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109 Minutes // USA // Pixar Animation Studios
director: Lee Unkrich / writer: Michael Arndt
Friday, June 18th, 2010 – AMC Yonge and Dundas
starring: Tom Hanks, Tim Allen & Ned Beatty
With a score of 99% on Rottentomatoes and a 91/100 on Metacritic, the term 'masterpiece' has already been stapled to Toy Story 3 as if an apothegm. What makes this worse is that all of the negative reviews conducted by critics (two in all thus far) have been expressed so poorly that to strip away their license to critique anything media related would be a justifiable action. Armond White's take on the film as a mere cashgrab caused my eyes to roll so aggressively that I'm surprised to have not dislocated a retina. Then again, to assume Mr. White's criticisms on any film as a valid dissertation would be to resign yourself to mental retardation – I know he already has. The other negative review comes by way of Cole Smithey (who?) whose main gripe is that the film isn't happy enough and that the 3D is useless. Who does he write for? St. Joseph's Elementary? Toss in the fact that the review wouldn't pass for a Grade 10 reflection on any film, let alone meet the 500 word requirement and you've got another complete idiot doling out their perspective at the cost of the reader's intelligence. See who I'm contending with? So in order to make my negative opinion on this film a valid one, I've got to jack up the wit and insight in attempt to not be coupled with these two non-critics and have us deemed "The Three Stooges". Well, maybe you'll do that anyway.
So let's begin: Toy Story 3 sucks.
We begin with a grandiose set piece – Woody and Jessie are gallantly attempting to halt Mr. Potato Head and his accomplice Mrs. Potato Head from getting away with great riches that they've stolen from a train. It's very eccentric and cartoonish – perfectly fine considering its the visual actualization of what's going on in young Andy's head when playing with his toys. This is a nice scene, if a precursor for the jarring pacing issues that will follow later on in the film because when has an adventure film opened on its biggest action scene? It isn't too big a gripe, but when a sequel to an animated series that has presented itself as soothing and full of warmth opens on the realized hyperactive imagination of a youth, you're bound to be thrown for a loop. It's also malignant to the film because at no point throughout the rest of the film does a scene equal the amount of visual vigor as the opening one. There are apparent problems all over the place for this feature – the writing is ghastly, even for one that is clearly by the numbers; the editing is poor, there's is no flow between scenes but rather a smashing together of the exciting, the comical and the dramatic; and the direction is bloated, I wasn't much of a fan for the first feature, but give me the humble simplicity of its construction over the frenetic perspective edits and visual garishness that pushes this already off course feature even further astray from any point.
After this moment of false grandeur, the story begins. Well, not until it feels the need to lull you in the mood for the feature… you know, the one you've already paid to watch. Lucky for us, we get a montage of young Andy growing up through the perspective of an old camcorder with "You've Got A Friend" (from the original Toy Story) playing in the background. This is no doubt an attempt to duplicate the sincerity of Up's interlude, as well as a cheap way to entice of a sense of nostalgia in its viewer. The attempts don't stop there though because we're exposed to several in-jokes throughout the rest of the film which only took me out of the film. Well, as out as someone partially in could be. Fortunately these jokes aren't constant enough to be a great annoyance, but they're still as unnecessary as back-to-back manicures. Less polished, too.
But I must deflect my attention to the plot at hand for the sake of actually reviewing the film. You see, the plot isn't really a plot – there is no foundation from which the story stems, no deeply rooted insight that is cause for the film's momentum – all there is in Toy Story 3 is happenstance; the only reason the story has any perpetual motion is because accidents keep happening. From the first mistake in which Andy's mom mistakes a bag full of Andy's toys as a bag destined for the nearby garbage truck to the moment where Andy has to say goodbye to Woody, none of the story is… well, a story. It may have the appearance of a story to someone who doesn't logically think about it, but really, nothing here follows any sort of narrative, just a design. It's as if Michael Arndt was given a design with which to write a film – a three act structure that's affable and will appease the masses – but rather than write it with some semblance of intellect, he filled it with scene after scene of reckless abandonment, not caring to replicate what made the first two movies what they were: simple and to the point, but not without the ability to manage action, drama and comedy.
Now I'm hardly a fan of them (the first is very simple; the small moments of brilliance aren't expanded on and the story is rather ordinary, the second is good and has a moral that really got to me with an intriguing narrative) but I've never had an issue with how they were constructed. My complaints mostly came from the poor direction or plain decisions in the story, but never because the story was without a palpable plot. All of the intentions from every character was constantly reminded to the audience, so everything they did make sense – it was what they did that furthered the story, not the misfortune of the factors around them that did.
In Toy Story, Woody tries to get rid of Buzz and the film furthers from that point – that's the plot and that's how it progresses. Toy Story 2 is about the internal battle that Woody faces, while the other toys follow an adventure in trying to procure and rescue Woody from the location he's at. They're both entirely character driven and rarely rely on the human factor – they get where they get because of themselves. That's a plot – this is more "People mess with the toys, the toys persevere, but people keep messing with the toys, so they need keep persevering". Even the villain in this, Lotso the Teddy Bear is hardly explained. He was loved and betrayed and now holds everything in contempt. Alright, but why? In the first film, Woody has the same problem – in the second one, too. Hell, in the same film that Lotso vilifies mankind for being entirely selfish, Andy's toys feel the exact same hurt of being no longer wanted when they're left on the curb, but this comes to a resolve before the end concludes. What makes the main villain of this different? Nothing. This is awful characterization through and through.
In addition, the humor and other types levity that this story contains feel either completely desperate or sorely misplaced. Lame jokes pervade the film – from the gratuitous overstatement of Ken's flamboyancy to either ironically spoken or absolutely idiotic one-liners (ie. "that's just another dinosaur from down the street, it's nothing. Just another dinosaur") to the unctuous miscalculation where the infants at the daycare are mangling the toys during playtime; a scene that should have played out as something horrific is interpreted as nothing more than aggressive geniality because of its terrible scoring and cute perspective edits. In fact, I only found myself laughing twice – once during Mr. Pita Bread Head and the first time we meet Bonnie's toys. This wouldn't be such a major annoyance if it didn't interfere with scenes of key importance. I'm speaking of the climax.
The climax: the scene where the protagonist(s) reach a point of no return – they take affirmative action and deal with the impending consequences whatever they may be. Before the climax, there is rising action – this is the long series of events that inevitably lead up to the climax. In the scene just before the climax, the toys avoid falling victim to a garbage chipper. It's brooding, suspenseful – Woody and Buzz prove their nobility once again through yet another altruistic exploit. We build and build to that scene of no return, but then the music becomes more jovial and Rex says "I can see the light!" in his intrusive tone. I get it – it's a moment of levity, a break in the suspense before it becomes too dire – but that doesn't keep it from being a sorely misplaced moment. It may seem insignificant, but in watching that sequence unfold and have yet another thoughtless and unmerited tonal shift take place where it shouldn't have, it ruins what little the film had going for it at that time and place. It took me out of one of the only scenes where I felt completely transfixed on the screen through my 3D glasses and the scene that followed (the most important scene in the entire film) wound up being absolutely paltry because of it. I felt nothing in what was (poorly) setup to be the trilogy's most emotional moment. Utterly pathetic filmmaking.
One of the very sparse shining moments the film has to offer is Bonnie, a very happy child who loves playing with toys. She's demure, cute, friendly – everything Boo is in Monsters, Inc. Hell, she even looks like Boo plus a few years, but that's beside the point. The point is, she's one of the most adorable characters ever with a personality that will stick with you. She's the reason why the film contains any emotional resonance – bad because she's hardly the focal point of the story, but good because without here this would be an even more abysmal effort. Eventually she becomes the safe haven for toys – only because Woody stumbled upon it (more happenstance) – and her home the objective in the later stages of the film. However, there is a glaring issue with her youthfulness and I will explain that now.
As I'm sure I've made clear already, this is a very inconsequential film – one that doesn't attempt to think things through whatsoever and guides its audience into believing everything will be alright when early on it can't help but insist that it never will be for toys on a regular basis. By assiduously mocking youth and its culture – a young garbage man is laughed at by all for his idiocies, Andy's sister is more focused on her iPod and new technologies than her old toys (a situation that is very true to reality) – why would the audience believe that Andy's old toys will be comfortable for more than a few more years when the end finally rolls around and they do find their place in Bonnie's toy box? They shouldn't, but it ends on such an effervescent scene of adoration for the plastic playthings that you're coaxed into believing that it will be. The problem is, Bonnie will most likely grow up to be like Andy's sister or Andy or your sister or yourself – it's very contradictory because we're given a false sense of closure. There's nothing that makes Bonnie standout among her peers, nor is there any indication that she will always love these toys.
Of course everyone wants a happy ending for Woody, Buzz and the gang because they cherish them as much as Andy in his youth, but how the narrative is constructed and how it contradicts the truths of contemporary society – the ones that it preaches earlier on in the film; the ones that are completely adherent to current Western culture – is very nonsensical. When you forget that it's about toys coming to life, you'll notice that everything that takes place in this film and the last and the last all happen in real life. The themes are inherently human, the world is not futuristic or alternative – it's very much believable as your own, which I'm sure you know. But when the film begins to make important claims against reality – a reality it preaches – this film shows you that it has fundamental logistic issues. It contradicts itself – I don't know the last time I've said that about a film before, but this one does it.
We're lead to believe that there is a happily ever after in this story – there isn't, but we want to believe it so we do. Well, let me be patronizing, most of you believe it because you do. There isn't a single person able to justify how the ending concludes the trilogy with any sort resolve that isn't temporary. The times where kids play with plastic toys are coming to an end – technology is progressing each day, children are more in tune with the latest Apple product or video game now more than ever. In reality, five or six year old Bonnie would only elicit pleasure from her toys for a few more years before she was turned onto something more advanced. And why should Andy's toys hold a special place in her heart when she grows older? Wouldn't it be Mr. Pricklepants or Trixie or Buttercup? There's no ending here and that, too, contradicts the sentiment of the story: that toys don't want to be locked up and forgotten. But that's their fate in this technological world. The shame is that nobody wants to admit this; the greatest shame is that the filmmakers will avoid pontificating that at any cost, be it at the trilogy's integrity or at their own.
From its effusive beginning to its pretentious ending, Toy Story 3 states nothing and wants you to assume everything. There is no ending, just what you want to happen; there is no story, just a variety of scenes put in an illogical order begging to be made sense of; there's nothing – it's an empty shell awaiting an anxious fan of the series to fill it with what they desire to happen. It's just a lie; a facade; a brightly colored placebo with a familiar taste. What occurs on screen isn't a film – it's a channel devised simply to trigger nostalgic thoughts. If you like the series enough and the first two films hold a special place in your heart you should love this installment – not because it's a great film, but rather because it's your film. It's only as good as you want it to be, unless you pick through its incongruities like myself. Or perhaps all of this is just a facade itself – a well-worded essay no better than Armond White's that unveils my unhappy and contemptible personage. I hope not; I'd hate to be less realized than this film.


