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This year on broadcast television we saw how Agents of S.H.I.E.L.D. evolved into a must-watch comic book adventure, introducing Marvel's Inhumans storyline to the world years before its eventual film debut. During the midseason hiatus, Agent Carter jumped in and took over for Coulson's rag-tag team, revealing an untold story of Cap's would-be love Peggy Carter teaming up with Howard Stark in order to save the world from his deadly inventions dubbed "Bad Babies". Then there is The Avengers 2: Age of Ultron, which ignores both shows and references neither. The question: Why?
If you haven't felt it by now, there's a clear divide between Marvel Studios and Marvel Television. This isn't something that's new, nor is it something that's been well-hidden — those who've followed the evolution of Kevin Feige's Marvel Cinematic Universe since its debut with Iron Man in 2008 would've at least sensed it.
One could say that this so-called "feud" has been going on since Walt Disney CEO Bob Iger - after buying Marvel Comics in 2009 - created a new division, Marvel Television, with Jeph Loeb as the Feige of the small screen. Still, each side was cordial enough to the other — until the initial announcement of ABC's Agents of S.H.I.E.L.D in 2012 - then the gloves came off.
Let the Games Begin
The inspiration for Agents of S.H.I.E.L.D. came after Disney CEO Bob Iger watched the Marvel Studios-produced One-Shot Item 47, who then teamed with beloved television creator Joss Whedon - and Avengers mastermind — along with his trusted Dr. Horrible's Sing-Along-Blog co-writers Jed Whedon and Maurissa Tancharoen. Joining them as its star would be everyone's favorite (recently deceased) S.H.I.E.L.D. agent Phil Coulson (Clark Gregg), and together they were going to bring a bit of the Marvel Cinematic Universe to the small screen. Therein lies the problem.
Essentially, Agents of S.H.I.E.L.D. and Marvel Television (read: Jeph Loeb) can be seen as simply piggy-backing off of the hard work Marvel Studios (read: Kevin Feige) put in to getting the MCU off the ground — one of the main reasons why Walt Disney (read: Bob Iger) purchased Marvel Comics - and the fact that Joss Whedon, who was still needed for Avengers 2: Age of Ultron, and fan favorite Clark Gregg were involved only complicated matters further. Ultimately, Marvel Studios couldn't really do much to stop it publicly, but especially privately, behind closed doors.
So what's Marvel Studios to do?
A Non-Helping Hand
Since Agents of S.H.I.E.L.D. was being developed by Marvel Television for ABC, in two completely different divisions of Disney, there was nothing Marvel Studios could do to make sure that it failed. However, it could make sure that it would be difficult to succeed — and that's essentially what they did, whether they'll admit it or not.
In August 2014, showrunners Maurissa Tancharoen and Jed Whedon revealed to THR what happened immediately after ABC ordered a full season of the show:
Maurissa Tancharoen: We had the order to do a series about S.H.I.E.L.D. and, literally, a day or two after that they said, "Oh, by the way, there's a movie coming up that will affect your show."
Jed Whedon: Here, read this script [for Captain America: The Winter Solider].
Tancharoen: Read this script, and you'll see what we're talking about.
Recently, during interviews for The Avengers 2: Age of Ultron, Joss Whedon opened up to IGN and confirmed Marvel Studios' attitude towards Agent of S.H.I.E.L.D.:
I think actually the movie people were a little bit cross about the TV show. They were sort of like 'Well you can have this but not this. And this but not that.' It's complicated enough as it is without me adding another layer of complication. We also created a TV show called S.H.I.E.L.D. right before they made a movie where they destroyed S.H.I.E.L.D. - so everybody's having a GREAT time!
The question still: Why?
Whedon's references to complications aside, the entertainment world is essentially all about perception and promotion, ultimately. No matter who you are in the business, there is always someone who wants your job, who is actively vying for your job, and who will ultimately have your job when you "move on", either by choice or by force. Marvel TV (AKA competing executives) is now leveraging a portion of the Marvel Cinematic Universe - which they didn't create — and, if successful, is a threat to the executives at Marvel Studios.
That's to say: if Marvel TV succeeds and Marvel Studios fails, Mickey Mouse is going to want to move members of the "winning executive team" to the "failing executive team" — especially when "failing" for Marvel Studios, theatrically, can mean billions of dollars in lost revenue. No matter what, each and every corporation is beholden to their stockholders, and they must make decisions which benefit those individuals. If they don't tend to their investors, then there's always someone else who is ready and willing to take over the position and do just that.
In Captain America: The Winter Solider, S.H.I.E.L.D is seemingly dismantled, in a very big and explosive way. For the freshman ABC series, this event didn't happen until episode 17 of season 1 ("Turn, Turn, Turn") — so the writers and producers had to figure out what to do with a show whose premise won't actually exist after 16 episodes — yet ABC still needs 16 episodes (read: hours) of television to air until then.
For anyone who sat through Agents of S.H.I.E.L.D. season 1 - instead of using our viewing guide — the lack of focus and story is more than apparent. Sure, there are some episodes such as "The Hub" (episode 7) and "Seeds" (episode 12) which are able to stand on their own as solid installments to Marvel's ever-growing television world. However, overall, Agents of S.H.I.E.L.D. season 1 - even after Captain America: The Winter Solider - is a mess of pointless stories, silly characters, and Bill Paxton not fighting a tornado.
Marvel Studios needed to respond. Cue: Peggy Carter.


text: Contact Information. Name Position / Job Title Name of Ministry / Department / Agency Email Ministry / Department / Agency Address Telephone ( Office ) Telephone ( Mobile ) Title of Proposal End Section Please provide a brief outline of the proposal. This could include the following information: • The problem that the regulation is attempting to solve, and the government's objectives; • Any preliminary options that are being considered; and • Information on whether it is a proposal for a new regulation, or to amend an existing regulation. Brief Outline of the Proposal End Section Likely impact on the business and other stakeholders An RIS is required for all proposals that are expected to have a significant impact – whether positive or negative – on businesses or non-governmental organisations, unless these costs are of a minor nature. Impacts may include: • Changes to the number or type of products and services that businesses can offer, such as: - Banning products or industry practices; and - Changing the way in which products and services can be offered for sale. • Impact on consumer demand for certain products and services, such as: - Increasing prices brought about by the regulation's requirements; - Changing the information available to consumers; - Requiring a self-regulatory regime for an industry sector; - Changing the requirements for a licence, permit or other authorisation; - Influencing the price or quantity of goods which are sold; - Requiring conformance to mandatory standards for product/service quality; and - Changing the price or restricting the types of input available to businesses. Is your proposal likely to have any regulatory impact? If so, please specify. End Section Compliance costs are those costs that businesses face as a result of dealing with the government. Compliance costs include: • Requiring the collection and reporting of certain information; • Keeping abreast of certain requirements and re-training staff; • Changing operating procedures or purchasing patterns; • Cooperating with audits or inspections; and • Engaging lawyers, accountants or other advisors. Is your proposal likely to affect compliance costs? If so, how? Timing Key dates, as well as an indicative timeline, should both be clearly outlined in the box below Paragraph Text End Section Date of Submission End Section RIS PortalUSA firstname.lastname@example.com

