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Ed Sheeran Penning Songs With Taylor Swift
From Justin Bieber to B.o.B, Taylor Swift has been branching out to work with other young superstars in various genres. Her latest collaboration is with British singer-songwriter Ed Sheeran. The two delivered matching tweets yesterday to tell the world about their songwriting session.
Sheeran teased his followers by first announcing that he was writing with "a very cool artist" without naming names. A few hours later, he and Swift spilled the beans:
In and out burger, defacing guitars and writing music with @taylorswift13 : )
— Ed Sheeran (@edsheeran) May 15, 2012
Eating cheeseburgers, scribbling on guitars, writing songs with @edsheeran.: ) — Taylor Swift (@taylorswift13) May 15, 2012
We love this collaboration, as both performers tend to write sensitive, introspective songs about their lives. Many Twitter users were excited about the news, though one Sheeran fan jokingly gave the young Brit a word of caution: "Don't do it Ed. Don't fall into her trap. She'll write songs about you!"
Swift has been working on new songs that may end up on her follow-up to 'Speak Now,' which may come out later this year. Sheeran experienced massive success last year in England with his album '+,' which will see a U.S. release in June. The proud new owner of a goat tattoo toured America earlier this year and plans to return in June to support the album.
Watch the Ed Sheeran 'Small Bump' Video


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College administrators face daunting challenges in retaining students and ensuring that they graduate. Nationally, only 56 percent of students who start four-year degrees graduate within six years and only 29 percent of those who start two-year degrees graduate within three years.*
We know that success in college takes more than academic skills, and standard admissions and placement tests don't reveal incoming students' strengths and vulnerabilities or whether they are motivated to persevere and succeed. That's why ETS created the SuccessNavigator® assessment.
Influence Student Success: The SuccessNavigator Brochure
Learn more about how the SuccessNavigator assessment can keep your students on course. To download the brochure, fill out a request form.
Improve your incoming students' retention and graduation rates as early as your next incoming class
Based on extensive research, this 30-minute, nonproctored online assessment helps colleges reach at-risk students and improve first-year retention rates by giving them a holistic view of the critical factors that most greatly influence incoming student success:
- Academic Skills — behaviors, beliefs and skills that directly facilitate academic success
- Commitment — commitment to, drive toward and perceived importance of academic success
- Self-Management — ability to anticipate and respond to pressure and stress related to college life
- Social Support — availability of resources to support academic success
Test takers also provide demographic and life-event information that you may not already capture.
When used in combination with traditional placement tests, the SuccessNavigator assessment gives you a holistic view of each student that will help you target intervention and remediation efforts and accelerate placement into credit-bearing courses.
See How the Assessment Works for more details on the skills measured.
Customized comprehensive score reports with a detailed action plan
A comprehensive score report and tailored action plan is instantly generated, providing the advisor with easy-to-understand feedback for each student including:
- Academic Success Index — student's projected GPA range in their first year
- Retention Success Index — student's probability of returning in the following year
- Course Acceleration Recommendation — recommendations for Math and English acceleration for students at the upper end of cut score bands
- General Skill and Subskill Scores — individual scores for the four general skills and 10 subskills
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Student reports are also generated and include General Skill and Subskill Scores with tailored recommendations and next steps, Aggregate reports can be created by advisor, date or cohort to aid in institutional planning and resource allocation.
Learn more about Scores and Reports.
A cost-effective way to improve retention
For as little as $6 per test, the SuccessNavigator assessment is a cost-effective way for colleges to improve their first-year retention rates and directly reach students whose personal challenges go unreported in standardized academic tests.
The 30-minute, nonproctored online assessment is easy to implement. It can be administered off campus prior to the start of classes or during incoming student orientation, placement testing or first-year experience courses.
To learn more about using the SuccessNavigator assessment to improve retention and completion rates at your institution as early as your next incoming class, call 1-800-745-0269 or contact an ETS Advisor.
* Source: Pathways to Prosperity: Meeting the Challenge of Preparing Young Americans for the 21st Century, Pathways to Prosperity Project, Harvard Graduate School of Education, February 2011.
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subset: commoncrawl


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Tuesday, January 4, 2011
The Deacon as Minister of Sacrament -- Part II
Although we don't like to reduce things to pure functionality, we have to do that a little bit. It's important to remember, however, that there are usually three dimensions to ALL sacraments: they are OUTWARD signs, connected with Christ, that effectively communicate God's grace. The sacraments are always PUBLIC events; there is no such thing as a "private" sacrament.