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BONN/SHANGHAI (Reuters) - Deutsche Post DHL (DPWGn.DE) is selling its supply chain and logistics business in Greater China to S.F. Holding (002352.SZ) as the two companies enter a 10-year strategic partnership to foster growth in the region.
The German former postal monopolist said in a statement that it would receive an upfront payment of around 700 million euros ($796 million) as part of the partnership.
Deutsche Post DHL Group's supply chain China business will be incorporated into S.F. Holding and operate as a co-branded organization, and Deutsche Post will receive a revenue-based partnership fee over the next 10 years.
Yin Zou, currently Greater China head of DHL Supply Chain, and his existing management team will lead the joint operation.
S.F. Holding, whose SF Express is one of the largest players in China's fiercely competitive parcel delivery market, said that the deal was expected to help the company grow internationally.
China's parcel delivery market - worth around 976 billion yuan ($140.5 billion) last year according to the State Post Bureau - has been getting more competitive, with new players like Chinese e-commerce firm JD.com Inc (JD.O) pushing into the sector. The market also includes firms such as Alibaba Group Holding Ltd's (BABA.N) Cainiao network, as well as dedicated domestic parcel delivery firms such as ZTO Express (ZTO.N) and YTO Express Group Co Ltd (600233.SS).
($1 = 0.8793 euros)
($1 = 6.9446 Chinese yuan renminbi)
Writing by Arno Schuetze; Editing by Maria Sheahan

subset: commoncrawl


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Add 32Gb ram for a total of 64 $300
Upgrade to 960 ssd drive $100


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New Moon Predictions for February 26, 2017
By Colleen Schmidt
ARIES: Be wary of impulsive actions this month Aries with Uranus running with Mars. This can also translate to surprisingly aggressive friends or associates. Compassion is needed in parent child relations right now. It also seems that it will be important to pay attention to both financial issues as well as relationships. Sometimes when getting or receiving advice from experts there can be a "cold stare" involved. It may be important to take a "harder line" at this time. There could be a need to take a risk and plunge into something this month.
TAURUS: This is a month when you will listen to your intuition and remain firm. You could be involved in some sort of makeover and land or matters related to land could be the focus. It will come to your awareness that people can be self-destructive through eating things that are bad for them or in their inability to take care of themselves. This is also a good month to eat foods that are good for your brain or your memory. (Salmon anyone?) There could be advantages through new information that was not previously known.
GEMINI: You might or others could lose sleep this month due to issues related to helping someone close, maybe even related to finances. The lesson here is about boundaries and how they are important in particular with those we love. The truth can be very scattered this month, it may be important to do your own fact checking. Also look for those endings that happen with a BANG. Lies or Lying will also come to your attention this month. In some cases people could end up alone as a result of a lie or they are lying in order to be alone?
CANCER: There could be some questions regarding money this month. Opportunity to stop something this month could be featured. But there could be opportunities that come to nothing as well. There could be some pessimism related to work or goals right now. It could be the result of things being slow right now. Being fair whether you or other people will also come to you attention this month. The problem being that with things being slow there could be a concern that someone or something could be made a "patsy."
LEO: Generally not the favorite time of year, this month features the idea of co-dependency. Co-dependency could come to your attention whether it is the dependent party in the relationship or the enabler. It also mentions how when people are dependent on others there is a tendency to feel "held captive." Then again the one everyone depends on can also feel "captive." Partnerships will come to your attention as well as the fact that relationships can also involve things like scorekeeping. This is also a good time to watch expenses.
VIRGO: This month features the idea of being alone or going off on your own. It also highlights contacts and connections that can be made when one is on their own. It will be important to protect yourself this month as there seems to be many serious issues this month to deal with. It can be important to withdraw and take some time off from the daily grind. Though it feels important to be able to express yourself this month, there will be times when this will feel difficult to do.
LIBRA: Boundaries are important this month particularly the boundaries related to a house or home. There are times that feel difficult during this month but animals or the being in nature can have a strong positive effect. Overall there can be opportunities for expansion if you take them. The problem can be that in feeling satisfied there is possibility you or others could let the opportunity slip by. There is also a need to watch for overindulging or over doing something because there is a great deal of optimism.
SCORPIO: The fact that some people are very clever particularly when it comes to large amounts of money will come to your attention this month. Certain difficult victories can have surprising results. This is a month to create logical strategies and structures. This month also features beginnings that are not very credible. As a result people will be bonding to create or relate to intrigues and complications. With that said complications and intrigues can also lead to over-reactions and these over reactions can be very negative and even evil.
SAGITTARIUS: This can be a very productive month for you Sag, but it can also be hard on your body and your health so be wary. By the time you are aware of this is could be a situation that ends up being a little too little and a little too late. Being so busy at work will often feel burdensome to you overall this month. It could also come to your attention this month that the when someone is good to someone else it can often lead into a co-dependent situation. Special precautions could be put into place because of travel or those who are traveling such as travel restrictions.
CAPRICORN: The fact that things are not so easily resolved will be an issue this month. There could also be a focus on news or media that comes from or is about the computer. It also seems that looking back at the past relates to placing blame or the fact that people just "do" things could also be to blame. It seems to talk of the idea of smiles that are just for show. Control issues or power struggles can also appear to be for show. The month also features solving problems or issues related to financial matters.
AQUARIUS: It will be important to be very aware and mindful when dealing with money. It will be hard to know when to speak out or speak up because so much information is not yet known. This is a time when you might take some chances it will be fine because you still manage to keep your feet on the ground. Pay attention to your gut, but that also includes watching how food affects your stomach literally. Facial features also come to your attention this month, particularly the ability to "see" when someone is sick.
PISCES: News right now can be very discouraging. At times it can feel a bit oppressive though this is your time of the year when you normally feel more secure and confident. Once clarity sets in and the world looks clearer it will get batter. Be wary of your pride and matters that relate to your pride. Your intuition is very good this month even so things will not go exactly as you thought they would. This month features decisions as well as achieving that peace of mind that will help make it all make sense.
Reblogged this on Lost Dudeist Astrology.


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Community meetings: 12pm-1pm on Saturday June 6th inside the Rio Theater, and 5:30pm on Wed June 10th at the Monte Rio Community Center.
Thank you all for caring about the Rio! We are excited to share our plans to extend our beer and wine license into parts of the Rio Theater, and we invite you to join us for a community discussion inside the theater this coming Saturday, June 6th from 12pm-1pm. For those that can't make it on Saturday, there will be a 2nd discussion on Wednesday, June 10th at 5:30pm at the Monte Rio Community Center. These will be great opportunities to learn more about our vision for the theater, and discuss any questions or concerns you may have. After the meeting, all are welcome to join the Sonoma County Pride celebration happening on the lawn afterward.
Summary of Plans
In preparation for the meeting, we'd like to share additional details about our plans so that you have more information. Our intentions remain the same as always: to continue (and build upon) the theater's legacy as a place for locals and visitors to come together in an inclusive and relaxed environment centered around food and creativity.
Over the last year, we have had countless customers ask us about the possibility of adding beer and wine to the Rio's offerings, and we worked with various departments of Sonoma County and the ABC (Alcoholic Beverage Control) in order to develop a proposal that meets the necessary requirements and provides locals and visitors with an even more unique experience. It's has been quite an extensive process over the last year, and we are excited to be so close to completion around the following amendments:
- Hours of Operation: We requested the ability to operate parts of the Rio property between 7am and midnight to allow for flexible use between the early morning cafe on one side, afternoon use of the front outdoor patio, and later showings at the theater. We have no plans for any outside activities after dark.
- Locations for Beer & Wine: The cafe license will be extended to include happy hour and dinner on weekend evenings throughout the summer (up until now, we have been unable to sell beer and wine past the early afternoon). On the theater side, beer and wine will be sold from the concessions area, and will need to be consumed in the lobby or out on the front patio, where we will section off an area for use in the late afternoon before the sun goes down. We are excited about creating a new space for our customers to socialize with one another. During this phase, people will not be able to take beer and wine into the theater itself, but we hope to make this possible in future phases.
- ABC Oversight: As required by our ABC license, we will be expanding the theater menu to include additional items like sandwiches and quesadillas, and we will have regular staff presence on the patio to ensure responsible 21 and older adult consumption of beer and wine on the premises.
We intend for the Rio to continue to be a family-oriented gathering place for people to enjoy food and films together. We will continue to experiment with additional events that include quality local musicians, comedians, or performance artists, that fit with the thoughtful, responsible tone that we have cultivated with our community events so far.
We look forward to meeting with the community to answer any questions you may have, so that we can begin to offer beer and wine this summer. Thanks again, and see you at the Rio!