subset: commoncrawl


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Gatherings & Celebrations: Food and Romance in Verona - #114/
We know that people have been living in the region of Verona since prehistoric times. But the oldest remaining structures are from the days of the ancient Romans. Twenty-one hundred years ago, this was a major Roman settlement -- and you can still see parts of the actual buildings that stood here. The number of Roman remains in Verona and the quality of their preservation is second only to Rome.
This is what remains of the Lion's Gate, which was the entrance to the city during the first century BC.
In size and historic importance, the Roman Amphitheatre in Verona is almost as significant as the Coliseum in Rome. It's over two thousand years old. When it opened, it was used for the battles between gladiators, sporting competitions and the general spectacles that were put on by the government. These days it's used for the presentation of operas.
Verona is itself a museum that is easy to visit. A simple guide book and a good pair of walking shoes are all you need. The Piazza dei Signori was built in the 1200s. All the entrances to the square are accented with arches. In the center of the square is the statue of Dante, the author of The Divine Comedy. When his political beliefs became offensive to the rulers of Florence, he moved here to Verona, and lived under the protection of the Scala family. To the side of Dante is The Palazzo del Comune. Its walls are constructed of the distinctive bands of brick and stone that are used throughout the city.
Verona is also packed with wonderful churches. Verona's cathedral, known as the Duomo, was consecrated in 1187. Students of art are particularly interested in the double arches over the entrance. The first church on the site of San Zeno Maggiore was built during the 400s. The present structure was put up during the 1100s. It's considered to be one of the great examples of Romanesque architecture. The panels on the doors present scenes from the Old and New Testaments, stories of belief and devotion.
Of all the stories that can be told in Verona, the story that is most often associated with this city is the story of Romeo and Juliet. Shakespeare set his play here and lovers have taken it to be the truth for the past four hundred years. Number 23 Via Capello is said to be the actual home of Juliet. This would have been the courtyard where their great love scene took place -- and the balcony.
BURT WOLF (ON CAMERA): Interesting thing about the relationship of love and food... many of the same words that are part of the vocabulary of romance are the same words that are part of the vocabulary of cooking. I'll run down a few. You think about them in terms of love, and I'll think about them in terms of things that go on in the kitchen. Steamy... hot... tender... moist... juicy... spicy... delicious... hungry. I'd better stop or I'm gonna end up with the first R-rated recipe, which could be too hot to handle. In either case, Verona is an ideal city to take a look at the relationship of love and food.
Romeo and Juliet, as the play or the ballet, is the story of clashing families that threaten to destroy the fabric of society. The young lovers, however, are wiser than their society, but the madness of their culture destroys them. Their destruction is a lesson: Don't let your society split up into factions that hate each other. That kind of conflict will destroy the culture's youth. When Romeo and Juliet die, everyone realizes how wrong things are, but by then it's too late. The tragedy has taken place.
BURT WOLF (ON CAMERA): In reality, Romeo and Juliet may or may not have existed -- but their families, or families like theirs, certainly did. It was a time in Italy where the powerful families were getting bigger and bigger. They began to bang up against each other and feel crowded. There was constant fighting in the streets. One of the things that reduced the tension was a marriage where two families ended up in an alliance. That smoothed things out and made life a lot more peaceful.
Marriage was important -- but the real issue was children. A society needs children: no children, no future. One way of getting the lucky couple together was for the head of one family to decide where the alliance was needed and make a deal with the head of the other family. If your family did not choose your mate for you in a kind of pre-emptive strike on your emotions, then you might actually meet someone on your own. At that point, all you needed was your family's approval.
BURT WOLF (ON CAMERA): A good place to meet somebody was a festival. Festivals were ideal for romance. Lots of men and woman, different ages, all in the same place at the same time. At some festivals you were asked to wear a mask -- so your identity would be a secret. At a festival the best place to meet somebody was at the food table. Lots of people hanging around, all hungry for, ummm... one thing or another. Sounds like hot stuff to me.
If your family wasn't in the festival set, the church was the next best place, and as a fallback position you could always count on the local fountain. In the days before inside plumbing, young men and women were constantly going off to the water fountain to bring home a bucket's worth. But the well also offered you a place to meet someone.
BURT WOLF (ON CAMERA): "Come here for water often?" We still think of fountains as romantic places where people come to meet. As a matter of fact, when I think about my old neighborhood where I grew up, there was kind of a pub, a tavern where everybody would go to meet each other, and we always described it as "the local watering hole."
The Latin word companion literally means "someone with whom we share bread." And sharing is what holds people together. It could be two lovers, a family, a group of friends or an entire society. To share food is often an expression of love. There are a number of societies where a man and women eating together in public is a clear statement that they are sleeping together in private. The flip side, of course, is that if a woman stops cooking for her man, or drastically lowers the quality of her cooking, he's got a real problem. Same thing when a man cuts down on eating his mate's cooking or if he starts to cook more and more for himself. Something is failing. Though I should point out that I do most of the cooking for my family, so these signals can get flipped around.
For thousands of years, there's been tradition and ritual around the foods of lovers. In order to be "sexy," the meal must be titillating, more about tasting than eating. We wouldn't want anyone to think that the food was the main attraction here. But there are foods that are believed to arouse desire. Exactly which food depends on where in the world you are dining. For a long time, the focus was on any animal with a reputation for great sexual activity. The idea was that the same abilities would be induced in anyone who partook of that animal at a meal.
Guys would look at salmon. Finding their way back from the open sea to the river they called home. Hundreds of miles of swimming against the current. Hurling themselves up through waterfalls. And all done in the name of love. Let's have some salmon for dinner! Couldn't hurt.
There are foods that some people identify as having sexual textures. Oysters are in that category. And then there are foods that come into the culture with a well established reputation as a tasty morsel that will by themselves induce thoughts of love. Chocolate is the leading food in that category.
BURT WOLF (ON CAMERA): Chocolate had been around in South America for hundreds of years before the first European had a taste of it. Legend has it that the lucky guy was the Spanish explorer Cortez, and he got that first taste from the Aztec ruler Montezuma. Montezuma recommended chocolate as the appropriate beverage for the amorous evening. And we've been repeating that story for 500 years. Is it true? Will chocolate affect your love life? Every couple of years a scientific group announces the result of their studies. Some say there is absolutely no effect from chocolate, except the positive feeling you get from eating the chocolate itself. Others say that chocolate can have an enormous effect on your emotions. You pay your money and you take your choice. There is, however, one chocolate that does come with a true story of love; it's called a Baci, which is the Italian word for "kisses."
In 1907 the Buitoni family was already well-known in Italy as manufacturers of pasta. To broaden their production, they decided to start making sugared almonds, which were traditionally used in wedding ceremonies. They set up their confectionery in the Italian city of Perugia, and called it Perugina. The family's 22-year-old son Giovanni was sent to run the facility. Giovanni fell in love with Luisa Spagnoli. Luisa was a confectioner and developed many of the company's products. Luisa invented the Baci in 1922, and used her work samples to send secret messages of love up and back with Giovanni. To commemorate that correspondence, Perugina wraps a love message into every Baci that they make. Baci were introduced to North America at the 1939 World's Fair in New York City, and promoted by some really big names. Joe DiMaggio handled public relations on the west coast and Frank Sinatra was their spokesperson in Italy. Talk about lovers!
And this is the facility in Perugia where the Baci are made. Ground hazelnuts come down from the top. The chocolate base comes up from the bottom. They're mixed together and formed into a small round disc that is about an inch in diameter. Then a whole hazelnut gets placed on top. Each nut is checked to make sure that it is properly placed. You know, you can't be too careful when you're dealing with nuts.
Next -- The Enrobing. A curtain of liquid chocolate pours down, completely coating the centers. For the next ten yards, the Baci pass through a cold tunnel, set at twelve degrees Centigrade. At the end of the tunnel, the chocolate is firm. And since love works best in twos, there's a second coating. One more cooling and they're off to the wrapping machines.
Bright colors are also thought to be important at meals for lovers, especially red. Scientists who study the effects of color believe that red is received as a warm color, something that is near and attracts the viewer. It's alive and vibrant. Red is the color of passion. We color our hearts red. We give red roses. We wear red lipstick and rouge. And we include red foods in menus for lovers. A common double threat is the red strawberry dipped in chocolate.
BURT WOLF (ON CAMERA): There are also places that are ideal for romantic rendezvous. In order to be a good meeting point for lovers, you need a couple of things. You should be able to sit down, because you never know when somebody is going to be late. It's also nice to be able to order a little something to eat or drink. And it's very important to be able to look like you are not waiting for somebody when you are actually waiting for somebody. The cafe is the ideal spot. It's like a mini-festival -- you can come in, sit around, and when you're ready, you can leave.
This is Verona's Piazza Bre. It's one of the largest squares in Italy. The line of buildings is emphasized by a wide pavement, which is covered with cafes. The other place in Verona that is like an ongoing festival, always available for people to see and be seen in, is the Piazza Erbe. It's almost in the exact same spot as the ancient Roman Forum that stood here 2,000 years ago. There's a colorful and active fruit and vegetable market covered with giant umbrellas and surrounded by historically famous buildings. And, of course, cafes and restaurants.
BURT WOLF (ON CAMERA): A restaurant can also be an excellent place for romance, especially at the beginning of a relationship, when you're just getting to know each other. You're in a public place. The restaurant staff can see you. The diners can see you. You're almost "under surveillance." And that keeps everybody's behavior in check. Quite reassuring. But it can also be used to make things more exciting. There are lots of rules in our society against touching in public. So when you lean across the table... and hold hands... you are breaking the rules. And you are breaking them where everybody can see you! That's juicy stuff!
One of the more romantic restaurants in Verona is the All Aquila, at the Hotel Due Torri, which means "The Two Towers." The hotel is an elegant structure which was built on the site of a guest house for the lords of Verona since the 1400s. The furnishings are the work of local craftsmen, some dating all the way back to the Renaissance. One of the restaurant's most romantic recipes is for tortellini.
BURT WOLF (ON CAMERA): I thought tortellini only came with sauce -- but it comes with a legend. It is called "The Noodle of Love." "Alla fine del 300, nel corso..." English. At the end of the 1200s, there was a captain of the guards named Marco, who lived just outside of Verona. He fell in love with a nymph who lived in the river. But the Duke's niece wanted Marco for herself, and so she forced the nymph back into the river. Before the nymph left, however, she gave Marco a handkerchief made of silk with a knot tied in it to remember her. Since then, a silk handkerchief with a knot tied in it has been a symbol of love, and the people around here reproduce that in pasta. And that's how tortellini got started. Now, if that legend is a little implausible for you, try this one: tortellini is a reproduction of Venus' belly-button, sent here from the gods. You choose your story and you eat your pasta!
Chef Agostino Clama starts his recipe by heating a little oil in a saute pan. As soon as the oil is hot, in goes a cup's worth of sliced mushrooms and a little salt. While the mushroooms are cooking, the stems are removed from two tomatoes, after which they are blanched for ten seconds in boiling water. The boiling water loosens the skins, and then they are peeled. For me, peeling tomatoes is always an optional process; I kinda like the skins. The tomatoes are sliced... seeded... chopped... and added to the mushrooms. A sprinking of dried hot pepper flakes are added. A touch of salt goes in. A little more olive oil. Then a teaspooon of minced parsley. Four quarts of water are brought to a boil. A pound of freshly-made cheese tortellini goes in and cooks for about 45 seconds. Then the tortellini are drained from the water and added to the sauce. Everything heats for a minute, and the pasta of love is ready to serve.
Tagliatelli in chicken sauce... orecchietti and broccoli... linguini puttanesca... The cooks of Italy are some of the finest pasta makers in the world. And they have a few simple rules for cooking pasta that are well worth remembering.
First of all, you need at least four quarts of water for every pound of pasta. If you're worried about the foam on the water bubbling out of the pot, put a little oil on top. That will keep the foam down. As soon as the water comes to a rolling boil, add all of the pasta to the pot at one time. Whenever you're cooking long strands of pasta, like spaghetti, as soon as it gets into the pot, press it down and bend it in half so it is fully submerged. You don't want to break pasta into pieces. It also helps to keep the individual strands of pasta separate. Stir the water to separate those strands.
As soon as the pasta is tender enough so you can bite through the center without hitting a hard spot, it's ready to eat. Then quickly drain it away from the water. As soon as the pasta is drained, add it to the sauce. One of the techniques that seems to be used by all of the great pasta chefs of Italy is to add the pasta to the sauce while the sauce is still in the cooking pan. The pasta gets a better coating of the sauce, and all the food stays warmer until the moment of serving.
The next recipe is for something that any Romeo would love: chocolate biscotti called Juliet's Kisses. Eight ounces of semi-sweet chocolate are melted over a pot of simmering water. While that's taking place, four ounces of butter go into a bowl, followed by a cup of sugar. Those ingredients get creamed together unitil they are light and fluffy. Then one and one third cups of pre-sifted all-purpose flour are added. A little more mixing, and then in goes the melted chocolate. Everything is carefully combined... and then finally -- The Secret Ingredient (or at least the previously Secret Ingredient): a hard-boiled egg and a hard-boiled egg yolk, which are pressed through a sieve into the batter. A bit more mixing, and the batter goes into a pastry bag. Inch-and-a-half rounds are piped onto a baking sheet, and then placed into a 350 degree Fahrenheit oven for about 15 minutes. When they come out, they are cooled and given a light dusting of confectioners' sugar. "Wherefore art thou, Juliet? Your kisses are ready!"
For thousands of years the land around Verona has been producing wine. And many of those wines have become quite famous. Soave, Bardolino, Valpolicella -- all world-famous, and all made in this part of Italy.
BURT WOLF (ON CAMERA): That fame, however, presented an age old problem, a problem that confronts lovers and a problem that confronts winemakers -- and it's the same problem. It's good to be popular. It's good to be in demand. It's good to be sought after. But a lover or a winemaker who gives in too much to the demands of popularity can end up with a highly compromised reputation. And that is precisely what happened here. The winemakers gave into the demands of popularity and the quality disappeared.
But things that go down sometimes get an opportunity to come back up. And that's actually been the case here in Verona. Phillip di Belardino is an expert on Italian wine, and has kept track of this renaissance.
PHILLIP DI BELARDINO: This is one of the most beautiful areas of Italy. This is, of course, the Soave area, within the Verona district, and this used to be part of the Venetian Republic, which was founded about the time of the Renaissance. And speaking of renaissance, that word certainly applies to a revolutionary winemaker, Roberto Anselmi. He looked at his area, Soave, and went back, literally, to the roots of why this area was great at one time.
BURT WOLF: Nice choice of words, "roots."
PHILLIP DI BELARDINO: And what he discovered is, when you imitate something, the way Soave was, it had to be great to begin with. And what was great about Soave was that it was originally produced on hillsides. In fact, to separate the new latecomers of Soave, which are produced on flatland, the ones on hillsides are called Soave Classico, and the ones on the flatland are just called plain Soave. Now, the hillsides are essential for reducing the number of grapes per acre, which therefore makes a much more concentrated wine.
BURT WOLF: Fewer grapes, better wine.
PHILLIP DI BELARDINO: Exactly.
BURT WOLF: Makes sense.
PHILLIP DI BELARDINO: And the way they could tell where the best vineyards were on the hillsides, were where these -- well, they called them "chapels," but we would call them overgrown altars. In fact, the word in Italian for "chapel" is capella. In fact, if you sang in a chapel, it was --
BOTH (IN UNISON): --a capella.
PHILLIP DI BELARDINO: Exactly. But in local Veronese dialect, it's capitel, is the word. And what these altars would serve was a religious function, obviously, because the workers didn't have cars or horses a hundred and fifty years ago, and would have to walk to the vineyards, which was over an hour. They would stay here for the entire day, they would have lunch there, and they would also pray. And the best capitels are Capitel Croce, Capitel Foscarino, and of course Capitel San Vincenzo. San Vincenzo is Saint Vincent, who is the patron saint of the vinegrowers.
The English poet Edward Fitzgerald said it best -- "A jug of wine, a loaf of bread, and thou" -- traditional ingredients for an affair of the heart.
WOMAN IN FILM CLIP: Oh Ken, isn't this heaven? Nothing's changed, has it, Ken?
MAN IN FILM CLIP: Of course not, angel.
WOMAN IN FILM CLIP: I'm... still a mystery to you?
MAN IN FILM CLIP: As mysterious as life itself.
WOMAN IN FILM CLIP: I want it to stay this way forever and ever.
The relationships between wine and food and romance are also about sharing. And I think the actress Mae West expressed it best when she said, "It's not what I share, but the way that I share it." And I hope you will share some more time with us as we travel around the world, looking at the gatherings and celebrations that mark the passages of our lives. I'm Burt Wolf.