Bishops may preside at all sacraments, including ordination of other ministers.
Presbyters preside over all sacraments, except ordination. While bishops are the original ministers of confirmation, presbyters may do so with proper delegation through canon law and the bishop.
Deacons preside over baptism and matrimony. Deacons do not confirm, do not preside over the Eucharist, do not hear confessions, do not anoint and do not ordain. Deacon do have, however, their own specific assisting roles in other sacraments, such as at the Eucharist or in anointing or at ordinations.
As ordained ministers, deacons also have other liturgical functions as well. Deacons are ordinary ministers of holy communion; deacons preside over communal celebrations of the Liturgy of the Hours, deacons preside at Benediction and may give the Eucharistic Benediction (lay persons may not), and deacons conduct wake services and funerals.
The role of the deacon, even while presiding, is to act in the person of Christ the Servant and in the name of the Church.
2 comments:
I recall reading a discussion of why it is desirable to have a deacon assisting at mass whenever possible. The point was that since the Eucharist is a continuation of the Last Supper, the priest should be seen as the representative of Christ who transforms the bread and wine into his own body and blood, while the deacon represents Christ the servant who washes the feet of his disciples. I found that image compelling, but I cannot remember now where I read it. Did it perhaps come from Deacon Bill Ditewig?ReplyDelete
The critical issue is "whenever possible." I would guess that in my diocese 50% of the parishes have no deacon assigned at all. Most of those who do have deacons only have one in the parish.
In my parish, typically, two of the four masses on a week-end have diaconal coverage. Another will have one in four masses covered by a deacon; the other one in three.
Considering that an average priest working in a parish setting has three masses a week-end, it is reasonable to assume that each parish needs three deacons -- since I doubt if any deacon who is married would be able to cover more than one without some stress on family time.
On the other hand, I do not know of any diocese in the United States that has more ordained active deacons than ordained active priests much less a consistent 3 deacons per parish pattern.
Only the very best of blessings!
Deacon Norb in Ohio


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Vodafone Ireland 'manifesto' by Grey London
AgencyGrey London
SectorTechnology brands and Mobile phones
Vodafone Ireland has launched its first campaign since appointing Grey London to the business.
The campaign called 'manifesto' focuses on Vodafone's customers going about their everyday lives.
The ad sees the launch of creative strategy developed by Grey London 'Our Network Your Playground'.
Written and art directed by Jonathan Marlow, the ad was shot in across Ireland and features music from The National. The ad was directed by Simon Ratigan through HLA.
The campaign will run across TV, print, outdoor and digital.


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London: Chelsea`s top-four credentials are in doubt after they fell to a shock defeat to Southampton on Saturday, with Mauricio Pochettino`s men dragging themselves towards safety.
Saints deservedly went ahead through Jay Rodriguez after a good start to the match, but were pulled back level when John Terry headed home. However a Rickie Lambert free-kick restored the hosts` lead before half-time and they held on for another top-half scalp after the break.
With a gruelling week ahead Rafa Benitez rested a number of key men for the clash, Eden Hazard, David Luiz and Ashley Cole all made way, while Juan Mata (illness) and Gary Cahill (knee) were unavailable. Therefore the likes of Ryan Bertrand, Terry, Marko Marin and Victor Moses started. Saints, meanwhile, were without injured Adam Lallana but young left back and reported Blues target Luke Shaw recovered in time.
The hosts started the brightest and had two decent chances to open the scoring through Rodriguez. The striker firstly drilled a half-volley over the bar after Lambert`s header down, before breaking free of Terry with some inventive trickery only to roll the ball into Petr Cech`s arms.
And Saints were rewarded for their continued pressure just after the 20-minute mark. Rodriguez received the ball from Lambert in a central position before moving it on to Steven Davis and making a darting run in behind the Chelsea defence. The Scot released it quickly and found the striker, leaving him to slot home past Cech.
Fernando Torres thought he had equalised just moments later when he had the ball in the net after breaking free of Jos Hooiveld, however he was penalised for handling in the build up and it was ruled out.
The Blues did get themselves back in the game, however, with just over half-an-hour played. Marin delivered a corner from the right flank which Terry headed home after losing his marker far too easily.
But the clash swayed back in the home side`s favour just two minutes later when Bertrand was adjudged to have fouled Davis outside the Blues box. Saints captain Lambert stepped up and smashed the set-piece into the top-left corner of the goal, just out of Cech`s reach.