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By Sharon George, AIA
It starts at the very beginning – girls vs. boys
The societal problem became crystal clear to me when I had my first child. All the pink toys, princess dolls, and kitchen sets screamed - GENDER BIAS. At first, it was just an interesting observation, harmless really, compared to some other egregious offenses. But it's not so benign, is it?
A year after my epiphany, Sheryl Sandberg gave her popular TED talk about women leaders. A few years later, I discovered Equity By Design [EQxD]. I am glad there is open dialogue about the challenges facing professional women. If there was such conversation and solidarity when I joined the workforce, I was not aware of it, and perhaps, I would have had better tools to deal with bias in the workplace. As it was, I had a very lonely journey.
Growing up with bias and privilege
As a female raised in India, gender bias is not a strange concept to me. It is widely prevalent and deeply rooted in the patriarchal society. On the bright side, I grew up in a large city, my parents are well educated, forward thinking, and middle class. My biggest privilege was access to education and freedom to pursue my career goals. (Millions in India, especially girls, do not have such opportunities.) Moreover, I had the means to accomplish my dreams of higher education in the United States.
Bias in America
I thought I would be escaping old-fashioned ideas of gender norms when I moved to America. After all, isn't America a progressive melting pot, where social reform took place over a century ago, and women walk with their head held high?
So, when I hear comments or see behavior that exhibit patronizing attitudes towards my age, race, skin color, gender, or intelligence, I am taken aback.
I have been making excuses for people who treat me with prejudice - that it was an isolated incident, or the one person's attitude, or their social ineptitude, or their insensitivity. Things got better as I got older, but looking back on 15 years of excuses reveals a sad and fundamental truth: Sexism is alive and well in American.
Bias in the professional world
When I was a young college student, I had the courage to snuff out prejudice. But when I entered the professional world, I was at a loss. I was a foreigner in the early stages of culture shock, with family 10,000 miles away and friends that I could count on one hand, searching for my place in a not-very inclusive community of professional cliques.
How do you build relationships in the proverbial boy's club, when only the male employees are invited to lunch, golf, and conferences? How do you ask for equity when only the male architects are given the high-revenue, complex, prestigious projects? I had no answers and no support, and had lost all courage, confidence, and verve.
'To a certain extent, all architects struggle to survive in a profession where the educational preparation is long, the registration process is rigorous, the hours grueling, and the pay is incredibly low. Yet, many underrepresented architects face additional hardships, such as isolation, marginalization, stereotyping, and discrimination.'
Designing for Diversity, Kathryn H. Anthony
Overt Vs. Implicit Bias
I came across the Implicit Association Test a few years ago when I read Ask For It. Most people are not sexist or racist or discriminatory. But everyone has subconscious bias. And that is the silent killer of equity in professional settings.
I did say most people – I have personally experienced blatant sexism and racism. I've had an employer ask me in an interview when I plan to get pregnant; if, as a mother, I can focus on work and be productive; I've had a colleague ignore me for 3 years; etc.
But more often, I am a target of implicit bias. It is so subtle that I feel awkward about raising a flag – maybe's it's just in my head, right? The male intern who sits in my project-team-meeting is treated to more eye-to-eye contact and a respectful handshake. The white project manager at my construction-site-tour is assumed to be my superior and gets all the questions. I am invisible!
The core issue - intelligence bias
My husband and I talk about these issues often. We compare our cultures, professions, and the 'bias baggage' we carry. He is an American, a computer engineer and a self-proclaimed geek. One day, he showed me this xkcd comic and said, there is this notion in America that girls are bad at math. As someone who excelled in math and science, I was fuming. Despite all the gender bias that is prevalent in India, I had never before heard that sentiment.
But that is how it works, isn't it?
The unwritten memo says:
Women are incompetent, until proven otherwise
Men are competent, until proven otherwise
Competence and Knowledge:
I think the ridiculous notion that 'women are not as smart as men' speaks volumes. And it strikes at the heart of the issue facing women professionals in STEAM (Science, Technology, Engineering, Architecture, Mathematics) fields.
People are very comfortable with women in an Interior Designer role. Furthermore, people are comfortable with me as an Architect talking design related issues. No offense to designers, but somehow, seeing a woman as the Project/Principal Architect is a big leap?
Is it because conversations about architecture typically include technical and practical discussions about construction, specifications, energy analyses, structural engineering, that I cannot worry my pretty little head with? Is that why I have to 'prove myself' over and over again, every time I meet a new builder/ structural engineer/ lighting consultant/ energy rater?
A young designer on my team recently asked me, what she can do to make her colleagues take her seriously. As her manager, my immediate answer was 'be really good at what you do'. I was simply repeating what I told myself when I was starting out - work hard, dig deep, and earn respect. Nothing wrong with that except….do young men have this problem? I would like to have a better answer.
It seems like the conversation about equity in the workplace is coming to a head. Recognizing what discrimination looks like and knowing that it's not just happening to me, but to many like me, is powerful knowledge that tips the balance towards action.
Active Action is speaking up, spreading awareness, sharing stories, opening dialogue, checking your own biases, etc. There are numerous organizations, all over the world, demanding women's rights through active action. I have listed a few of my favorites below.
Some people are more comfortable with passive action. They listen, take their talents elsewhere, look for alternate careers, or set up their own workplace and their own rules. But no one is an island - sooner or later you have to collaborate with others.
I constantly check my attitudes and revisit my beliefs. Not just for my own sake, but for my son and daughter. I am sure that I have unconscious biases too. I better get unpacking*.
This post is also published on Sharon's Blog site www.architecturebygeorge.com
Taking Active Action:
Resources for Unconscious Bias
*Unpacking our Biases: Conscious and Unconscious
EQxD Get Real Series Posts
If you liked reading this feature, you may want to explore these other posts.
- EQxD Get Real Series: Bias & Privilege by Rosa Sheng, AIA
- EQxD Get Real: Being the Only One in the Room, by Mark Gardner, AIA
- EQxD Get Real: Be Willing to Listen | Recognize our Privilege and Bias, by Katherine Williams, AIA
- EQxD Get Real: The Weight by Marilyn Moedinger, AIA
- EQxD Get Real: Architecture - Open to All by Jared W. Smith, AIA
- EQxD Get Real: Bias & Privilege, should it define or limit your dreams? by LaShae Ferguson, Assoc. AIA
- EQxD Get Real: Check your bias blind spot by Sharon R. George, AIA
- EQxD Get Real: When Insomnia Speaks, by Alicia Liebel-Berg, Assoc. AIA
- EQxD Get Real: The Mom Bias vs. The Mom Privilege by Meghana Joshi, Assoc. AIA
- EQxD Get Real: I am Learning by Lora Teagarden, AIA


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The bridge.
To be settled in Brooklyn once again comes as a surprising relief. With two former students (city neophytes) in tow, I made a return pilgrimage to Poets House today, not long after having strolled through much of SoHo and a bit of Little Italy. I continue to be amazed that I did not know this lovely and serene place before, though how or when I would have heard about it, I'm not sure. What I do know is that if I were going to be in the city for an extended amount of time, I'd be spending some considerable amount of it at those tables, with those volumes.
I have long had a problem with traveling to cities which have many bookstores; when I was still visiting Chicago on a fairly regular basis, I would come home (on the train, on the plane) with stacks of used books (one of which actually birthed my dissertation project; one never knows where the spark will be). My suitcase would generally be almost too heavy to lift. Sometimes it was bad enough that I would pack a separate box of books and carry *that* on the plane, or check it through to wherever I was returning to. This trip's endgame is going to involve some sleight of hand in the packing department, I fear, as I continue my late summer project of amassing things related to the newest dimension of my vocation.
On the way home from Manhattan this afternoon, I finally broke down and did the thing I've always wanted to do but have always felt too dorky to try: taking some pictures from the Manhattan Bridge. It's a tricky thing to try: the bridge's girders intervene between your camera and the lower Manhattan skyline in an inconvenient way, and it's more difficult than you might think to get the Brooklyn Bridge to resolve itself against that skyline. The greatest difficulty, though, lies in the fact that the trains' windows are all in such rough shape that one can only see the city as through a glass, darkly. Or perhaps through a glass, scratchily. But if you were to put these two pictures together, you would have something like the expanse of the Brooklyn Bridge, as it appeared late this cool, overcast afternoon.
Whitman might have said it best (though what "it" is, I can't tell you), in his "Song of Joys" (from which I copied lines at, you guessed it, Poets House this afternoon):
O to sail to sea in a ship!
To leave this steady unendurable land,
To leave the tiresome sameness of the streets, the sidewalks and theh ouses,
To leave you O you solid motionless land, entering a ship,
To sail and sail and sail!
O to have life henceforth a poem of new joys!
To dance, clap hands, exult, shout, skip, leap, roll on, float on!
To bea sailor of the world bound for all ports,
A ship itself, (see indeed these sails I spread to the sun and air,)
A swift and swelling ship full of rich words, full of joys.Need I say more?


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What the hell is a sitzprobe, you're asking?
Good question. Sitzprobe is a German term used in opera and musical theatre to describe a seated rehearsal—the literal translation of the word. A Sitzprobe is the first meeting of orchestra and cast. They sing and play through the show together for the very first time at this rehearsal, without any staging, costumes, props or other production elements. It is literally just the cast and the band, playing and singing together on a bare stage or rehearsal room. It's fun, lively and often emotional. It's the first time the cast hears the full orchestrations that will be supporting them in the show, and it's the first time the band hears the vocals on top of their music. And it's really the first moment where the full impact of a musical sparks to life.
And it's a sitzprobe, not a band call. A band call can mean anything – a sitzprobe is a sitzprobe! 🙂


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School of Engineering, Computing and Mathematics
MEng (Hons) Electrical and Electronic Engineering
Do you want to lead society towards a more energy-efficient future, enhance your business acumen, and further develop your technical and design ability? The MEng course develops your communication and entrepreneurial skills, and prepares you for a range of high-end careers in electrical and electronic engineering. This course, which meets the full academic requirements for Chartered Engineer status, is accredited by The Institution of Engineering and Technology (IET).
You will develop highly practical skills and learn through doing. You'll access one of the largest undergraduate laboratory spaces in the country, which you can use to further your own understanding of communications, electronics and renewable energy technologies. You will benefit from free IET membership (whilst at University) as the University is an IET Academic Partner. You will further your knowledge with a placement after successfully completing year two.
Have you considered...
2018 National Student Survey
100% of our graduates said they were satisfied with the quality of their degree in the 2018 National Student Survey (first place) and that the course provided opportunities to apply what was learnt. No doubt because from the day you join us until the day you graduate you'll be testing and applying everything you learn in our fantastic labs.