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The TOWIE graduate was recently the victim of a supposed revenge porn plot, but she's got two very large things to distract you from that recent embarrassment.
Lauren spoke out to defend herself after a video of her performing a sex act on an ex-boyfriend Jake McLean was distributed to thousands of people.
Any normal person would be keeping a low profile where smartphones and social media were concerned.
But Mark Wright's former flame seems to be taking a different approach to distract from her intimate clip.
In one of her most revealing snaps yet, Ms Goodger aims her camera directly to her bulging cleavage.
The Essex girl takes extreme measures in her recent exposing Kodak moment, perhaps in the hope that her surgically-enhanced bust will astonish online followers into a state of amnesia so they would forget her sex tape fiasco.
She has always been honest about having a boob job, but the salon owner's latest look reminds us of the almost stuck on assets of US glamour girl Coco Austin.
It's been more than two years since the ITV2 star left the scripted reality show and after a less than successful bash at Dancing One Ice, maybe Lauren plans to put her well practised pouting to good use as a model.
But more important than her future career plans – why hasn't one of Lauren Goodger's pals stepped in and snatched her phone?
As if the six seconds of leaked sex footage and the 17 billion self-indulgent solo pics aren't enough – what about the risk of repetitive strain injury?
We reckon her trademark head tilt and heightened angle of capture is going to leave Lozza with a humpback and a hand like a claw...