Rodriguez called Cech into action once more with a powerful strike from distance but the score remained 2-1 as the half-time whistle was blown.
Clyne forced the Blues keeper into a low save at his near post just after the restart, before denying Marin with a fine challenge, but it was Chelsea who went closest to the next goal as half-time substitute keeper Kelvin Davis did magnificently well to tip over Moses` deflected effort.
Rodriguez then had two decent chances to give Saints some daylight, but was denied by a fine Cech save as he shot from a tight angle, before wasting the second opening with a heavy touch.
Benitez brought Hazard on as he searched for a vital goal and the Blues did indeed pile some pressure on the hosts, as well as having a penalty appeal turned down, but they just failed to find the cutting edge they needed in the final third.
Elsewhere James Ward-Prowse almost found Davis as Saints threatened on the counter-attack, before, down the other end, Hazard flashed a shot-cross just wide of the far post as the Blues` goal-mouth pressure continued.
Lampard failed to emulate Lambert as he flashed a late free-kick over the bar, with Saints able to hold on to a vital victory in their push for survival - also denting Chelsea`s hopes of Champions League football next season.


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Ideas without a guide
Did you know that Spain has some of the best places in the world for stargazing? Or that there's a route where you can spot the settings for the films by the Oscar-winning director Pedro Almodóvar? Come and experience a different and original type of tourism. Come and celebrate festivities where the beat of drums creates a very special atmosphere. Let craftsmen and women themselves show you the secrets of their trade… Travelling in inland Spain means enjoying unique experiences which are guaranteed to leave their mark.
Wicker craftsman in Castile-La Mancha © Turismo de Castilla - La Mancha
Mining Museum, Puertollano. Ciudad Real © Antonio Real Hurtado. Turismo de Castilla - La Mancha
Room in the Naval Museum in Madrid
Man in a vegetable garden, Navarre © Enrique Adolfo Lacunza Eguaras. Navarra Adentro
View of the sky and stars in La Rioja © La Rioja Turismo
View of the Milky Way at the Salto del Gitano viewing point (Monfragüe National Park) © D. López. www.tierrayestrellas.com/extremadura
View of the Milky Way in the Monfragüe National Park © J. C. Casado. www.tierrayestrellas.com/extremadura
Cabezo de Alcalá acropolis, Azaila. Teruel
Almodóvar in Castile-La Mancha
Everybody knows who Pedro Almodóvar is: one of our most international film directors. But do we know as much about his origins? This creative genius was born in Calzada de Calatrava (in Ciudad Real ), one of the destinations you can discover on this route. You'll also be able to see the settings for films such as 'Volver' or 'The flower of my secret', or visit such interesting places as the venue where the local inhabitants gather to watch the Oscar awards when Almodóvar takes part. Once you're there, you'll always have the chance to satisfy your curiosity by asking a few questions... Come and enjoy this 'spectacular' trip.
Also in this area
Rady praktyczne
- >This route is designed to be done at your own pace.
Więcej informacji
Almodóvar in Castile-La Mancha
- >
Strona WWW:http://www.spain.info
Propozycje podróży
Windows on the stars
Did you know that in inland Spain you'll find some of the best places in the world for stargazing? Come and see this unique sky in the designated areas, star parks and Starlight reserves. You'll see that all of them (named or recommended in the Starlight Initiative supported by the UNESCO) have something in common: natural lighting and a clear night sky which will leave you speechless. The Biosphere reserve of the valleys of the Leza, Jubera, Cidacos and Alhama rivers (in La Rioja ), the Mena valley (in Burgos , Castile-León ), the Monfragüe National Park (in Extremadura ), the north face of the Sierra de Gredos mountains (in Avila , Castile-León) are just a few. Bathe in the light of the stars as never before.
Also in this area
Rady praktyczne
- >On webpage of the Starlight Initiative you'll find more information on destinations, star parks and Starlight reserves as well as details of festivals, specialised courses on astronomy tourism, etc.
- >Visit the tourist office in each destination for more information on routes, etc.