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ŌĆśPoets of the FallŌĆÖ will perform LIVE in Bangalore, Delhi and Pune on August 22, 24 and 25, 2012 respectively
BestMediaInfo Bureau | Delhi | August 13, 2012
Post the stupendous success of Anoushka Shankar LIVE in concert, Vh1 India is back with Vh1 Handpicked. This time around the English Entertainment channel is playing host to Finnish rockers ŌĆśPoets of the FallŌĆÖ. The sensational international band will perform LIVE across three cities -Bangalore, New Delhi and Pune on August 22, 24 and 25, 2012 respectively, as part of Nokia Lumia Vh1 Handpicked Poets of the Fall.
Commenting on their visit to India, Marko Saaresto - lead vocalist of the band said, ŌĆ£WeŌĆÖve been to India before and were amazed to see the passion and love for music that the country presents. Our new album was launched in Finland earlier this year and was loved by music lovers and weŌĆÖre confident that we will receive a similar response from India too. Eagerly looking forward to our India tour!"
Commenting on the initiative, Ferzad Palia, Sr. VP& GM - English Entertainment, Viacom18 Media Pvt. Ltd. says, ŌĆ£At Vh1, we love creating magical experiences that enthrall music lovers. Our attempt is to give our fans an experience of a lifetime. With a perfect partner in Nokia Lumia, Vh1 is delighted to play host to Finnish rockers Poets of the FallŌĆ" and with the kind of fan following they have, weŌĆÖre certain that the audience wonŌĆÖt get enough!ŌĆØ
The talented and acclaimed band started out their musical adventure in 2003 which included singer Marko, guitarist Olli and keyboardist Captain. The first debut album of Poets of the Fall - Signs of Life was No. 1 on the Finnish album chart in January 2005. The band successfully toured Finland, Sweden, Norway, Denmark, Germany, United States, Estonia, Russia, Ukraine, Lithuania and now are all set to enthrall Indian audiences with their fifth and latest album "Temple of Thought".
Among others, Poets of the Fall has received awards like ŌĆśBest Finnish Act at MTV Europe Music Awards 2006ŌĆÖ, ŌĆśBest Finnish Music Video of all time in TV2's Musiikki-TVŌĆÖ, ŌĆśBest Finnish band at the NRJ Radio Awards 2006ŌĆÖ and many more.
Vh1 Handpicked is also running a contest for all its fans. All one has to do is answer a simple question about the band and get a chance toMeet the Band and Watch them LIVE! Vh1 Handpicked concerts in India will be held at Hard Rock Caf├® in Bangalore, Delhi and Pune. To watch them live, one can get in touch with the Hard Rock Caf├® outlet in any of these three cities.


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The Omaha World-Herald recognized John Maxell's appointment as General Secretary with an article in the Business Insider section on Monday, February 8, 2016. You can read the entire article here: http://tiny.cc/2goy8x.
John completed his year as Grand Master of Masons in Nebraska at the 159th annual communication in Kearney this past weekend. M.W. Dennis Rix was installed as Grand Master for the 2016 year.


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We offer representative programs fo high school seniors on a school be school basis that enables the rep to possibly earn a free Senior Portrait Package. You may have heard about this program, but incase you have not, I will explain. I started the rep program as a way to advertise my senior portrait photography to high school students by high school students. Basically I have photoshoots with my reps and supply them and their parents with low resolution web ready jpeg files that can be posted to social media. When they post the images they acknowledge me in the post so their friends and family can see my work. Hopefully the people that see the rep's post will ask them how they can get in contact with me to book a session and the rep gets a referral. If the rep gets 5 referrals they get a free senior portrait package. If they get 4 referrals they get an 80% discount, if it is 3 they get a 60% discount, and so on. If they get no referrals they get a 20% discount.
There are a few restrictions, you are agreeing to have your senior photographs made by me, you agree that you will not be photographed by another photographer during your high school career and you must have fun.
I do limit the reps to one or two per high school depending on the size of the school. Also, I must have a meeting with you and your mom so they are aware of what is expected of a rep and give their permission. I do have a contract that you and your parent sign. Usually the reps are selected on an annual basis and I begin accepting applications in the fall of the school year for the next years reps. If you have questions you may call me at 615-415-4601.
If you are interested just click HERE to complete this application and submit it.
If you are completing this form you must also complete the Model Release form by clicking here Model Release


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Jyoti Verhoeff will embark on her Touches Radio-Livestream Tour 11/April and continue to bring you more of these interview/live music shows at least once per month right up to day of full album release, scheduled for 27/September/2018. Follow Jyoti Verhoeff on her website via her newsletter, or on Facebook for updates and/or time changes that might occur to the schedule above.
Note: In addition to the release of the full album, 'Touches' - I speak with my mouth shut, we are excited to announce that Friendly Folk Records will also release one digital single track from this highly anticipated album titled: 'An Ocean To Still Me'. It will be accompanied by a video and it is only single with worldwide digital distribution release via Friendly Folk Records 27/June/2018.


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"Shrimp on the barbie" is a pop culture reference made famous by the 1984 television commercial starring Paul Hogan of Crocodile Dundee. Developed by the Australian Tourism Commission, the ad was created as part of the "Come and Say G'Day" campaign to promote Australia as a must-see destination for Americans.
Even 20 years later, the often-quoted expression can be heard echoed over grills across America – the actual line spoken by Hogan is "I'll slip an extra shrimp on the barbie for you." And who can blame the Yanks, really? It was, after all, one of the most popular ad campaigns of all time, even making it into the Smithsonian Institution's collection of major cultural influences of the 1980s in the US. In fact, before the campaign was launched, Australia was as low as number 78 on Americans' dream destinations list. At that time, the only ads in America featuring Australia were by Qantas, and the land of Oz was still seen simply as a far-off place filled with kangaroos and koalas. Within just a few months of the commercial's first airing, however, Australia shot up to number seven, and later to the number one spot, and American tourists doubled over the next three years.
Australians, however, were not as amused by the ad as their overseas counterparts. Utter the phrase to an Aussie, and you'll surely get an eye-roll – it's become a cringe-worthy cliché for those guys, not to mention a subject of dispute. While Americans use the word "shrimp" to describe the crustacean, Australians refer to the same-sized shellfish as a "prawn" – a difference that sparked debate among the campaign's creative teams. However, it was the US-based team that ultimately won, and went on to use the American-friendly term to lure in its target audience.
So why did the ad resonate with Americans? Perhaps because it went beyond Australia's already well-known features – the Outback, the wildlife and the Great Barrier Reef. Or maybe it was the cheeky humour, the friendliness and the exotic accent, inviting potential visitors to experience Australia's laid-back, sunny lifestyle. For whatever reason, it worked – and the coined expression has become a cliché at many a barbecue since – or should we say "barbie"?