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1. States should adopt a range of positive measures – including in the fields of media regulation, education, social security, health care, access to goods and services, immigration, crime, sport and culture – to tackle prejudice and discrimination against persons with disabilities, including:
a) Creating independent equality institutions, with proper financial support, and with mandates to develop data collection mechanisms and to promote empirical and other research on discrimination on grounds of disability;
b) Conducting public education and information campaigns to combat prejudices, negative stereotypes of, and discrimination against, persons with disabilities and foster enabling environments for persons with disabilities in society. Such campaigns should be integrated into primary, secondary and tertiary education, and complemented with concrete anti-bullying policies, including the provision of support services for victims of bullying, including peer-led initiatives;
c) Imposing obligations on public officials at all levels, including ministers, to avoid as far as possible making statements that promote discrimination or undermine the equality of persons with disabilities. For civil servants, this should be reflected in formal codes of conduct or employment rules;
d) Providing trainings for public officials and other public figures on the rights of persons with disabilities, including the right to freedom of expression and the right to equality and non-discrimination, particularly where discrimination might be institutionalised or go unchallenged, such as in schools and other educational settings, the medical profession, the judiciary, legal services or political associations;
e) Mainstreaming disability to their work through making the concerns and experiences of persons with disabilities an integral part of the design, implementation, monitoring and evaluation of their policies and programmes. This requires that all measures, programmes, services and practices are assessed to determine their impact on the participation of persons with disabilities, instead of simply assuming their neutrality.
2. Prohibitions of incitement to discrimination, hostility and violence and "hate speech" should include disability among protected grounds and comply with international freedom expression standards, which include:
a) The criminalisation of incitement to violence, hostility and discrimination against persons with disabilities should be narrowly construed and criminal sanctions should not be the only measures used when prohibiting incitement, but rather be the last resort when imposing sanctions;
b) A variety of civil and administrative remedies should be available to persons with disabilities who are victims of incitement and/or "hate speech" and states should also consider alternative forms of remedy for victims;
c) The judiciary, law enforcement authorities and public bodies should consider the perspective of victims with disabilities when deciding incitement and "hate speech" cases.


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Currently sitting at 86% on rotten tomatoes, The Wife dazzles audiences at Toronto Film Festival. Directed by Bjorn Runge and written by Jane Anderson, The Wife see's Glenn Close as Joan Castleman, questioning her life choices as she travels to Stockholm with her husband, where he is slated to receive the Nobel Prize for Literature.
Check out The Guardian's 5 Star review below:
The Wife Premieres in the UK on Thursday 9th August 2018 at Somerset House kicking off a summer of showing for Film 4/Somerset House summer film events.
Music Supervision by Redfive Creative


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Dr Brown Brown Brown Brown Brown and His Singing Tiger... Again!
A dose of silliness is just what the doctor ordered! Bursting with madcap, clever, chaotic clowning and crazy stunts, this show will have you giggling for days after!
Pack your adventure shoes and prepare to lend a hand in this silly, physical, musical, brownical experience, with award-winning family favourites, Dr Brown and his Singing Tiger!
Winner of the Best Presentation For Children Weekly Award (Adelaide Fringe 2015)
Arts Centre (Melbourne), Bondi Pavillion (Sydney), Garden of Unearthly Delights (Adelaide Fringe), Schkapf Theatre (Los Angeles), Assembly (Edinburgh Fringe), Westside Comedy Theatre (Los Angeles), Upright Citizens Brigade (Los Angeles).


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Sales Contact
Steve Haddrell
Sales manager
Phone: (+44) 7921 408 276
[email protected]
4 inch tube bending machine – 100mm Breeze
- Suitable for bending tubes up to 4 inches (100mm) diameter including stainless steel
- Available in multi-radius, multi-stack, single-stack and left or right hand versions
- Direct acting clamp and pressure die for rigidity and accuracy
- Full CNC control over all axis including clamp and pressure dies
- Force sensing on the clamp & pressure die
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Jeongok Museum
For an archaeological site in Gyeonggi-do, Korea where the first Acheulian-like handaxes in East Asia were discovered, UrbanLab conceptualized and designed a history museum that could become a global destination. UrbanLab's multi-layered vision celebrates and showcases the discovery of Gyeonggi-do's handaxes, which prove that Asian culture developed contemporaneously with European culture. The museum's design exposes and emerges from underground geological basalt deposits. This design approach creates a facility for display, research, and conservation in which sustainability plays a central role while greatly enhancing the visitor experience. In addition, the basalt acts as the structural basis of the cantilevered building. The basalt functions as a counterweight and a fulcrum for the extended long-span structure. The cantilever is made possible by the use of two stress-skin concrete "waffle-type" slabs braced by integral concrete walls and columns. The integral walls/columns provide mutual lateral support, enabling a cantilever without external bracing. The multi-layered sandwiched system is a cellular network structure that maintains equilibrium in the whole via a complex interdependence of the parts. The design technique fuses structure, surface, pattern, and ornamentation.


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Become Part of the Segway Team and Reap the Benefits
We're always looking for enthusiastic, driven people and companies to further expand our global network. If you're looking to become a US Dealer, an International Distributor or the latest Segway Authorized Experience Center (SAEC) we want to hear from you. By joining Segway's global network you receive access to our global trademarks, product discounts, marketing support, comprehensive service training, generous commissions, sales incentives and more. Interested? Simply fill out the appropriate application below and a Segway representative will contact you.
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Europe, Middle East, Asia and Pacific Rim
Segway Sales
We look forward to receiving your application, learning more about you and your business experience and potentially working with you to maintain our position as the world's leading provider of personal transportation.


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The British Virgin Islands ("BVI") regulator, the Financial Services Commission ("FSC"), recognises Bitcoin- and Ether-focused funds. This has resulted in leading fintech companies such as Bitfinex, Finamatrix and Football Coin being incorporated in the BVI. The primary focus of the service providers in the jurisdiction relates to initial coin offerings ("ICOs") and initial token offerings ("ITOs"). The challenge for the BVI, along with all other jurisdictions, is how to regulate the fundraising for such offerings. Most ICOs and ITOs established in the BVI use the structure of a business company incorporated under the BVI Business Companies Act 2004 (the "BCA"). This provides corporate flexibility, relative free-flow of funds, and low comparative establishment costs associated with a BVI company.
At the present time neither the FSC nor the BVI Government have given any form of regulatory advice or guidance in respect of ICOs or ITOs, nor have they issued any guidance for cryptocurrencies, blockchain or financial technology more generally. The BVI Government has indicated its intention to establish a legal framework that is supportive of the cryptocurrency and financial technology sectors in the BVI, but no draft legislation or consultations have been announced. In the meantime, the consensus view is that the BVI are following a 'wait and see' approach to the development of how ICOs and ITOs will be regulated.
Some ICOs and ITOs have been promoted as an unregulated form of investment, relying on the argument that tokens do not constitute a security for the purposes of the different investor protection laws around the world. As a result, some token issuers have used ICOs and ITOs as a means of avoiding regulation. However, depending on the nature of an investor's rights that attach to a token, it is possible that a token may represent a form of security, particularly if those rights entitle the investor to a share of the profits of the token issuer and the investor is not involved in the day-to-day management and control of the token issuer. Tokens that give investors other rights, such as licences to products and services, could fall outside the scope of being classed as a security. However, token issuers and investors still need to proceed with caution because it is possible that those types of tokens could be classed as a security, depending on the facts and circumstances of each case and the investor protection laws that apply to the tokens. Further, how the gains on tokens are taxed in different countries may also influence how they are recognised for regulatory purposes.
While the consensus is that ICOs and ITOs will not be subject to securities legislation in the BVI, whether or not the legislation applies will be fact-specific and driven by the nature of the underlying assets of the respective offering. In particular, if a company wishes to: (a) collect and pool investor funds for the purpose of collective investment; and (b) issue fund interests that entitle the holder to receive, on demand or within a specified period after demand, an amount calculated by reference to the value of a proportionate interest in the whole or in a part of the net assets of the company, then it will be deemed open-ended and need to be licensed. There are a number of fund options in the BVI, including public funds, professional funds, private funds, approved funds and incubator funds.
With regard to cryptocurrencies, these are not treated as money in the BVI and do not enjoy equal dignity with domestic or foreign fiat currencies. Pursuant to the Legal Tender (Adoption of the United States Currency) Act 1959 and the Coinage and Legal Tender Act 1973, the US dollar is the legal tender of the BVI. BVI legislation is silent regarding the definition of what is money and currency and the existing regulatory framework does not contemplate cryptocurrencies.
There are no government-backed cryptocurrencies and the BVI's constitutional and currency system means it does not have a central bank.