Więcej informacji
Starlight Initiative
- >
Strona WWW:http://www.starlight2007.net/
Navarre from the inside
Who better to show you an area than the local inhabitants? Why not let the Navarrans themselves guide and advise you throughout any of the ten routes available as part of the programme entitled ' Navarre adentro' ('Navarre from the inside'). On the route 'Authentic Navarre' you'll be accompanied by bull-runners (the stars of the bull-running festivals such as San Fermín ), farmers, craftsmen and market gardeners; in 'Traditional Navarre' you'll learn all about the history of the 'Sorginak' (witches) in the Zugarramundi caves; in 'Gastronomic Navarre' you'll see how truffle collectors hunt for truffles with dogs and take part in a cookery course with a gastronomic club; in 'Spiritual Navarre' the monks themselves in the monasteries of La Oliva and Leyre will open their doors to you… Listen to their stories. Marvel at their traditions. Experience the way of life in Navarre.
Rady praktyczne
- >Each route can be adapted to suit your preferences. You can decide which services to use (accommodation with character, gourmet set menus…)
- >For languages other than Spanish, 'Navarre from the inside' can provide an interpreter to help you when conversing with the local inhabitants and others.
Więcej informacji
Navarre from the inside
- >
Tel.:+34 659636268
Poczta elektroniczna:firstname.lastname@example.com
Strona WWW:http://www.navarraadentro.com/
Propozycje podróży
Themed routes in Teruel
Teruel is sure to sound familiar thanks to its famous Mudéjar art. But it has much, much more. Everything from its traditional Easter week commemorations (involving hundreds of people playing a variety of drums in unison), to exploring fascinating places such as its cold vaults, its old prisons, its archaeological sites from the time of the Iberians, and its defensive fortifications. A genuinely original way of delving into history. All these places are part of the themed routes that can be done at your own pace. In some cases, such as the Route of the Iberians (one of the most wide-ranging), there are also programmes with a guide lasting one or two days. Which route takes your fancy?
Also in this area
Rady praktyczne
- >On the web page for each route you'll find the contact details of each place you want to visit.
- >On the official webpage of the Route of the Tambor and the Bombo (drum route) you'll find information about the nine towns and villages which form part of this route, as well as an album of photos, news, schedules, etc. The best time to do this route is in March or April (depending on which dates Easter falls each year).
- >Before a trip to any of the cold vaults, it is a good idea to contact each one, as some can only be visited with a personal guide from a cultural centre or similar. The audiovisual elements and descriptive panels on this route are in Spanish only.
- >The webpage of the Consorcio Patrimonio Ibérico de Aragón (Aragon Iberian Heritage Consortium) offers information on eight programmed routes which include a guide for the whole day, and admission to visitor centres and sites. These routes, lasting one or two days, can also be prepared à la carte, with Iberian-inspired meals and accommodation.
- >The Route around the Defensive Fortifications of Sarrión is completely unrestricted. We recommend visiting the Town Hall to obtain advice and information, or in summer, the visitor centre.
Więcej informacji
Themed routes in Teruel
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Turismo de Teruel
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Consorcio Patrimonio Ibérico de Aragón
Route of the Iberians
Tel.:+34 978870192, +34 978831213
Strona WWW:http://www.iberosenaragon.net/
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Asociación de la Semana Santa
Route of the Tambor and the Bombo (drum route)
Poczta elektroniczna:firstname.lastname@example.com
Strona WWW:http://www.rutadeltamborybombo.com/
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Comarca del Matarraña
Route of the Prisons
Strona WWW:http://www.matarranyaturismo.es
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Las bóvedas del frío
Route of the Cold Vaults
Poczta elektroniczna:email@example.com
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Ayuntamiento de Sarrión
Route of the defensive fortifications
Tel.:+34 978780015
Poczta elektroniczna:email@example.com
Strona WWW:http://www.sarrion.es/
Propozycje podróży
Industrial tourism in Madrid
Visiting different and original museums is always interesting, but if in addition you receive a gift for doing so... the idea sounds even more appealing. This is the idea behind the initiative ' Madrid by land, sea and air. Industrial archaeology in Madrid'. All you need to do is download the official brochure for the Air Museum, the Railway Museum , the Andén 0/Visitor centre in the Madrid Metro, the Naval Museum and the National Museum of Science and Technology . On each visit you'll be given a stamp on your brochure, and once you have collected all of them… you'll receive your free gift!
Also in this area
Rady praktyczne
- >Check each museum's web page for opening times and rates, and whether advance booking is required before visiting.
- >Once you have completed the visits, take your stamped brochure to the Madrid Tourism Centre (Plaza Mayor, 27) to receive your gift.
