home: me at pvanhoof dot be gnome: pvanhoof at gnome dot org work: philip dot vanhoof at cronos dot be junk: philip dot vanhoof at gmail dot com http://www.pvanhoof.be/


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Conference on empowering women for prosperity in Islamabad on Feb 8
Islamabad – Basic right of education has been recognized by Pakistani leadership under Article 25 (A) of the Constitution which states that education has been made free and compulsory to all children of the age of five to sixteen years, said Dr. Fehmida Mirza, Speaker, National Assembly of Pakistan. She was speaking at 'National Conference on Child Rights as Human Rights – Post 18th Amendment Scenario' arranged in Islamabad. "There is no trust more sacred than the one the world holds with children" said the Speaker quoting Kofi Annan (former UN Secretary General) and she added that "every time a child is deprived the right to education, this trust is breached."
The long-awaited conference on child rights was organized by Ms. Rubina Qaimkhani, Parliamentary Secretary on Human Rights providing an opportunity for the lawmakers and civil society to discuss the plight of millions innocent and vulnerable children of Pakistan.
The speakers agreed that there is a need of enhanced coordination between provinces and federation in the post 18th Amendment to achieve the 8 Millennium Development Goals (MDG) by the year 2015, which bind us to eradicate poverty and hunger, reduce the child and maternal mortality rates, ensure universal education and guarantee child health.
Ms. Fehmida Mirza disclosed that "National Assembly has decided to constitute a Special Parliamentary Committee on MDGs," which would address Child Rights issues and "there also can be a Sub-Committee especially for the Children".
Ms. Fehmida Mirza disclosed that "National Assembly has decided to constitute a Special Parliamentary Committee on MDGs," which would address Child Rights issues and "there also can be a Sub-Committee especially for the Children".
Ms. Rubina Qaimkhani stressed to revitalize the child rights mechanisms at federal and provincial level to effectively supervise, and report progress on UN Convention on the child rights. She invited the civil society members and media to jointly put forward the child rights agenda as human rights.
Karen B. Allen, Deputy Country representative, UNICEF highly appreciated Pakistan's recent step to ratify United Nations Convention on the Rights of the Child (UNCRC) optional protocol dealing with child pornography, the sale and prostitution of children. She recalled that "Pakistan was one of the first countries to ratify UNCRC back in 1990."
Speaking at the occasion, Zamurrud Khan, Chairman Pakistan Bait-ul-Maal pledged to end child labour from Islamabad within next three months to make the capital city a role model for other cities.
The conference was attended by Provincial Ministers, Parliamentarians, and civil society organizations including Mustafa Nawaz Khokhar, Advisor to PM on Human Rights; Barrister Zafarullah Khan; Zia Ahmed Awan, Advocate; M. Akhtar Buland Rana, Secretary Human Rights; and Ms. Shahnaz Wazir Ali.
Zafarullah Khan pointed out that "there is no single comprehensive law on child in Pakistan" while giving a presentation on 'Post 18 Amendment – Child rights legal position'. He urged the government to initiate non-custodial and adoption laws and to remove contradictory laws.
The concluding session of the conference was addressed by Raza Rabani, Chairman 18th Amendment Implementation Commission who said that under the 18th amendment "provinces have been fully empowered to under-take the subjects of abolished concurrent list for improving the situation of children.
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text: Zoom Espresso Clean 150 Tablets - Cafetto SKU: CAF-ECT Availability: In stock The premium espresso machine cleaner for professional espresso machines. Cafetto® Espresso Clean® Cleaning Tablets provide the same cleaning performance as Cafetto Espresso Clean, in a tablet for convenient measured dosing. Same day dispatch for orders placed by 3pm $49.50 Qty: Add to Cart Enquire Now Email to a Friend Add to Wishlist CMS tab


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Edinburgh Based - Providing a Nationwide Service
Websites for Small Business, Entrepreneurs & Start-Ups
Edinburgh, Glasgow & Scotland Web Design Service
For local clients we prefer to first have a phone chat or email correspondence so we can get a clearer idea of what you may need and how we might help. If we both feel we are a good match then we can move to the next step and either have a meet-up or get going via Phone and Email.
For Scotland-Wide Clients - We can visit anywhere in Scotland however usually for straightforward projects that is not required and we can communicate by phone and email.
We are frequently In the Glasgow, Central Scotland, Borders and Central/Fife areas so if your project is more complex or requires staff training then consultations can be arranged.
It's easy to keep in touch:
We keep any relevant documents online where you can share access
You will also receive a password so you can see your site as its being developed


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Brittany & Kyle tied the knot in an intimate ceremony surrounded by family and friends on August 1st at the First Baptist Church of Shelby. They first met in college at Pensicola Christian College in Florida. You two were great to work with. Thank you both for letting me share in your special day!! Many thanks to the following who helped make their wedding day the BEST!!
Venue - First Baptist Church of Shelby
Flowers - Holly's Flowers of Shelby
Food - Jennifer Burnette & Angie Davis
Cheesecake - Gift from Bruce Brown of Bruce's Fabulous Foods in Marion, NC
Hair & Make-up - Amber Jewell
Soloist - Dr. Andy Roby
Pianist - Mrs. Emily Monroe
Wedding Director - Jennifer Burnette
Invitations - Westmoreland Prints of Shelby
Bridemaid's Dresses - David's Bridal
Guys Formalwear - Chadwicks of Shelby
Cheryl Young of Carolina Bridal hemmed Brittany's gown
Officiants - Tony Burnette, Uncle of the bride and Todd Abbey, Pastor of Central Baptist Church of Greenville, TN
Rehearsal Dinner - The Carousel at Shelby City Park


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CIO.com's Seven Reasons for Your Company to Start an Internal Blog lists the following:
- Your enterprise e-mail applications are not easy to search.
- Your e-mail is lost in the eye of the "cc storm."
- Ex-employees can take it with them.
- Too much wasted time checking in with colleagues.
- With blogs, the humble and the egotist both win.
- Organizational openness and accountability.
- People might already be using them.
I personally agree with much of the discussion in this article, especially with the article's subheading:
Proponents say an in-house blog can be like a bulletin board, communication tool and culture enhancement. Plus, it's better than tracking projects by e-mail.
Nevertheless, my consulting as well as my own research (the interviewing I've done so far for my project blog survey and last year's Web 2.0 Management Survey) have uncovered corporate resistance to blogging that is based partially on ignorance, partially on misconceptions about what blogging is -- and partially on rational concerns about costs, effectiveness, security, and privacy.
I'm going to withhold judgement till I get a few more interviews under my belt.
Still, I have to agree with the CIO.com comment about the email, and about meetings as well. Blogs can be an easy to set up and manage tool to centralize pages and documents for discussion and review. They can also help to overcome some of the problems that arise when an organization relies heavily on difficult to convene meetings for information exchange.
Sometimes having just one individual miss a meeting can result in weeks of delay on an important project. Using a blog as a repository for discussions and issues can mean that the person who missed the meeting doesn't have to wait days or weeks to get caught up.


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Prices are based on bookings made during the previous 42 days. Price is dynamic and varies based on the date of the booking, length of rental and car class. There is no guarantee this price will be in effect at the time of your search.
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(Reviewed on July 29, 2015 )
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November 16 (Friday 6-8 p.m.) or November 17 (Saturday 10-12 noon) Pre-registrations required: $10
The smell of cookies in the air,
the delicious taste of peppermint,
snowflakes in your hair.
The sights and sounds
of Christmas everywhere!
- enjoy 5 stitching workshops
- savor delicious Christmas goodies
- participate in a make and take