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Sarah, thanks so much for taking the time to talk with me. Your work with games has taken an academic and research bent, publishing such books and articles as The Functions of Role Playing: How Participants Create Community, Solve Problems and Explore Identity, "Educational Larp in the Middle-School Classroom" and "The Psychological Power of the Role Playing Experience." How did your background in English, media and communication lead into your study of role playing games? And what advice might you have for students and researchers looking to approach recreational games for their area of study?
S: Thanks for your interest in my work, Emily! I received my B.S. and M.A. from the University of Texas at Austin in Radio-TV-Film where I studied fandom and popular culture. Media studies is fairly interdisciplinary. I did some early ethnographic research on the role-playing motivations of my Dungeons & Dragons group for a class in my undergraduate program. I was shocked to realize that what I considered the appealing aspects of gaming were so different from the motivations of other people in my group. I conducted this research in isolation; I had no exposure to creative agendas or any other concepts in role-playing studies.
I then attended the University of Texas at Dallas for my Ph.D. in Arts and Humanities, which is even more interdisciplinary than media studies. When I was preparing my dissertation proposal, I was initially interested in writing about archetypes in fantasy, studying role-players in only one chapter. My advisor, Thomas Riccio, suggested that I write the whole dissertation on role-playing, as the field was wide open in terms of existing research. I consider myself a generalist academically, enjoying dabbling in psychology, literary analysis, theatre, reception studies, comparative religion, and many other interests. Arts and Humanities was a perfect fit for me, as they allowed me free rein to explore whatever topics I found interesting. My committee consisted of two game studies professors; a theatre and tribal ritual specialist; and a classicist who also studies fantasy and science fiction. The dissertation was eventually published as a book by McFarland, under The Functions of Role-playing. McFarland is a great publisher for popular culture and role-playing studies; many of our core texts in the field were published through them.
Most graduate students are in a more difficult position in their relative departments. Role-playing is not widely known in academia, except with scholars interested in using it as a pedagogical tool or who have a background in acting and improv. Traditionally, many scholars have considered popular culture unworthy of study -- especially anything associated with games or fantastic genres. Thankfully, this situation is changing slowly over time, as game and pop culture studies are increasing in popularity and esteem in academic institutions. Still, even if an advisor is sympathetic and interested in supporting research on RPGs, they often have little understanding of the form itself, which is difficult to describe to people who have not experienced it.
In order to help the next generation of academics in the field, I have several goals as a scholar. First, I work to establish foundational texts written by myself and others through writing and editing. I try to publish regularly in academic journals and popular media and I edit the Wyrd Con Companion Book, an annual collection of journalistic and peer-reviewed academic essays. That way, when students contact me, I have a list of texts to send them so that they have a sense of where to start research. I also help organize the Living Games Conference, a place for scholars and practitioners to converge and speak seriously about larp. Other conferences/conventions such as Knudepunkt, Wyrd Con, Metatopia, and Intercon are great places to organize panels to discuss role-playing.
Ultimately, we need to mentor and support each other remotely at this stage, as we do not have established academic departments specializing in role-play studies… yet. Therefore, my main advice for new scholars in the field is to find someone under whom to mentor who understands role-playing and knows the existing works. Groups on Facebook and Google+ are excellent places to get started.
Can you tell us how you got interested in role-playing games? You play both tabletop and larp, did you start with one or the other?
S: I actually started in online role-playing with MUDs, MOOs, and MUSHes. My first subculture was a local BBS when I was 15 -- back when we still had dial up modems. All of my friends migrated to a Wheel of Time-themed MUD on the Internet and I had to learn how to play in order to interact with my group. I soon became fascinated with role-playing and fantasy, transitioning into more freeform online play. I played my first Vampire larp at 19, drawn in by the idea of improvisation and costuming. I played my first tabletop Dungeons & Dragons at 21. I was always mostly interested in rich character development with complicated backstories and costuming. The kind of play that drew me in the most -- and still does -- centers upon romance, philosophy, spirituality, and metaphysics.
In your article "Jungian Theory and Role-Playing Immersion" in the book Immersive Gameplay, you make comparisons of the immersive quality of character experience in role playing games and Jung's concept of active imagination. Can you explain how active imagination functions in the development of the psyche and what potential role playing games may offer individuals for psychological growth and self-improvement?
S: Sure! Jung theorized through psychoanalysis and personal exploration that when we enter creative, imaginative states, we delve into deep parts of the psyche that are normally repressed -- parts of our personal unconscious and of the collective unconscious. Our personal unconscious contains aspects of our psyche that make us anxious or fearful, but also secret wishes and desires. The collective unconscious taps into fundamental aspects of the human psyche that are inherent in our language structures and the ways in which we make meaning. He postulated that not only do we have the same basic building blocks of language and mythic meaning cross-culturally -- which he called archetypes, building on the Platonic notion of the pure form or essence of a concept -- but, we also may be linked to one another on an unconscious level.
Active imagination includes any creative activity that allows our ego identity to relax: painting, creative writing, performance, etc. While many of these forms of expression are common as artistic professions, the idea behind active imagination is that the subject should feel free to create without excessive constraints or societal pressures to perform. Role-playing is a wonderful way to engage in active imagination because of its spontaneous, improvisational nature, but also because we role-play in groups, not just alone, which can offer added stimuli and insights.
Jung believed that we can interact with our personal and collective unconscious in these states. He spent sixteen years engaging in active imagination through painting and trance work, which culminated in The Red Book (Liber Novus), which was made public in 2009. Much of his theory of the collective unconscious and archetypes arose from these experiments. When reading through the Introduction and looking through the images, I found it striking how similar these experiences were to the scenes I was currently role-playing in text-based forums, many of which featured enacting deity-like beings and using spiritual/religious imagery to help guide the player-characters through psychic transformations. For example, in one role-play scene, I helped guide a player-character to find her spirit animal: a phoenix. The player ended up tattooing the phoenix on her back, as the process of interacting with that archetype in the role-playing game -- which symbolizes death and rebirth -- became a personally meaningful symbol to her in her daily life.
Jung refers to this process as individuation. While engaged in active imagination, we can dialogue and interact with these archetypal aspects and confront the darker parts of our personal unconscious, which he called Shadow qualities. This dialoguing or interfacing offers us the potential to learn more about ourselves. We can choose to grow as individuals, becoming more than the simple ego that we were before, evolving into something he called the Self as we integrate aspects of the archetypal experience into our self-concept.
Many role-players express experiencing personal transformation as the result of gaming, learning valuable things about themselves, important social skills, empathy, and other forms of growth. I believe we can understand these reports better through the mechanism of individuation. If you'd like to learn more, Whitney Strix Beltrán has also applied Jungian theory to role-playing studies in two articles I highly recommend from the Wyrd Con Companion Books: "Yearning for the Hero Within: Live Action Role-playing as Engagement with Mythical Archetypes" and "Shadow Work: A Jungian Perspective on the Underside of Live Action Role-playing in the United States."
What are ideas that have come out of rpg theory, or discussion of narrative and psychology that you've found important? Are there particular discussions or schools of thought that you draw on?
S: My interests are strongest in regard to the phenomenology of the role-playing experience and the enactment of creativity and imagination. I try to remain open to any concepts that tie into those areas from any field, especially from psychology, but also in media studies, social psychology, theatre, or others.
I find that some of the most salient theories actually arise from the role-playing community itself, as in some ways, the experience of role-playing is unique. We play persistent characters different from ourselves with spontaneously generated content and agency in fictional worlds for long amounts of time. While we can gain a lot of insight from studying the experiences of stage and improv actors, as I've investigated in a recent article for Analog Game studies, we can also learn quite a bit from studying our own participants, which is why I favor participant-observation ethnography as a research method. From our own communities, we've developed useful terminology such as bleed, alibi, steering, creative agendas, first-person audience, etc. Emily, you've been a great help in the domain of helping to establish common terminology over the years, so thanks to you!
As far as theories in codified academic disciplines, I find several concepts of great interest in addition to the Jungian concepts I described above. I agree with Lauri Lukka in understanding role-playing as a dissociative state in which we shift consciousness. I especially am interested in the relationship between dissociation and identity as connected to the creative process. We can study dissociative identity in individuals who have experienced extreme trauma, but I think the process of splitting consciousness into multiple identities is probably quite common and not a "disorder" as such, as we see authors, comedians, and other creative people exhibiting this ability as well.
What's particularly fascinating about role-playing is not only do we enact these other identities, we do so with full or partial consciousness, often acting as an observer to the actions of the character, a process which we call dual consciousness. A couple of other useful psychological theories may help us understand how that process works. One is metacognition, which means thinking about thinking, or knowing about knowing. In other words, we are aware of our altered state of consciousness and can operate at both levels cognitively. Another is Piaget's theory of mind, which is the ability to conceptualize another person's consciousness and predict their thoughts, feelings, and behavior based on existing mental schema, or frameworks. Young children have difficulty developing the theory of mind, as their consciousness is rather limited and egocentric. The theory goes that we become more sophisticated at theory of mind hypothesizing as we grow older. I think that the theory of mind is one of the core abilities that allows us to conceptualize and enact a character. It can also lead to a greater sense of self-awareness and empathy. As we enact a consciousness different than our own while still retaining our sense of self, we build an emotional connection to that person and can reflect upon how their experience relates to our own.
I'm also highly interested in childhood pretend play. Many young people are able to build paracosms, which are pretend worlds that can become quite detailed. Some develop imaginary friends, which are projected, imagined identities with which the child interacts. Pretend play in groups often centers upon practicing social roles, such as playing house, Cops and Robbers, etc. Many cognitivists and evolutionary psychologists link this early pretend play -- which we can also consider an early form of simulation -- as a way for the organism to practice important skills and roles necessary for survival later in life or entrance into the social order. Therefore, play also may serve a pedagogical function in these games, even when unstructured or unsupervised.
Adolescent psychology is equally fascinating to me. While identity is rather fluid in children, adult life demands the establishment of a stable ego identity, which Erikson believes occurs during adolescence. The adolescent experiments with multiple ways to self-identify, trying on various preferences, attitudes, and social cliques to see which fit them best. If the adolescent is unable to find a place in which they feel they fit, they experience role confusion, which can extend throughout life and cause an identity crisis. This phase corresponds with the mythic hero's journey, in which the hero must leave the comfort of home, face internal and external fears, and triumph, bringing wisdom back to the community. Each individual must go through their own hero's journey as they transition to adulthood, which makes the motif so powerful. Much of the original RPG content from Dungeons & Dragons centers upon the hero's journey, even if the adventurers do not consider their actions heroic. The process is more about the transition from the passive dependency of childhood to the empowered agency of adulthood.
Also fascinating during adolescence are the concepts of the personal fable and the imaginary audience. With the personal fable, the adolescent feels a sense of uniqueness and invulnerability that corresponds nicely with the hero myth. This personal fable can lead to high risk behavior and even depression if the individual experiences disappointment or failure, so the adolescent must learn to moderate this impulse with self-compassion: the ability to empathize with and comfort the self. The imaginary audience is similar to the imaginary friend in that the adolescent consciousness projects a peanut gallery of sorts, imagining all the comments and criticisms their behavior might elicit from others, including parents, their peers, their teachers, etc. This imaginary audience is linked to the personal fable in that it assumes that the adolescent is unique and important enough to be constantly watched and evaluated. I suspect the mechanism also has to do with the fact that children and adolescents are under near constant surveillance from their parental figures and the educational system, which, when combined with the theory of mind, results in hyper-awareness.
In role-playing games, both the personal fable and the imaginary audience can become true. Each player-character is unique and plays an important part of the fiction. We often say "everyone is the hero in their own story" when we describe the role-playing experience, which works to validate the personal fable. Also, we have a first person audience, which means that we both play and observe. [NB: Markus Montola discusses First Person Audience.] Everyone in the game is significant and everyone receives "spotlight" time to greater and lesser degrees. I suspect that play can affirm our desires to feel unique, socially significant, take risks, and have an audience for our actions in a relatively safe atmosphere. Ultimately, adult pretend play features more complex character constructs, systems, and projections of imagination than childhood and adolescent fantasy ideation, but likely arises from the same impulses.
Sarah, you are one of the organizers of the Living Games Conference being planned for May 2016 in your town, Austin, Texas. This conference began as the brainchild and thesis project of Shoshana Kessock to foster the academic study of live games in the United States and North America. Inspired in large part by the Nordic conference Knutpunkt which has occupied a similar role in the Nordic countries since 1997. What are your hopes for the conference, and what are you personally looking forward to most about it?
S: Yes! I'm extremely excited. I hope we can continue the work of the first Living Games Conference by providing a more extended and expansive experience. We're renting out a hotel with many rooms of conference space, on-site sleeping, and communal eating. The conference will feature keynotes, workshops, show and tell sessions, round tables, social activities, larps, and academic presentations. We will also feature A Week in Austin activities leading up to and closing out the conference in order to provide out-of-towners more opportunities to experience the city. We're happy to announce, for example, the Role-playing and Simulation in Education mini conference on Thursday, May 19, 2016, which will transpire right before the start of Living Games at the St. David's School of Nursing at Texas State University in Round Rock, TX. This day-long conference is a great way to get everyone interested in using role-playing as an educational tool in the same place in order to share research and best practices.
Overall, we want everyone to feel welcome from all communities and experience levels: designers, academics, players, crafters, etc. We hope to foster a discourse with larp-adjacent fields such as interactive theatre and others. Personally, I would like to establish a lasting conference in North America in order for academics and practitioners to share their work with others involved in this field for years to come.
What conventions, festivals or online communities do you most enjoy? Which are your favorite for discussion of games and game design?
S: I spend a lot of time in Facebook discussion groups, particularly Larp Haven, North American and Nordic Larp Exchange, Larpers BFF, and others. I also enjoy conversations on Google+. I find that contrary to popular belief, Facebook can be a great venue to check the pulse of various communities, share insights, and connect. I can collaborate with colleagues all over the world with unprecedented speed and ease of communication through social media, which is a huge asset for research and discourse.
For on-ground connections, I most enjoy Knudepunkt, Intercon, Dreamation, Wyrd Con, Big Bad Con, and OwlCon, although I know I need to visit more communities. As far as academic conferences, I consider the Popular Culture Association a great place to share research and connect with colleagues in a low-pressure, mutually supportive environment.
Sarah Lynne Bowman, Ph.D., teaches as adjunct faculty in English, Communication, and Humanities for several institutions including Austin Community College. McFarland Press published her dissertation in 2010 as The Functions of Role-playing Games: How Participants Create Community, Solve Problems, and Explore Identity. Bowman edits the The Wyrd Con Companion Book and publishes in various collections such as The International Journal of Role-playing. Her current research interests include studying the benefits of edu-larp; examining social conflict and bleed within role-playing communities; applying Jungian theory to role-playing studies; and comparing the enactment of role-playing characters with other creative phenomena such as drag performance and improv acting. Visit her website at: http://sarahlynnebowman.com/