Więcej informacji
Industrial tourism
- >
Museo del Aire
Poczta elektroniczna:email@example.com
Strona WWW:http://www.ejercitodelaire.mde.es
- >
Museo del Ferrocarril
Tel.:+34 902228822
Strona WWW:http://www.museodelferrocarril.org/
- >
Andén 0/Centro de Interpretación de Metro de Madrid
Tel.:+34 913920693
Strona WWW:http://www.metromadrid.es/en/viaja_en_metro/anden_0/index.html
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Museo Naval
Tel.:+34 915238789
Poczta elektroniczna:firstname.lastname@example.com
Strona WWW:http://www.armada.mde.es
- >
Museo Nacional de Ciencia y Tecnología
Tel.:+34 916037400 , +34 916037401, +34 916037430
Poczta elektroniczna:firstname.lastname@example.com
Strona WWW:http://www.muncyt.es/
Propozycje podróży
Crafts getaways
Castile-La Mancha
Roll up your sleeves and get ready to go to Castile-La Mancha to take part in workshops on pottery, yarns and fabrics, wood, metals, stone, marble, fur, leather and glass. There are a multitude of workshops in this part of inland Spain that are waiting to welcome you. Many of these places are family-run, so once you get there you'll feel completely at home. For example, would you like to see how pottery is placed in the kiln and then painted? Would you like to decorate some tiny figures yourself? And then take home a souvenir? We can assure you that watching a genuine craftsman or woman at work in Castile-La Mancha is a fascinating experience.
La Rioja
What kind of crafts workshops are you likely to find in La Rioja ? The traditional crocheted lace, pottery, wood, 'frontón' balls, almazuelas (small pieces of cloth which mix colours and textures to create a range of surfaces), silk painting… Taking part in any of these workshops is an absorbing and interesting experience. For example, you'll find it fascinating to see how wool is worked, and you'll be able to take part in the process of weaving on a loom. And when you go home with a heraldic crest? Many of the workshops also offer courses, and have an exhibition area and a shop.
Also in this area
Rady praktyczne
- >On the Castile-La Mancha tourism website you'll information on the different workshops and activities. Find out how to reach each venue, the time of the visits, how long they last, what languages are available, rates, minimum number of visitors required, and whether the site is accessible and has a car park.
- >For visits to the workshops in La Rioja it is advisable to call in advance. Many of these workshops are available only in Spanish, and last approximately half an hour, although this depends on each activity and workshop.
Więcej informacji
Castile-La Mancha
- >
Turismo de Castilla – La Mancha
Strona WWW:http://www.turismocastillalamancha.es/artesania/
La Rioja
- >
Turismo de La Rioja
Strona WWW:http://www.lariojaturismo.com


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Selecting your vehicle's make, model, and year allows us to display only parts and items specific to your car's model and year.
Part# CH28887
4 Reviews
OPGI Price: $53.99
Part Type: (R) = Authentic reproduction of the original GM product
Years: 1960-1976
Sold As: EACH
This electrical relay is a must for proper operation of your power seat. The relay has been authentically reproduced to match original equipment and features six male prongs as well as the correct mounting bracket for hassle-free installation.


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The BYOD Culture Inspires Innovation 06
One-fourth of all global information workers have empowered themselves to use multiple personally-owned devices and applications to get work done, according to a recent survey report commissioned by Unisys and conducted by Forrester Consulting. Welcome to the world of the "mobile elite", a class of professionals who overwhelmingly opt to use their own tools because they claim these devices and applications make them far more productive than products supported and distributed by IT. While security remains a concern, CIOs should realize that there are many positive developments with this trend, findings show. Mobile-elite professionals appear to maintain a decided edge when it comes to client service and innovation. And they are also likely to take the initiative when it comes to sparking organizational change and introducing new technologies. A total of 2,600 information workers and 590 business and IT executives took part in the research.
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56% of employees say they download software not supported by the company and use non-supported Web sites because they need to for their jobs.
IT Solutions Builder TOP IT RESOURCES TO MOVE YOUR BUSINESS FORWARD
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Subscribe To The Help Director Tate Taylor In Talks To Helm, Mick Jagger To Produce The James Brown Biopic Updates
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Despite winning plenty of critical acclaim for his Academy Award winning film The Help in 2011, director Tate Taylor hasn't really been cooking up much in the way of in-development projects. In April it was reported that he was in talks to helm an adaptation of the British miniseries The Jury, but we haven't heard anything about it since. Now, however, things are starting to get interesting for the filmmaker - as they do when one's name is mentioned in the same headline as Mick Jagger.