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Aspera Connect Browser Plug-in 3.6.6 Release Notes
Product Release: February 12, 2016
Release Notes Updated: April 1, 2016
- Connect now supports the Microsoft Edge browser.
- A bug was fixed in which Chrome warned of "mixed content," and the HTTPS lock showed a warning.
- A bug was fixed that could force the Connect window to the front on certain new OS X client hosts.
- The Connect application now complies with Apple security best practices.
- If you host the Connect SDK on your own servers, it is loaded from there.
- A bug was fixed that limited the number of concurrent instances of Connect on Windows.
#34469 - [OS X only] Keyboard shortcuts for cut, copy, and paste in Connect used the Control key rather than the Apple Command key. The previous Connect shortcuts, using the Command key, have been restored.
#34443 - If you restarted Connect while transfers were in progress, suspended transfers did not appear in the Transfers window and did not automatically resume.
#34428 - [OS X only] In some cases, the blue transfer-progress bar in Connect's Transfers window may not appear to be progressing. Transfers do progress and finish; the problem is a visual artifact only.
#34421 - [OS X only] Connect did not correctly detect when updates for the plug-in were available.
#34355 - [Chrome only] Connect formerly used ports in the 33003 range for local host communication, but now uses 43003 ports. If you use an antivirus program for local host traffic, you should configure it to allow ports 43003-43012. Other browsers are unaffected, and continue to use ports in the 33003 range.
#33861 - [Firefox only] Because of a change in Firefox's requirements, Connect no longer includes a web installer for this browser. Instead, to use Connect with Firefox, you can download the installer and then install Connect.
#33619 - [OS X only] The Connect application now complies with the Apple best practices for security.
#32839 - [Windows only] There was an issue limiting the number of simultaneous Connect users on the same computer. The maximum number of unique users on the client machine is now 10.
#32726- For transfer servers that host the Connect SDK locally, the default behavior has changed as to which location is used. Connect now uses the location specified in the web application (Faspex, Shares, Console, or a custom app) to load the API files, installer code, and plugins (if an upgrade is needed). If these files are not found on the web application server, the production server (CloudFront) is used. This change was made to improve the robustness of local serving of the Connect SDK package.
#32631 - [OS X only] The Connect window can incorrectly gain keyboard focus, displaying in front of all other applications.
#32558 - [OS X only] Chrome can present an unnecessary confirmation dialog.
#30746 - In Connect's Preferences dialog, when the Automatically check for updates option was selected, Connect did not correctly find available updates.
#30299 - Chrome issued a warning icon and log messages about "mixed HTTP and HTTPS content."
- OS: Windows 7, 8, or 10. Windows Server 2008 r2 or 2012.
- Browser: Internet Explorer 8-11 (with limitations), Firefox 27-44, Chrome 32-47, or Microsoft Edge (EdgeHTML versions 12.10240 and 13.10586).
Note: Drag-and-drop is not supported on the Edge browser at this time.
- OS: OS X 10.6 (with limitations) through 10.11
- Browser: Safari 6-9, Firefox 27-43, or Chrome 32-47
When used with Faspex and some third-party web applications, Connect supports the dragging and dropping of files and folders for transfer; but this support varies by platform and browser. See the table below for details on how this release of Connect supports drag-and-drop in your environment:
|Mac OS X
|Files and folders
|Files and folders
|Drag-and-drop not supported
|Files and folders
|Files and folders
|Drag-and-drop not supported
|Internet Explorer*
|Drag-and-drop not supported
|Files and folders
* Internet Explorer is limited in support for drag-and-drop because of how it records drop events. Edge does not support drag-and-drop from the system into the browser. For further information, see
- Connect 3.6.1 Release Notes
- Connect 3.6.0 Release Notes
- Connect 3.5.3 Release Notes
- Connect 3.5.2 Release Notes
- Connect 3.5.1 Release Notes
- Connect 3.4.2 Release Notes
- Connect 3.3.4 Release Notes
- Connect 3.3.3 Release Notes
- Connect 3.1.4 Release Notes
- Connect 3.1.2 Release Notes
- Connect 3.1.1 Release Notes
- Connect 3.1.0 Release Notes
- Connect 3.0.1 Release Notes
- Connect 3.0.0 Release Notes
md5: cb3e2f3945f5b17fc4087daf3d952c8c sha1: f10291487317266aaf87fef6d3d98267daebea6d
md5: a12d2d70affcacd0079ea8d963dcc72a sha1: 616aff3f4d2a76b1ee762205aae78b5b573974a2
- IBM Aspera Connect 3.6.6 User Guide (Windows) [English]
- IBM Aspera Connect 3.6.6 User Guide (Windows) [Spanish]
- IBM Aspera Connect 3.6.6 User Guide (Windows) [French]
- IBM Aspera Connect 3.6.6 User Guide (Windows) [Japanese]
- IBM Aspera Connect 3.6.6 User Guide (Windows) [Chinese]
- #34468 - [OS X only] On Chrome, when you reopen Connect by initiating a transfer, the Connect window appears only briefly, and then is hidden. The transfer does take place, but the Connect window does not appear in front of other applications as expected.
- #34277 - [OS X only] If your system has a proxy configured, you must install Connect with administrator privileges.
- #33004 - [Windows 10 only] When filenames contain Nepali script, they do not display correctly in Connect's Transfers window. Other Unicode characters do display correctly.
- #32938 - [OS X only] If an administrator has a single-user Connect installation, standard users on that computer are blocked from using Connect. To address this, either
- Have the administrator perform a system-wide installation (instead of a single-user installation).
- Have the standard users perform their own single-user installations.
- Have the administrator perform a system-wide installation (instead of a single-user installation).
- #32908 - Connect can display an unnecessary proxy configuration dialog.
- #32825 - [OS X 10.6 only] On OS X 10.6 with Firefox 41, the Connect browser plug-in crashes when pages are loaded that use it.
- #32716 - In Chrome 45 and higher, the browser may not detect that a previous version of Connect is installed. You can follow the steps to download and install Connect.
- #32446 - [Windows only] If you perform a system-wide installation of Connect, Aspera recommends that you not use the built-in Administrator account for this installation. The built-in Administrator account includes privilege settings that are too high, resulting in various issues in Connect capabilities. Most importantly, your users will not be able to drag and drop files in the Connect interface, in any browser. Instead of the built-in Administrator account, Aspera recommends that you use a different administrator account for system-wide installation.
- #32258 - [Windows only] In Internet Explorer, drag-and-drop actions work for files, but not for folders.
- #32159 - [Windows 10 only] In Aspera Shares 1.9.1 or older, the button to install Connect may not display correctly. To install Connect in these cases, download the Connect installer from http://downloads.asperasoft.com/ and then run it.
For on-line support resources for Aspera products, including raising new support tickets, please visit the Aspera Support Portal. Note that you may have an existing account if you contacted the Aspera support team in the past. Before creating a new account, first try setting a password for the email that you use to interact with us. You may also call one of our regional support centers.


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Discussion in 'CycleChat Cafe' started by urbanfatboy, 6 Aug 2007.
Did he make it here form the C+ forum? Is he still looking for a quirky folder?
I haven't seen him here - and he's not registered (as davej at least!)
Another Missing In Action....
I think you'll find him alive and well and bedded-down at ACF.
Another Cycling Forum - a lot of old C+ went there after ditching BikeRadar.
ACF=Another cycling forum, just googl it
Separate names with a comma.


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The Measured Step
This edit is from The Measured Step, an installation and performance piece that was part of The Road Home, a collaborative evening with artists Sandra Paola Lopez Ramirez and Soulaf Abas. The singer is Cyndie Bellen Berthezene and Bruce McKaig is at the rack. All four were artists in the Santa Fe Art Institute Equal Justice Residency 2018. The work explored place and identity, referencing cave wall art and ephemeral handprint signatures.
2016/17, building a barter network between artists, workers in other industries, and neighbors
I was awarded a 2016 Crusade for Art grant and am using it to build a barter network in Baltimore between artists and tradespeople (electricians, plumbers, carpenters, care givers). This project allows me to work with my art and my economics background. More info here.
This Place Has A Voice
2012 - 14, Canal Park and Near Southeast, Washington DC
I conceived and organized a free public Event Day (September 20 2014) that included more than two-dozen artists with performances, sculptures and installations, historical walking tours, and student docents from local universities. The image above shows students installing oversized portraits of local residents in the park. As well as working with artists and community, I was the liaison with project funders: DC Commission on the Arts and Humanities, The DC Department of Transportation, and the DC Humanities Council. The project was possible because I united the disparate goals of the individual funders. More info here.
Box O'Art
A treasure chest of instructions and props traveled to five public spaces in Washington DC in 2011
Participants tried to comply with the instructions as they navigated each other's complimentary or conflictual presence.
Community Center Portico Design
2010, Washington DC
I was contracted to conceive the design, recruit additional artists for the project, and execute the installation. The initial budget was $10,000 and I procured an additional $7,500. The solar powered lights along the portico roof undulate through a series of seven colors. The work involved coordinating permits with city planning agencies because the center is in a residential neighborhood.
Brent Elementary School Library Design
2008, The School Libraries Project Washington DC
Commissioned and funded by The School Libraries Project (Washington DC), I produced two murals for permanent installation in the Brent Elementary School's library. The project's goal was to inspire reading through the art experience, so I incorporated elements from the reading curriculum as well as historical documents from the school's past. I interviewed the school librarian, custodian, and other personnel for input on the murals content.
Photo Burro
2002, DC Commission on the Arts and Humanities
In an abandoned department store basement that I converted into a darkroom, I covered the sculpture with light sensitive cyanotype (blueprint) chemistry, then "processed" it by squirting water on it with syringes. Instead of placing a photograph on the sculpture, I materially made the sculpture itself a photograph. This was part of the "Party Animals" art exhibition that took place throughout Washington, DC, the largest public art exhibit ever held in the city. After being placed on the streets for six months, the work was auctioned off as a fundraiser for the DC Commission on the Arts and Humanities. It was purchased by a local photography collector.
Below is an interview about the work with Joe Bruncsac, WETA 2002
Letter to Alex O: the Movie
I used a grant from the DC Commission on the Arts and Humanities to produce my first time-based work, an animation on DVD of a fictitious tour guide twirling and sliding to different places on the planet represented by photographs I made during my travels. Since the project was publicly funded, I wanted to give the work back to the public. I produced 1000 DVDs of the work and gave them away free to people on the streets in DC. Here's a short clip of me giving them away on the streets: Give Away


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As you may know expert4x has been exploring random based Forex trading techniques for a long time. The Non-directional Grid Trend Multiplier technique is an example of that. ( GTM )
We have also been exploring the use of Gambling type of odds and statistical techniques to find techniques that stack the odds in the Forex traders favour. Card counting is an example of a mathematical technique banned by casinos because it works at stacking the odds to a player's advantage over time.
Using concepts of our very old, free Maximum lot course ( Maximum lots ) which have become more user friendly due to the high leverage currently available from many Brokers, we have developed a trading approach which has almost 100% chance of success related to results belows. Broker bonuses that finance margin requirement also help ( Broker Bonuses )
Going for 100% guaranteed results such as the ones below does however reduce gains and we are working on that.
Below is an example of the type of gains possible. This trading account shows how $ 3 426 was traded to over 1 million.
In order to achieve this type of result one has to use a specific type of broker account, specific leverage, a specific highly unconventional, mathematical/statistical forex trading approach. Also note that these results were achieved in a relative flat market ranging under 100 pips in the 2 weeks of trading.
We will be making more details about this Forex trading approach available over the next few days so watch your emails for more information.
Article 2: http://www.doubleinadayforex.com/how-you-can-guarantee-6-successful-forex-trades-in-a-row/
Please make any comments using the facility below.


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Iseult Quartz Crown
Iseult Quartz Crown
The Iseult crystal crown features iridescent quartz crystal spikes that have been wire wrapped to a large, 6" comb. This piece is whimsical, dreamy, and magical--perfect for anyone that wants a touch of magic in their day. Handmade with love in Seattle, WA.
Due to the nature of the crystals, slight variations will occur. Available in gold and silver combs (wire-wrapped in 14k gold filled and sterling silver wire respectively), raw or polished crystals, and aura (the metallic, iridescent coating).
Custom Size: Think you need a custom size? Custom orders are welcome. Inquire at firstname.lastname@example.com prior to ordering. Please allow an additional 2-6 weeks for expected item to ship.
Lembas Unchained: 10% of proceeds are donated to ending human trafficking and aiding survivors.