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DescriptionWant to make a fast, positive impact on a company? Be the best salesperson you can be. Over this in-depth course, you'll learn the art of inbound sales, developing proven techniques that can increase sales and make you an indispensable part of a team. Make yourself stand out by learning the essentials to being a shark.
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Neil is the author of Mahu, Mahu Surfer, Mahu Fire and Mahu Vice, mystery novels set in Hawaii, as well as the romance novels Three Wrong Turns in the Desert and GayLife.com. He edited Paws & Reflect: A Special Bond Between Man and Dog and the gay erotic anthologies Hard Hats and Surfer Boys.
Plakcy is a journalist and book reviewer as well as an assistant professor of English at Broward College's south campus in Pembroke Pines. He is vice president of the Florida chapter of Mystery Writers of America, and a frequent contributor to gay anthologies.
My Places in the Sun
"There's a place in the sun, and before my life is done
Gonna find me a place in the sun."
When I tell people that my newest romance novel from Loose Id, Three Wrong Turns in the Desert, is set in Tunisia, the first response is usually, "Have you been there?" And I have to admit that sadly, though it's on my life list of places to go, I have yet to set foot there—or even on the African continent.
So how can I write about it? Simple. I live in a hot place—south Florida—and find myself drawn in fiction to similar locations. With a little research and a little imagination, I use my knowledge of what it's like to live where I do to create believable places with similar climates.
I have been drawn to places in the sun since I was fourteen, and stepped, bleary-eyed, off an Air France flight at the airport in Nice, France. My high school ran a summer study program in France, and our trip included a few days at the start on the Riviera. I remember being awed by the over-sized tropical plants lining the streets, by the towering palms and the ever-present sun.
Something in me responded viscerally to that place, and I fell in love. I went back again and again as I got older, spending two summers there. During my college and graduate school years I tried, without success, to figure out how I could move there and make a living.
Then I was lucky enough to be offered a job transfer to Miami, and I had that same sense of love at first sight when my airport cab pulled up in front of my new office, and there were palm trees by the sidewalk, and a view of the sparkling water of Biscayne Bay from the office conference room.
That's when I knew I no longer had to think about moving to Nice; I had found my place in the sun on American soil.
I started writing about Miami almost immediately. There was so much I wanted to learn about my new home, and one of the ways I learn best is to write and research. It took years, though, before I sat down to write GayLife.com, my first M/M romance novel. I had to read a lot in the genre, and spend a few years in the web development business myself, before I was ready.
My inspiration came from a British romance, called an "Aga sagas," named for a kind of stove, the Aga, that's common in UK kitchens. A young woman fell in love with her boss, and didn't realize he had fallen for her, too, until the end of the book. I wondered if I could take that basic plot and give it a gay spin. So I created a young guy, Brian, hired to be the office manager for a start up gay website in Miami Beach. He falls in love with his boss—and the book takes off from there.
Once I sent that book off to MLR Press, I started thinking about writing another romance. One day, as I was driving home from the college where I teach, I was feeling frustrated, by work and my own romance, and thought—what if I just ran away? What would I do? Where would I go? And what kind of hunky guy could I meet there?
That's how Three Wrong Turns in the Desert began. I teach in an English department that includes a number of ESL instructors (English as a Second Language.) I thought that was a great job to give my new hero, Aidan, because when his boyfriend dumps him, he can go on line and search for a new job several times zones away.
That's how he ends up in Tunisia, another place in the sun. I was also inspired by a photo I saw years ago, of a naked man showering outdoors. That image jump-started the book. It was lots of fun to research Tunisia, and to apply what I already knew about living in a land of relentless sunshine.
People who read my books often compliment me on the sense of place I'm able to achieve, and assume that I've lived in those places for a long time. With the exception of Miami, I have to say no, that I'm writing from my imagination. I think I can do that because I have taken so deeply to my own place in the sun.
* * * * *
I'd like to thank Neil for sharing the inspiration for his latest novel. I completely agree with him: I can't get that vision of that naked man showering outdoors out of my head now! But I think I've got some inspiration of my own with the handsome dude below! ;~D