Deadline has gotten word that Taylor is now in talks with Imagine Entertainment to direct the long-awaited biopic about The Hardest Working Man in Show Business himself, legendary performer James Brown. What's more, Mick Jagger, very much a musical legend in his own right as the lead singer of The Rolling Stones, has made a deal to join Brian Grazer as a producer on the project. They already have a script written by Jez Butterworth and John-Henry Butterworth, so the next step will be to find a studio to distribute the project and find the perfect actor to play James Brown.
The biopic will chart Brown's life in full, from his childhood living in "extreme poverty and violence" to become one of the most popular entertainers of all time. Brown died at the age of 73 in 2006, but was actively working with Grazer at the time to make the movie.
Obviously there's a lot to digest with this story. Do you think having Jagger attached will help add realism to the film? What do you think of having Taylor as the director? Who should be the star? Leave your thoughts in the comments below.


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(1) Tue Apr 24 2007 12:13 on the topic of other random things.: My new favorite movie is freedom writers. Great book, great movie. We are filing complaints to the owners of our apartments against the managers. What right does the manager have to just come in when ever they want and show our apartment whether we are home or not? They have some of the right because in our contract it states the following, "The managemnet reserves the right to show your apartment, at reasonable times, to possibe future tenants, buyers, etc..." Show it all you want but I don't think that showing people your private room when you aren't home is a "reasonable time". We will see if anything happens. I had a football player I had never even met, text me yesterday offering me $50 to write a paper for him. What the heck is that all about!?! I told him I wouldn't write it but I would edit it for $25. he never wrote back. :)
- Comments:
Posted by Kristen at Thu Apr 26 2007 08:05
Good to see you back writing. I loved the movie Freedom Writers too.


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Nutmeg, Cardamom, Cloves: 10 Spiced Cookies
Are you up to your elbows in icing and ganache? Got silver dragees in your ears? We love all the sugar and frosting, but we also love a simple, sophisticated cookie with deep, warm holiday spices. These recipes are full of ginger, cardamom, nutmeg, and cinnamon (bonus: they're easy to pack for travel!).
• 1. Spiced Mexican Wedding Cookies. Buttery shortbread with cinnamon, cardamom, cloves, and grounds nuts.
• 2. Molasses Spice Cookies with Orange Sugar. Cutout cookies with ginger, cloves, nutmeg, and black pepper.
• 3. Five-Spice Cookies with Candied Oranges. These have Chinese five-spice powder and a beautiful, festive garnish.
• 4. Pumpkin Spice Cookies. Almost like pumpkin pie in a cookie—cinnamon, nutmeg, cloves, and pumpkin with a sweet glaze.
• 5. Super Soft Snickerdoodle Cookies. Classic cinnamon-sugar cookies, extra chewy.
• 6. Chez Panisse Gingersnaps. Delicious, crispy, and misshapen on purpose.
• 7. Nutmeg-Lemon Pfeffernusse. Traditional German cookies with nutmeg, black pepper, and a little lemon zest.
• 8. Nutmeg Maple Butter Cookies, from Smitten Kitchen. We're even more enamored of the leaf and acorn shapes than the maple syrup-nutmeg flavor.
• 9. Chocolate Spice Quickies, from My Baking Heart. A sliced cookie with allspice by Dorie Greenspan.
• 10. Cardamom Cookies, from Sunset. Horseshoe-shaped butter cookies with cardamom and cinnamon.
Related: The Best Cut-Out Sugar Cookies
(Images: Sara Kate Gillingham-Ryan; Rebekah Peppler; Emma Christensen; Faith Durand; Deb/Smitten Kitchen; Jessica/My Baking Heart; James Carrier/Sunset)


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Yield: 8 servings.
Special thanks to Pam Anderson for sharing this amazing recipe from her book, Perfect One-Dish Dinners: All You Need for Easy Get-Togethers. Janet Kenna has adapted this recipe to use dozens of cherry tomatoes that ripen all at once.
2½ pounds sweet Italian sausage links
3 pints cherry tomatoes
1 medium-large onion, cut into 1½inch chunks (I used one large Vidalia onion.)
4 large garlic cloves, sliced
3 tablespoons extra-virgin olive oil
1½ tablespoons balsamic vinegar
2 teaspoons dried thyme
3 bay leaves
Salt and freshly ground black pepper
3 cans (about 16 ounces each) cannellini beans, undrained
Adjust oven rack to lowest position and heat oven to 425°F.