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After reading this post, you will be able to identify and cut any neck pattern. Just go through this post, its not too lengthy but after reading it, you can easily cut any neck pattern.
I will be teaching the 5 common neck patterns which are Scoop neck, V neck, Split neck, Scallop neck and Sweetheart neck.
5. Then cut
How to cut scoop neck pattern :
- Fold your material and mark all the desired length and width.
- Get the width and depth of your neck and join it to make a BOX.
Check the diagram
3. Use a round object like the one in the image, but to your desired size. Use the round object to get a marvellous round or scoop neck.
4. The gap should be 2 inches apart or 1 and half inches apart.
5. Then you cut.
How to cut V neck pattern :
Follow the same step one and step two of the scoop neck.
3. Use a straight thing (example; A Measuring rule) to get a good V neck. Like the diagram above.
4. The gap should be equal i.e dividing the box into two with a diagonal line.
5. Then you cut.
How to cut split neck pattern :
Use the same step one and step two of the scoop neck pattern.
3. In the case of cutting a split neck, you will use both a round object and a straight object to get a good split. If possible, you could use a compass to get a good round or curve.
4. The gap should be to your own desire.
How to cut Scallop neck pattern:
Use the same step one and step two of the scoop neck.
3. A scallop neck pattern is a free hand drawing. The slope drawing is to your desire. But i prefer small scallop at the shoulder side and a big scallop at the end part.
4. The gap should be equal like the V neck diagram.
5. Then cut.
How to cut sweetheart neck pattern:
The same step one and step two of the scoop neck will be applied here.
3. There are two types of sweetheart neck pattern, and they are;
- Sharp sweetheart neck.
- Smooth sweetheart neck.
The diagram above is the smooth sweetheart neck pattern. The smooth sweetheart neck is looking like the split neck pattern except that the straight side is curved. The sharp sweetheart neck pattern is in the first picture, so SCROLL UP NOW.
4. The gap is to your desire.
5. Then you cut.
With this simple explanation, I know that cutting of neck will be simple for you. Don't forget to COMMENT BELOW AND TELL YOUR DESIGNERS AND FRIENDS ABOUT THIS WEBSITE. Follow me up on my social medias.
Thanks for your time.
Comment your suggestions and ideas in the comment box below


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Product Details
Use Ultimate Alien Carbon Seatpost
The Alien Seatpost range is one of the lightest on the market and the Alien Carbon is the lightest in the range.
Intelligent design and high grade materials ensure that the weight is as low as possible while maintaining durability and long lifespan.
The Alien clamping system has continually evolved with the latest being the Alien Cyclops. Using a larger (3mm hex key) single bolt central to the clamp design, the Alien Cyclops makes adjustment easier and faster.
It has been used by World-class athletes, at World Cups and by amateurs alike. It was developed for the fastest, toughest riders on the planet. It was selected to adapt Laurne Jalabert's bike in the Tour de France to assist him in winning the King of the Mountains jersey.
Technical Specs
- Material: Carbon
- Weight: 140g (27.2mm)
- Setback: 10mm
- Length: 300mm
- *Supplied with standard 7x7mm clamp. Other size clamps to fit oval carbon rails are available. Please see the saddle manufacturers measurement, if the rails are wrapped please check the measurements are still valid.


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Architecture on the internet is a riot of diffuse ideas, but that's not all bad news, says Sutherland Lyall
A pundit recently pointed out that the unique thing about modernist architecture was that this was the first time in history when architects weren't trying to copy something designed earlier. I can hear Robert Adam complaining at the back that this is exactly what's wrong with it. But I can also hear old modernists from the AJ's Bride of Denmark years moaning about how architecture, and its practice as they knew it, has gone to hell in
a handcart.
Yet every day, you sit there in front of a computer monitor with pleasure, astonishment and anger roiling around in your brain, prompted by unending images of the latest architectural goodies on websites from around the world. In the print world, we select buildings and ideas. Out there in the electronic ether is a promiscuous cornucopia, a daily smorgasbord of undifferentiated images and (occasionally) explanatory texts. And what about this: as soon as a tiny practice from Inner Mongolia has a good idea, it can put it on the internet. Or, quite frequently, a bad idea. Because blogs or social networking sites tend to have a comment facility, it's thus possible for somebody from a big practice in Seattle to ask immediately how and why the roof is made from recycled banana leaves.
Here's an argument from the backblocks: the internet stuff tends to be presented as is. It is more or less value-free. The old Briders therefore ask how exactly are the architectural verities to be transmitted down the generations? If Reyner Banham's Black Box theory is correct, architecture schools manage this perfectly well, even if by doing no more than inculcating a ragbag of aphorisms and maxims from the not-so-recent past, dressed up as architectural theology. But maybe value-free actually means freedom to think, freedom to share experience, freedom to integrate schooling, imagery and ideas. Of course, joining the intellectual dots and providing a sense of discernment is what we still do here (in print) quite well.
Sutherland Lyall was buildings editor of the AJ from 1973-75
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Welcome Back!
Welcome back to the new & improved Birdie Shoots blog layout! In addition to switchin' up our look we have also moved domain locations! You will now be automatically redirected to the new dot-com {www.birdieshoots.com}. I can't give enough {thanks} to my amazing blog designer over at Baker Zoo Designs! She captured everything I wanted in a simple but sleek design, I would *highly* recommend her to anyone looking to re-design their blog layout. Not only does she do an incredible job, but she was in contact with me the entire time!
For those of you just looking for smaller changes, she also does timeline covers, Facebook backgrounds, social media links and much, much more! Hope you all have a fabulous Monday!


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Perhaps one of the most anticipated course projects since the addition of our irrigation has begun -- cart path repairs!
The best part about this project is that it has not and we do not expect it to effect regular play. All 18 holes are still open, there are just some areas where golfers will have to navigate around the cart path being worked on.
This project began last Monday and is expected to take approximately three or four weeks. The crew has torn up the old cart path on the back nine and will begin the front nine this week.
The old paths will be torn up first, replaced with a gravel base layer and then repaving will conclude the project.
We're very excited to have these repairs underway. We've heard your comments regarding our paths either in person, on online review sites, and in our own email surveys. So we're hoping this will make your visit to PWGC that much more enjoyable!
Thank you for your patience during this process, the minimal inconvenience now will literally lead to smooth driving later!
To make a tee time please call 703-754-7111 or visit our booking page online.


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This may sound strange, but I have never liked the traditional Easter call and response of "He is risen, He is risen indeed."
It took me awhile to figure out why I got uncomfortable every Easter Sunday when the pastor said, "He is risen," and all around me voices droned, "He is risen indeed." Finally it occurred to me that this rote response lacks meaning. For me, that is. I know I'm probably in the minority, and I am certainly not advocating the removal of this part of Easter Sunday service. But for me the wonder and awe of the resurrection cannot be expressed in an automatic response.
I don't know about you, but sometimes I get annoyed with the Bible for not giving me enough details. Something horrendously interesting will happen, and the scribe gives it one summary verse, and I'm going, "Hey, what happened next?"
Not so with the account of Jesus' death and resurrection. I cannot help but be moved by the details of the event. Crowds chanting, a purple robe, a crown of thorns, darkness that came over the land, wine and vinegar, a tomb cut out of rock, spices, sunrise, a man dressed in white with a message for Mary Magdalene. Wow! It's so much more than words. I can see it in my mind and feel it in my heart.
As writers, it's our job to never lose our wonder in the world and its Creator, in humankind, in sound and sight, in touch and sent, in love. Anne Lamott puts it like this:
This is our goal as writers, I think; to help others have this sense of–please forgive me–wonder, of seeing things anew, things that can catch us off guard, that break in on our small, bordered worlds. When this happens, everything feels more spacious. Try walking around with a child who's going, "Wow, wow! Look at that dirty dog! Look at that burned-down house! Look at that red sky!" And the child points and you look, and you see, and you start going, "Wow! Look at that huge crazy hedge! Look at that teeny little baby! Look at the scary dark cloud!" I think this is how we are supposed to be in the world–present and in awe.
Why does the account of Christ's crucifixion have the power to affect us thousands of years after it was written? Because the vivid details make us see it anew every time we read it. The words make us present. And, most importantly, the story of the resurrection cannot fail to draw a completely personal response from our very core—awe.
Evangeline Denmark has storytelling on her heart and in her blood. The daughter of novelist, Donita K. Paul, Evangeline grew up living and breathing good stories. She has co-authored two children's books, The Dragon and the Turtle (Waterbrook Press, 2010) and The Dragon and the Turtle Go on Safari (Waterbrook Press, 2011) and also writes adult fiction. Evangeline is an active member of American Christian Fiction Writers, serving as chapter secretary. You can find Evangeline online at http://www.breathenbreatheout.blogspot.com and http://www.dragonandturtle.com


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Public Health England
PHE is an executive agency of UK that aims at protecting and improving the nation's health and to address inequalities.
The review published by PHE on e-cigarette has been severely criticized because it endorse a 95% benefits compared to smoking tobacco. PHE subsequently published a document clarifying their point and specifying that their review was written in the light of broad toxicological evidence.