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Currently, the two possible ways to transfer your chat history from your old BlackBerry 10 smartphone to the new one are:
- BlackBerry Link (Recommended)
- Manual Transfer
Note: You cannot restore chat history from any other phone type to a BlackBerry 10 smartphone, or from a BlackBerry 10 smartphone to another phone type.
BlackBerry Link
The recommended approach to transfer your backup files for your chat history is to use BlackBerry Link as follows:
- Download BlackBerry Link from here on your PC or your Mac.
- Read the BlackBerry Link user guide about the backup and restore process here.
- Back up your old device using BlackBerry Link.
- Restore the backups of the old device into the new device using Blackberry Link.
Manual Transfer
Another approach to transfer the backup files for your chat history manually is as follows:
- Back up your chats on your old phone. Go to WhatsApp > Application Menu > Settings > Media settings > Backup conversations.
- To transfer your backup file from your old phone onto a media card or any other storage available (Cloud Storage for example), you will need to use the File Manager on your phone. Copy the backup folder on the path
misc/whatsapp/backupfolder from your old phone to the storage media.
- Transfer the backup file from the storage media onto the new device.
- Once you have safely transferred your backup, you can install WhatsApp on your new BlackBerry 10 smartphone.
- Click Restore when prompted to restore your message history. Once restored, your old chats will reappear on your new smartphone.
WhatsApp Support Team


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8 tricks for a bikini-ready belly
See Gallery
Are you counting the days before you can rock that new bikini and head to the beach? Fun Summer days rocking your best two-piece suit are not that far off! Try these flat-belly tips and tricks to help you feel even more strong and confident, so you can focus on relaxing with friends and having a blast - rather than searching for your cover-up.
Click on the gallery above to see all eight!
More from Popsugar:
The Ultimate Guide to Weight Loss: 56 Tips and Tricks to Drop Pounds Now
20 Salads in a Jar That Will Make You Want to Eat Healthier
The Do-Anywhere Bodyweight Workouts You Need to Know
How to Lose Those Last 5 Pounds
45 Snacks to Satisfy Hunger, All Under 150 Calories


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I've mused on how everything affects pictures when it comes to pointing a camera a people. In that context I've also discussed the importance of time, as in spending a lot of it in some cases. Of course that's not always the case but it certainly can make a large impact depending on exactly what you're working on. For a few of what I consider sub-projects there's no way to short-cut what I'm looking for. The chastity sub-project is going to take me quite a bit of time to get where I want it to go. In fact to make anything I'm looking for will definitely take an entire day, or a weekend.
I've said before that by nature I'm really more of a street/documentary photographer than anything else, even though I don't usually work on the street. My favorite context of making pictures is when I spend days with the same people making photographs here and there vs. some sort of show-up to make pictures at this time for an hour or two, get to work, done. Of course I'll still blur the lines between making pictures/not making pictures time as much as I can no matter what the context.
Given all that, of course I've messed with experiments that are all about time and how pictures change over the course of some relatively long period. The photo above is the first frame I made as an exposure test. Somehow or another I roped Melissa who I just met via a friend across the hall into one of my goofy time experiments. This was a dry-run just to show M. the setup and make sure that she wes up for a couple hours or if we had to figure something else out with the props etc. Below is another I made real quick within a few seconds during that dry run.
Enough with the dry run. The general gist was I'd stick M. in the middle of one room for a couple hours and make a few pictures here and there while mostly leaving her alone and going about other business. Below is the very first frame I made after M. had some water, a bite to eat, and knowing this was not the dry-run.
This is what I mean by everything counts. See a change? I certainly do. Zero time went by, possibly even less time than the two above. The difference is all in the psychology at this point. The first two is try this for a second. This one is okay let's do this for a couple hours. I made a couple more, changed one thing around due to how sharp the edges of that plastic thing was and then left for a bit.
Above was about 15 minutes later after returning from grabbing a smoke and chatting with the neighbor down the hall for a bit. The frame below is after I answered M.'s question about how long it's been — about 15 minutes.
I'll fast forward a bit with the first frame I made about an hour in below. The couple I made immediately after changed dramatically due to the sound of the camera shutter.
I kinda like the very first frames. The next one is almost done. At the first frame at about an hour forty-five.
The next one is the very last frame I made. Time for a few beers and fun, a bunch of other people were about to show up anyway.
A goofy experiment? Sure but I didn't make many frames but did take a lot of time. In this case the variable I was isolating as much as can be isolated was time. Here's the thing. No matter how much time you've got to spend with someone in front of the camera in many ways what's going on when you are not making pictures is possibly more important than when you are.
The amount of time certainly flavored these in a very large way. Interaction is the other thing that clearly flavored all of these and every other frame I made which I think is quite clear. If it's not consider that last frame for a moment. Also a reaction to the same question as the previous example. What time is it?
End Notes
First couple of tight frames made with a Nikon D600 and 50mm f/1.4. The rest with a Nikon Df and 28mm from 1971. Processing via Lightroom CC with a random B/W preset of mine plaster on.


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Position: Business and Careers Teacher
School: North Kingstown High School
School District:North Kingstown School Department
City, State: North Kingstown, Rhode Island
About the Nominee: Richard Garland was nominated by his superintendent, Dr. Michele Humbyrd.
Since his hiring, Mr. Garland has brought the North Kingstown High School to new levels with his work in financial literacy. He created the school's first Early Enrollment Program (EEP) courses, where students earn college credit while still in high school. Under his tutelage, over 300 total students have earned Rhode Island College credits prior to graduation.
Mr. Garland inspires students in the classroom. One student said, "it's his enthusiasm to see me succeed. Whether it's at a DECA competition or just in the classroom, he's always pushing us to fully put ourselves to the test. He always makes sure to praise us, even if we don't come out on top, and seeing him smiling at us with pride makes me want to live up to that. Finally, the fact that he made it to the top ranks of IBM inspires me to show that his teaching skills can do the same for me."
Additionally, a graduate said, "He taught us simple life tricks like believing we could do our best, which led us to win that Bryant Bulldog Challenge. He taught us how to do a S.W.O.T. Analysis on case studies, and in my major [at UMASS] I am still using many of those skills today."
Mr. Garland became the high school's Webmaster and worked to update the site with current information. He began by redesigning the website and holding multiple sessions for teachers on how to build their site, transfer their materials and create links. Furthermore, he worked with other webmasters in the district to help them understand the new online software. When a new teacher is hired, Mr. Garland meets with them, creates a login for them and schedules a date to help with their page. He sent a new math teacher this email:
"Hi...you can send a mass email to parents alerting them to your website using ASPEN. I send an email to students and parents each Friday on the week's stock market performance."
Where Mr. Garland shines is his ability to leverage community/state support for his students and school. He began with the former state treasurer and current governor, Gina Raimondo, and has extended this invitation to his finance classes. The Bryant University Bulldog Challenge took place four years ago, and Mr. Garland was the first teacher at NKHS to involve the business students. His students earned first place for three years. He has brought his Business Club to DECA Club status, and together, they have won many individual and partner medals. His finance classroom students participated in two statewide financial challenges, and in both challenges, he had a student team that placed second overall. In his Leadership in Business class, Mr. Garland gives students the knowledge and skills to create their own business/product/service. There is a culminating project that involves a Shark Tank-style competition judged by companies such as Arpin, Drupal Connect, JWU and People's Credit Union.
Mr. Garland's relationships with professionals in the industry proved to be most valuable this past year; he was the co-author of a Governor's Workforce Grant for $250,000. Using the grant money, he was able to transform classrooms and jump start his bid for a CTE Program in Finance with "Fast Track" certification from NAF. Parallel to working on the CTE Finance application, he is also working to build the computer science components of the curriculum.
Fortunately for North Kingstown, Mr. Garland arrived with a pedigree from IBM. Long known for creating the world's best professionals, Mr. Garland brought the three key beliefs of Tom Watson's IBM to his work at NKHS: respect for the individual, superlative customer service and the pursuit of excellence in all tasks.
There have been hundreds of emails written to parents from Mr. Garland on behalf of students. He provides inspiration and hope. In the first year of his Introduction to IT class, he encouraged and promoted every student, but there were only two female students in the classroom. Mr. Garland nominated one of them for a technology award at the Tech Collective in Providence, RI, and she won! She received accolades and was invited with her parents to the evening award presentation. The school received an award, as well.
Mr. Garland embraces a challenge, builds trust, works collaboratively, influences with expertise, continuously transforms and helps all stakeholders to succeed. His traits are also the characteristics of an IBMer, and fortunately for the school and district, he brings his best self everyday. He acknowledges others' contributions and champions their cause, which in turn, gives everyone a strong sense of purpose in an authentic environment. Mr. Garland makes NKHS a better place to learn and work!