Mix sausages, tomatoes, onion, garlic, olive oil, vinegar, thyme, bay leaves and a generous sprinkling of salt and pepper in a large heavy roasting pan or dutch oven.
Set pan in oven and roast until sausages are brown and tomatoes have reduced to a thick sauce, about 45 minutes. Remove from oven, stir in beans and continue to roast until casserole has heated through, about 10 minutes longer.
Remove bay leaves and serve.


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By Donald R. Winslow
AUSTIN, TX (September 2009) – Long before David Leeson decided to take a buyout from his job at The Dallas Morning News in late 2008 to become a documentary filmmaker, he had already made the transition from being a traditional news photographer who used the photographic still image as his "weapon of choice," as Gordon Parks called it, to being a video and multimedia photojournalist publishing his work on the Web. Early in the transformation Leeson realized not only the power but also the pitfalls of video as a commanding visual medium, and he saw new ethical challenges emerging for him and other newspaper photojournalists like him as they made the multimedia metamorphosis.
"In still photography, the boundaries are pretty clear, ethically," Leeson said, but when he moved into the world of multimedia, he was concerned "with the surge of video erupting on newspapers' Web sites" that standards weren't being settled or addressed or enacted. "You wouldn't do the same thing with a story, or with a picture. …There are standards as to what gets published, and at some level there were instances of ignorance as people were learning, but there have to be standards and those standards have to be based on ethics and credibility, because that's all you have, and you're just as apt to lose your credibility while you're messing around with video as you are with still photography."
Meg Loucks is a Houston Chronicle multimedia journalist who shoots video and works strictly for the paper's Internet site. Hired straight out of the University of Texas at Austin's journalism program, she was the first to fill that position, hired not to shoot still images for the photography department but to shoot video for the Web. Today she's one of three full-time Chronicle video journalists doing that job.
"You have to be careful that you're capturing reality and not creating reality," Loucks said. "I think video journalism presents some of the same ethical issues you might face as a reporter. You are less of a 'fly on the wall' than you are when you're a still photographer; you're arranging shoots, interviewing subjects, and so on. You have to be more careful."
Leeson's concern about multimedia ethical challenges drove him to write a set of video ethics guidelines for the paper before he departed. A long version of it circulated at The Dallas Morning News, and a shorter version was intended for the company's ethics handbook. "While all the ethical guidelines that apply to still photography, graphics, and news writing would largely apply to video," Leeson said, "motion and sound set the medium apart." Because multimedia has so many components, so many more "moving parts" than just still photography, there are more opportunities for unethical lapses. "It seems to be confusing to so many people that it's possible to do this kind of work [multimedia video] and still function in almost every way as you functioned as a still photographer covering news. I think a lot of that is a lack of confidence, and maybe a lack of skill. But if you're confident in your abilities to capture a moment and to tell a story, ethics isn't a problem," Leeson said.
"We're after the same thing [in video] that we're after as still photographers – we're after the moment. Any time you change a scene, that moment isn't going to have the same power. Is there anything like really being there? Being an eyewitness? You can't replicate those things."
Multimedia video storytelling is ethically different from still photography because of motion and sound and the added element of continuity, "getting from Point A to Point B, something video journalists have to learn," Leeson said. "It's kind of a double-edged sword, the video camera, because with sound and motion it ends up being the audio that drives a video piece. And that can be hard to learn. But we have to find a way to work with what we know best; we're storytellers, and if we try to become something else other than what we are we're going to get into trouble fast.
"When I started shooting video I was amazed at how influenced I was by almost everything I'd ever seen in video, and at first I stopped thinking about everything I already knew as a photographer over my career. Then I realized, why would I toss out everything I knew about telling a story visually just because the camera changed? This is just like when we went from black-and-white to color. What was color? It was nothing more than additional information. Along came color and what did we do as visual communicators? We learned how to use it; we learned how to boil it down, to use the things that were the most important. Can we find one or two things that will capture a reader or viewer's attention for just a moment? Yes, and there are a lot of things we can do that with without stumbling over some credibility issue.
"We had to learn how to adapt to color, and it was just one more layer of information. And we'll have to learn how to do that with video and audio; they are just more layers of information. Video is just another component, but since there are ways you can use video to twist things, or to change the context, you have to be constantly asking yourself, 'Is this true? Is it in context?' But we always asked the same questions about our still photography," he said.