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SILETZ, Ore. — Local native languages teeter on the brink of oblivion all over the world as the big linguistic sweepstakes winners like English, Spanish or Mandarin ride a surging wave of global communications.
But the forces that are helping to flatten the landscape are also creating new ways to save its hidden, cloistered corners, as in the unlikely survival of Siletz Dee-ni. An American Indian language with only about five speakers left — once dominant in this part of the West, then relegated to near extinction — has, since earlier this year, been shouting back to the world: Hey, we're talking. (In Siletz that would be naa-ch'aa-ghit-'a.)
"We don't know where it's going to go," said Bud Lane, a tribe member who has been working on the online Siletz Dee-ni Talking Dictionary for nearly seven years, and recorded almost all of its 10,000-odd audio entries himself. In its first years the dictionary was password protected, intended for tribe members.
Since February, however, when organizers began to publicize its existence, Web hits have spiked from places where languages related to Siletz are spoken, a broad area of the West on through Canada and into Alaska. That is the heartland of the Athabascan family of languages, which also includes Navajo. And there has been a flurry of interest from Web users in Italy, Switzerland and Poland, where the dark, rainy woods of the Pacific Northwest, at least in terms of language connections, might as well be the moon.
"They told us our language was moribund and heading off a cliff," said Mr. Lane, 54, sitting in a storage room full of tribal basketry and other artifacts here on the reservation, about three hours southwest of Portland, Ore. He said he has no fantasies that Siletz will conquer the world, or even the tribe. Stabilization for now is the goal, he said, "creating a pool of speakers large enough that it won't go away."
But in the hurly-burly of modern communications, keeping a language alive goes far beyond a simple count of how many people can conjugate its verbs. Think Jen Johnson's keypad thumbs. A graduate student in linguistics at Georgetown University, Ms. Johnson, 21, stumbled onto Siletz while studying linguistics at Swarthmore College, which has helped the tribe build its dictionary. She fell in love with its cadences, and now texts in Siletz, her fourth language of study, with a tribe member in Oregon.Continue reading the main story
Language experts who helped create the dictionary say the distinctiveness of Siletz Dee-ni (pronounced SiLETZ day-KNEE), or Coastal Athabascan as it is also called, comes in part from the unique way the language managed to survive.
Most other language preservation projects have a base, however small, of people who speak the language. The Ojibwe People's Dictionary, for example, which went online this year, focuses on one of the most widely spoken native languages in Canada and the Upper Midwest.
The 12 other dictionaries financed in recent years by the Living Tongues Institute, a nonprofit group, in partnership with the National Geographic Society — which helped start the Siletz dictionary project in 2005 and now uses it as a blueprint — are all centered on languages still in use, however small or threatened their populations of speakers may be. Matukar Panau, for instance, an Oceanic language of Papua New Guinea, has about 600 speakers remaining, in two small villages.
Siletz, by contrast, had become, by the time of the dictionary, almost an artifact — preserved in song for certain native dances, but without a single person living who had grown up with it as a first language.
There were people who had listened to the elders, like Mr. Lane, and there were old recordings, made by anthropologists who came through the West in the 1930s and 1960s, but not much else. Mr. Lane wants to incorporate some of those scratchy recordings into future versions of the dictionary.
What can also bridge an ancient language's roots to younger tribe members, some new Siletz learners said, is that it can sound pretty cool.
"There are a couple of sounds that are nowhere in the English language, like you're going to spit, almost — kids seem much more open to that," said Sonya Moody-Jurado, who grew up hearing a few words from her mother — like nose (mish), and dog (lin-ch'e') — and has been attending with a grandson Siletz classes taught by Mr. Lane.
"They're trailblazers, showing the way for small languages to cross the digital divide," said K. David Harrison, an associate professor of linguistics at Swarthmore who worked with the Siletz tribe and the other partners to build the dictionary. Professor Harrison said he went to Colombia recently, talking to indigenous tribes about preserving their languages, but when the laptops opened up, the Siletz dictionary, with its impressive size and search capabilities, was the focus. "It's become a model of how you do it," he said.
When settlers were streaming west in the 1850s on the Oregon Trail and displacing American Indians from desirable farmland, government Indian policy created artificial conglomerates of tribes, jamming them into one place even though the groups spoke different languages and in many instances had little in common.
The Siletz people were among the largest bands that ended up here on this spit of land jutting into the Pacific Ocean. By dint of their numbers, their language prevailed over other tribes, and their dances, sung in Siletz, became adopted by other tribes as their cultures faded.
"We're the last standing," Mr. Lane said.
But the threat of oblivion was constant. In the 1950s, the tiny tribe was declared dead by the United States — a "termination" from the rolls, in the jargon of the time. The Siletz clawed back — clinging to former reservation lands and cultural anchors in songs and dances — and two decades later, in the mid-1970s, became only the second tribe in the nation to go from nonexistence to federally recognized status. The Confederated Tribes of Siletz Indians now have about 4,900 enrolled members and a profitable casino in the nearby resort town of Lincoln City.
School was also once the enemy of tribal languages. Government boarding schools, where generations of Indian children were sent, aimed to stamp out native ways and tongues. Now, the language is taught through the sixth grade at the public charter school in Siletz, and the tribe aims to have a teaching program in place in the next few years to meet Oregon's high school language requirements, allowing Siletz, in a place it originated, to be taught as a foreign language.Continue reading the main story


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Search Centre Results Page - Get the site navigation back with CSS
I've often been asked by customers to get the site navigation back onto the search results page, which is fairly easy by:
- Put the Results page into edit
- Add a script editor web part anywhere onto the page
- Click the edit source for the script editor web part
- Paste the style block below
- Save the page, check it in and publish
#s4-titlerow { display: table !important;}
#searchIcon {display: none;}
#contentRow { padding-top: 5px;}
.ms-srchnav {margin-top: 5px;}
Note: this has been tested on SharePoint 2013 but many of the ID's and classes look the same as 2010 so there's a good chance it will work on 2010 too.
Error in the ULS logs - Exception from HRESULT: 0x80131904 at Microsoft.SharePoint.SPGlobal.HandleComException(COMException comEx)
It turned out that the SQL drive had run out of disk space. Further investigation showed the SharePoint Config DB log file was huge. I switched the db to simple recovery, backed it up, struck the log to a sensible size and put it back to full recovery.
Which SharePoint template was used to create a site?
If you need a quick way of finding out:
- Right click on the page and click view source ( i use the default home page)
- press CTRL + F to bring up Find and search wsaSiteTemplateId.
You should see something like CMSPUBLISHING#0 if it's a publishing site for example.
An error occurred during the compilation of the requested file, or one of its dependancies. Cannot convert type 'Microsoft.SharePoint.WebControls.EncodedLiteral' to System.Web.UI.IAttributeAccessor'
I got this taking a default master page out of SHarePoint using SP designer and adding the file to my VS project. Somewhere alone the process the master page file was broken. Open the master page in SPD, select all the text. In VS, create a master page and paste the copied text in. The above error won't occur.


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From a man's mouth you can tell what he is. (Zohar Bamidbar 193)
Passover is a holiday of the mouth. The Hebrew word Pesach can be heard as two words: Peh sach, the speaking mouth. The Passover story of Exodus, liberation and redemption, traces from the mouth, starting with the cries of a people who descended so low in degradation and slavery that all they could muster were groans. Moses then spoke to truth to power, even with his speech impediment, calling Pharaoh to let the people go. And even once the people went free, liberation was not complete until they crossed the sea and sang their Song of the Sea to praise God for their freedom.
The groan of one so beaten down is the vocalization of a slave. Whether enslaved by a taskmaster, economics, illness or politics, groans alert us to the need for rescue. In our own time, these groans still are heard around the world, in our communities, and perhaps even in our own families. If we turn a deaf ear, then how can we hope for God's rescue? Passover instructs us to speak up on behalf of those who can only groan, or who are silent entirely.
Like Moses, a brave few resist tyrants and demagogues from the high platform of history. Their words rail against abuse and rouse the world to change. These have been our modern prophets: Abraham Joshua Heschel, Martin Luther King, Jr. and Reinhold Neibuhr – each rooted in a theological tradition of speech to bring change. But we needn't be theologians or prophets to amplify the cry for freedom. Passover asks precisely this: hear the groans, speak the call to freedom, release the bound, cut the shackles.
But freedom isn't just the lack of outward shackle: freedom is incomplete until one offers praise for one's freedom. When the newly freed people cross through the sea they erupt in song. That's what the Song of the Sea teaches: freedom is complete only when the inner impulse to express gratitude becomes automatic and free-flowing like an unstoppable geyser.
If our enslaved, impoverished, weary desert ancestors could do it, how about us who are relatively prosperous? In all we have, do we forget that we are not the Creator, the source or energy that manifests this world and all its possibility? Do we speak and sing gratitude for our lives, for what we have, for our freedom to have it? If not, then for our every outward appearance of freedom, inside we too are bound. What's stopping us?
Passover comes to remind us: we are to experience liberation not "as if" we were there but rather "because" we were there – perhaps because we still are there. If life's burdens keep us from singing gratitude for what we do have and for our freedom to have it, then inside we're not fully free. Passover beckons us into this timeless journey of bondage and liberation. We remember the times when we groaned (or still groan) under those burdens. We recall the times when spoke truth to power, when we celebrated our lives with gratitude, so that we can exercise those muscles. Countless millions today groan or are silenced completely. It's up to us to speak for them and then, step by step, help make the world more free from every oppression that burdens body and spirit.
You can tell a lot about a person by the quality of their speech and how they employ their words. What will come from your mouth this Passover, and after? Use your voice – groan if it's all you can do. Look for every chance to speak truth to power, stop oppression, free the bound and then let your free-flowing geyser of gratitude flow from you into the world. That's a path to freedom worth celebrating.
Spread the word. R' Evan. (dedicated to Karen Simon).