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|KanzakisConcerts.rdf | Plug-ins | Customize | Filter | Export | Merge | Statistics | DB2TM | Edit | Query | No schema | RDF2TM
RDF2TM Mappings
This plug-in helps you configure the RDF to Topic Maps mappings in your Omnigator. Specify the desired mapping for each property using the selection box and press Confirm to accept proposed and/or changed mappings.
Each RDF property can be mapped to a characteristic (a basename, occurrence, or association) or to an identifier (subject identifier, subject locator, or source locator); or else it can be ignored.
A table of existing mappings (usually mapping.rdff in the Omnigator's topicmaps directory) is used to record mappings for later use.
When the Omnigator encounters a property for which no mapping exists it makes a "best guess" proposal based on the kinds of values exhibited by the property: Properties whose values are literals are mapped to occurrences; those whose values are URIrefs or blank nodes are mapped to associations. These proposed mappings can sometimes be improved as follows:
Properties are used to type the resulting occurrences and associations, or to scope basenames. Thus, for example, dc:description properties mapped to occurrences will result in occurrences of type dc:description; foaf:knows properties mapped to associations will result in associations of type foaf:knows; and foaf:nick properties mapped to scoped basenames will result in basenames scoped by foaf:nick.
The role types of associations are set to the predefined subjects rdf2tm:subject and rdf2tm:object (where rdf2tm is the namespace <http://psi.ontopia.net/rdf2tm/>).
The technical details of this mapping are described in an Ontopia Technical Report.
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Hilary & Aidan...A true Brixtonian couple, multi cultured and wanted to keep things local. Wedding was set at cool Brixton East with all it's industrial charm, food from Dirty Apron (Peckham/Deptford) & Mamma Dough (Brixton). Bar was run by the ever great Travelling Gin Company. H&A have settled in London from New Zealand. Great to see so many family members making the journey over to truly experience their new life here. Everyone had small tasks that made everyone feel involved without it being stressful.
"Thank you for all your help in the weeks leading up to, and on the wedding day itself. Everything came together well and ran really smoothly on the day. We've had a lot of comments about the bus, and in particular the pimms, so that was definitely worth the brainstorming/ effort! A big thanks to your staff, who were all really nice and very professional."
Hilary & Aidan - Wedding, Brixton East, July 2016
Event Styling, Staffing & Production by Dita Rosted Events
Photo credit - Joseph Hall Photography - http://joseph-hall.com/hilaryandaidanpreviews/


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Hype Vs. Lifestyle/
There are many hip things in this life. Many fads, many trends, many quick to come quick to go ideas that everyone obsesses over and then lets go for the next big thing -- quicker than a five year old dropping her new doll for a newer shiny object.
What differentiates between an actual lifestyle or just hype?
A lot of social movements, though they've had genius marketing and awareness strategies, become hype after a while. I'd say after about two weeks of solid "everyone's talking about it" those messengers lose interest and the campaign fades.
What sucks about that is occasionally we can get jaded when we hear about a topic, and talk about world issues as we would speak of last season's shoes.
Why is that our steez as human kind? How do we talk about lifestyle through the lens of hype?
Think about "lifestyle" brands or blogs -- are they just hype coated in different language, suggesting a lasting decision?
So quick to pick up the newest hottest thing – we gotta have it – and then drop it for the next?
What makes a lifestyle and why is that term so hard to wrap our minds around?
I think living intentionally in a certain way is hard. It's much easier to just go with the flow and let others determine what we wear, eat, believe in, etc.
It's easier not to think.
But what about those people that do think – who set their sights on that which is most difficult and never shift their gaze? How are they different from those around them or from you? Is creating a new future and way of life for yourself as easy as focusing for a few hours a day?


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Solstice News: Blue Skies Buddha #1 on Amazon Kindle
Liz Lewinson
Reached another milestone this weekend -- Blue Skies Buddha is a #1 bestseller on Amazon Kindle. How cool is that?!? It happened right before the Winter Solstice, the shortest day of the year. Rama spoke of the Winter and Summer Solstices as two of the times of great power, meaning power to transform and change.
People make New Year's resolutions but Rama spoke of visualizing the jumps you intend to make in terms of awareness and material achievement in the framework of Solstices and Equinoxes.
In the Fall Equinox of 2015, I pictured Blue Skies Buddha as achieving some initial success by the Winter Solstice, creating a foundation upon which it would grow. During the past three months, the biography became a finalist in two categories of USA Book News Best Books of 2015, hit a #1 spot on the Amazon Kindle best seller list (in its category for Buddhism), received great new reviews and more -- that I can't say yet!
I am visualizing the future for Blue Skies Buddha between now and the Spring Equinox. Rama's suggestion to follow the energy lines from Solstice to Equinox is a powerful way of making wonderful and empowering change in your life.


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I'm passionate about the arts and creative learning tools. When I decided to pursue Graphic Design as a profession, I had no idea how much it would allow me to combine these two things and the influence it would have.
I now work to help businesses gain better local visibility and an awesome web presence to show off to customers. I found the purpose behind my work and dedicated to people in search or pursuit of their own. A good designer is defined by their vision, their passion to carry it out, and the purpose for doing so.
Thanks for reading and checking out my work!
Van Gammon
Virginia Beach, VA 23462
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- Description
Battery bank monitor for use with the Schneider Electric Conext Product lines (both XWPlus and SW).
The Conext Battery Monitor tracks state of charge of the system's battery bank; much like a gas gauge on a car. Other information from the display includes: battery bank voltage, amperage flow, amp-hours removed, time remaining (at current load levels), battery temperature, and mid-point voltage. The Monitor communicates with other Conext devices over the proprietary Xanbus network. Configuration and monitoring can also be handled by other Xanbus devices such as the SCP or ComBox.
Note: some ethernet cabling may be purchased locally for a complete Conext system installation.
3.3" x 3.3" 3.5", 0.4 lbs
UL/CSA Listed.
Five year warranty
Available Download Links
Schneider Battery Monitor Kit Datasheet (PDF)
- Additional Information
Additional Information
model 865-1080-01 SKU I-SC-BMK


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The Center for Advanced Public Safety (CAPS) is a contract grant-funded research center in the Computer Science Department in the College of Engineering at The University of Alabama. Our offices are in Shelby Hall in the Science and Engineering Quad. Employees are involved in IT research and cutting edge software development.
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New Cuyama is named for the Chumash Indian word for "clam." As is true with much of the territory in Santa Barbara County, the Chumash are New Cuyama's oldest inhabitants, whose residency extends some 4,000 years prior to their first contact with Europeans. New Cuyama encompasses postal code 93254 and area code 805.
At Utopia Management, our job is to help you find a qualified tenant for your New Cuyama rental, and quickly. We'll do this by listing your rental property on a multitude of websites designed to attract high-quality renters, the kind you can trust and who pay rent on time every month. Our local agents in the New Cuyama region will make it their priority to find the right tenant for you within 30 days.
Once we have a list of promising applicants, we will begin the more rigorous screening process. Our process involves a thorough background check, a credit report, and an employment verification. Our objective is to ensure that there will be minimal risk of late payments and virtually zero risk of an eviction scenario. To ensure that the property is well cared for, we photograph the property prior to move-in. Also, prior to move-in, we investigate the prospective tenant(s) rental and mortgage histories and always collective first and last month's rental payments, as well as an appropriate security deposit.
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We encourage you to contact us today to learn more about how we can help you to maximize the value of your New Cuyama investment property. Our experts at Utopia Management have been in this business for 20 years and have managed thousands of properties for clients all over the world. We are committed to helping you find great tenants fast and we will handle all tenant issues on your behalf. Let us know more about your New Cuyama property and we'll let you know how to maximize it on the rental market!