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Britain's last government showed almost "criminal" levels of negligence by failing to create a contingency for the UK voting to leave the European Union, according to a pro-Brexit economist with close ties to Foreign Secretary Boris Johnson.
Gerard Lyons — one of the few prominent economists to back leaving the EU, and a co-founder of the Economists for Brexit group — told an audience at the Brexit & Global Expansion Summit in London on Monday that by failing to prepare plans for what might happen in the event that Britain voted to leave, Prime Minister David Cameron and Chancellor George Osborne left both the new Conservative government and the British people high and dry.
Here's the key quote from Lyons, who was Johnson's chief economic advisor for three years when he was Mayor of London:
"The previous government, the chancellor and the prime minister, Osborne and Cameron, basically left this current government in a terrible position, because no work was done. It was almost criminal negligence, the actual fact that Whitehall and Westminster were not left in the situation to be prepared for this."
Prior to the referendum, the government made it abundantly clear that it was not making plans for the potential impacts of Brexit, with Charles Roxburgh, director general for financial services at the Treasury telling Business Insider in February:
"It's the government's policy not to do contingency planning. So we will not be doing contingency planning - that's consistent with the position we had on Scotland, so that's the answer to your question."
Lyons contrasted the previous government's approach to that of the Bank of England, which prepared substantial contingency plans to deal with any market fallout from the initial shock of the referendum outcome, and then quickly implemented a sweeping programme of new monetary easing, cutting interest rates to a record low of 0.25%, and extending quantitative easing.
"The Bank of England in contrast … was well prepared. People might disagree with the actions they've taken, but they were prepared," Lyons told the audience.
Lyons assertion came as part of a discussion about the government's approach to Brexit, and the growing likelihood of a so-called "hard Brexit" — leaving the EU without a trade deal or access to the single market, in return for gaining control on immigration.
He argued that the new government's perceived approach to Brexit is not only about leaving the EU, but also fundamentally changing the British economy, saying: "Basically its rewarding people who voted for Brexit, its about infrastructure, its about the productivity gap, its about the regional divide, rebalancing the economy — the stuff that was talked about in 2008, but nothing happened. That's now on the agenda."
During the same conversation, George Magnus, a senior economic advisor for UBS took a fundamentally different stance, arguing that "the government is clueless. I don't think there is really a strategy."


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Hitchiner Manufacturing's Video Library
The following video productions are available for viewing (Hosted on the Hitchiner® YouTube Channel):
Hitchiner Imagination in Metallurgy 2017
Learn more about Hitchiner Manufacturing's patented Countergravity Investment Casting process.
the investment casting process
Hitchiner Manufacturing's patented Countergravity Investment Casting process has come a long way since 1946! Learn more about who we are, what we do and how we are growing!
30 Second Overview
A brief overview of Hitchiner Manufacturing Co., Inc., the premier supplier of complete-to-print, high-volume, complex thin-wall investment castings and fully-finished casting-based subassemblies and components to industry.
Countergravity Animation
Hitchiner first developed its exclusive countergravity processes for reasons of economics. However, a solid body of evidence has been generated to show that countergravity casting yields parts that are substantially better in quality than corresponding parts using the best ladle pouring procedures.
Hitchiner's CLI & C3 Process
Hitchiner's Countergravity Low-pressure Inert gas process (CLI) blankets the melt with an inert gas in order to cast reactive alloys quickly and efficiently. The C-cubed process uses centrifugal force to aid in mold fillout in thin sections.


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Parent Share
Meeting weekly in the Upper Room (201), at the times listed below…
- Open to all parents & guardians
- Lead by Carla Stanton
As people of God we know that the children God has entrusted us to raise are precious gifts. We also know that we do not HAVE to raise them but instead are CALLED to raise little people in this time and place. How are we giving and receiving support to each other as we answer this call?
The basis for First Lutheran's Parent Share is simple. As parents we all have shared experiences of joy and frustration. There is no one person who holds all the answers for 'perfect' parenting. Instead God has given us the gift of community. When we come together over a cup of coffee and agree to set aside our judgments, open our hearts and share our learned wisdom we will experience the Holy Spirit's guiding hand in this journey we call parenting.
There is no lesson plan, agenda or curriculum. For our parent share, we will simply come together to pray and talk about raising our children faithfully.
Join Carla Stanton, certified spiritual director and mom of three, in room 201. The nursery is available both Sundays and Tuesdays.
Questions about Parent Share? Use the form below to send a message to our volunteer group leader, Carla Stanton.


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Dr Richard Weiler, a specialist registrar in sport and exercise medicine, said that a lack of fitness was the root cause of moreillness than body fat.
This ill health includes diseases such as heart disease, type 2 diabetes, mental health problems and high blood pressure, he said.
He called for public health policies to focus more on increasing physical activity and that spending huge amounts of money on treating obesity was the wrong way forward.
Weight loss drugs and surgery both carry risks and their long-term benefits are limited, he warns in an opinion piece published in the British Medical Journal.
A recent review of the evidence "suggests that cardiorespiratory fitness, which is developed and maintained by regular physical activity, is a better predictor of mortality than obesity," Dr Weiler, from Imperial College Healthcare Trust, in London, writes.
More than nine in 10 people in Britain do not take the recommended 30 minutes of moderate exercise five days a week.
His article which says that health policy should focus on physical activity rather than obesity, adds that health problems "can be greatly reduced by physical activity leading to improved fitness – even in the absence of weight loss."
However, writing in the same journal, Prof Louise Baur and colleagues from the University of Sydney, say that while physical inactivity is a "major contributor " to disease it would be wrong to focus on exercise and ignore obesity.
Meanwhile, a new survey shows that one in five children say they do not get any support from their parents to play sport outside school.
And half of boys and 15 per cent of girls saying they would play more sport if their parents were prepared to drive them to sports clubs, the poll, of 1,000 children and 2,000 parents by David Lloyd Leisure showed.


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About Us
The Ohio Tourism Toolbox was developed through the Ohio Tourism Team - a group of representatives from various organizations throughout the state. Ohio State University Extension provides leadership for this team. The team advances economic development in Ohio through collaborative research and education projects.
To continue growing the $38 billion Ohio tourism industry, the Ohio Tourism Team provided leadership for a new Ohio Tourism Partnership for Economic Development. Through this partnership, a new web-based Ohio Tourism Toolbox was launched during Ohio Tourism Month (May, 2009), as a one-stop resource for industry professionals and community leaders.
Tourism encompasses portions of many sectors including hospitality, transportation, retail, and entertainment. Tourism attracts temporary visitors to places where they purchase goods and services. Both rural and urban communities base their visitor attraction strategies around favorable local advantages such as a climate, history, and cultural and natural resources (International Economic Development Council).
Economic impacts can be calculated through business revenue, job creation, payroll, new business development, local and state tax revenue. Tourism also contributes to the overall image of a community, shaping the perception of a destination in the minds of visitors, future residents, and potential business owners seeking relocation sites.
Key partners include Ohio State University Extension, the Ohio Department of Development Tourism Division, and Ohio Sea Grant College Program. Additional collaborators include OSU's Center for Consumer Service Excellence/College of Education & Human Ecology, the Ohio Travel Association, Ohio Department of Agriculture/Ohio Proud, the Ohio Restaurant Association, the Ohio State Parks/Department of Natural Resources and a growing list of Ohio Tourism Team members representing other organizations, regional groups, and universities such as Ohio University & Bowling Green State University.
Ohio Tourism Toolbox Project Developers
This project is made possible by funding (has been supported) through OSU Extension Community Development, the Ohio Department of Development Tourism Division, and OSU CARES - an initiative of Ohio State University Extension and The Ohio State University to expand faculty, staff and student partnerships with communities throughout Ohio.
Additional Project Collaborators
The Ohio Travel Association
Ohio University, College of Health and Human Services, School of Human and Consumer Sciences
Additional organizations represented by the Ohio Tourism Team
Get Involved
The Ohio Tourism Toolbox provides a foundation and framework for leaders in the industry to continually develop. If you are interested in contributing content, advice, or other resources to help further develop the Toolbox, please contact Nancy Bowen.


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Traditional Chinese Tea Ceremony
To celebrate the Year of the Dog, Ming Chen Clinic Edinburgh is launching a series of special intercultural events introducing the Chinese tea ceremony.
The Chinese tea culture has existed for thousands of years, with a large variety of different teas, each having specific benefits and many different tastes. In our first ceremony, we are celebrating the New Lunar Year through green tea, a symbol of Spring. The tea ceremony will demonstrate how to make green tea as well as the traditional way of tasting and smelling it. We will also discuss the cultural importance behind Chinese tea. As an added bonus, we will introduce Chinese water colour painting!
Our first ceremony will be held in April at Ming Chen Clinic Edinburgh featuring special guest Miss Yujun Xu, a certified tea ceremony master and intercultural consultant.


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Restaurant Style Steak Recipe
Adapted from Ina Garten
Recipe type:
Prep time:
5 mins
Cook time:
15 mins
Total time:
20 mins
A beautiful restaurant-style steak, perfect for celebrating any occasion. Once you follow the tips & techniques for a perfect steak, you will save a bundle on special occasion meals out.
2 (10-ounce) filet mignon (you can double this recipe, just make sure you have a large skillet so all the steaks have room)
2 tablespoons canola oil
Salt & Pepper
2 tablespoons unsalted butter, at room temperature, optional
Preheat the oven to 400 degrees F.
Heat a large, well-seasoned cast iron skillet over high heat until very hot, 5 to 7 minutes.
Meanwhile, pat the steaks dry with a paper towel and brush them lightly with canola oil. Combine the salt and pepper on a plate and roll the steaks in the mixture, pressing lightly to evenly coat all sides.
When the skillet is ready, add the steaks and sear them evenly on all sides for about 2 minutes per side, for a total of 10 minutes.
Top each steak with a tablespoon of butter and place the skillet in the oven. Cook the steaks until they reach 120 degrees F for rare or 125 degrees F for medium-rare on an instant-read thermometer. (To test the steaks, insert the thermometer sideways to be sure you're actually testing the middle of the steak. Mine took 4-5 minutes to come to medium rare)
Remove the steaks to a serving platter, cover tightly with aluminum foil and allow to rest at room temperature for 10 minutes.
Recipe by
at https://www.momadvice.com/blog/2014/06/restaurant-style-steak-recipe