"Do not ask a subject to perform an act or repeat an action unless for illustrative or demonstrative purposes such as in a 'how to' video," Leeson wrote in his guidelines. "Setting up scenes or situations in daily news coverage is prohibited. Never change the sequence of your clips in a way that would change the contextual truth of a story."
Leeson's guide also specifically addressed audio: "Audio should always be presented in context. It is perfectly acceptable to edit out unwanted audio as long as the audio chosen for your story is used in proper context. In general, subjects should be presented in your video 'as they are.' If your subject naturally uses a lot of 'umms' and 'ahhs' while talking then it could be inappropriate to remove them and change their natural way of speaking. Use good judgment. The goal of ethical audio is the same as that of any journalistic endeavor, to be fair and accurate."
In his new video world he continues to function just as he did as a newspaper photographer, "showing up and hanging out, just as I did with a still camera," Leeson said.
"That way the video is very real and untouched. … I've never had to say, 'Wait right there, let me get a shot of you coming through that door.' I haven't had any problems telling video stories this way, because there are ten thousand ways to tell a story and after all, we're the ones who make the choices about how to do it."
WHILE THE STILL photographer has only a few ethical choices to make about whether an image is going to be "real" or not, there are "endless possibilities of where people can go in and recreate things" in multimedia, according to Jorge Sanhueza-Lyon, the multimedia producer and photojournalist responsible for multimedia projects at the Austin American-Statesman in Texas.
"In a still photograph there are less opportunities, while in multimedia there is sound, there's the timing – the way you edit the piece – that's another component where someone could be unethical," he said. "Where there are hundreds of edits in a video that lasts only 90 seconds there are so many ways to juxtapose things that could make a story seem one way or another. Multimedia certainly offers more opportunities to manipulate a story."
Sound is a big issue for Sanhueza-Lyon. "Any time you incorporate sound you bring in a whole range of potential issues. Is the sound actually from then, that day, or from a different time or even location? When you tromp around through mud, if you didn't get the sound, can you capture the sound of the mud separately?"
One thing he realized early in the process is that multimedia video for the Web is totally different than broadcast video. "There's kind of a 'template' for broadcast news," he said. "In online video there's this weird combo of cinema verite, long-form documentaries, video with narration, or voice-overs. ... Online is very different because it's so new, so fresh; multimedia is open to what the story needs, not a timeframe. On the printed page, there's limited real estate. In broadcast television, there's limited time. Online, your canvas is unlimited, but with that comes all kinds of opportunities and all kinds of time to do things that are potentially unethical."
How does an online audience know if a multimedia piece on the Web was done ethically? "The assumption is that you're working with some kind of deep-rooted journalistic standard and ethics, as unbiased as possible," Sanhueza-Lyon said. "But it's so varied what you see online. You'll see a journalist who is using a point-and-shoot, you'll see a YouTube kind quality. ... It might be shot in real time at an accident, or a fire scene, or at the first day of school, but it has an honesty to it in its grittiness with no cuts, no edits, and people view that differently. And it also depends on where they're seeing it. ... Is it on some guy's music blog or is it on The New York Times video page?"
Sanhueza-Lyon spends a lot of time discussing multimedia ethics with the upper level and graduate students he teaches at the University of Texas College of Communications and School of Journalism.
"I tell them that anytime you're dealing with a medium as powerful as multimedia, with so many different types of building blocks, with lots of ways to tell stories, with that power comes the potential to be very unethical, to add things, to give the story a tone it might not have," he said. "I show them my raw footage to show them how you could potentially do things to make someone look one way or another, and to show how I go about documenting something as it happened, not recreating it. I tell them to work a lot like a still photographer would work on a long-term project, having respect for the people you're telling stories about and understanding that you have a great responsibility, you're a vehicle for their story. The more they learn about the medium, the more they understand how powerful it is and to be careful. They compare what they see online with what they see on television broadcast news, to see the potential for doing things many different ways, and they come up with many issues to discuss."
He has a reaction to the mourning chat of those who think journalism is dead. "I never worked in a newsroom with typewriters and Scotch in the drawer, so when I hear people say that journalism is dead I think, 'Maybe your kind of journalism is dead, but storytelling is more alive now than ever.' So my hearing goes off. That's why I love teaching this class. These students who were initially thinking about going that traditional storytelling route – some internship in the middle of nowhere – are getting converted. They're seeing that the old system just isn't there any longer."
SO WHAT ARE the college professors who are tasked with teaching new generations of visual multimedia photojournalists telling their students today about multimedia ethics?
At the University of Miami School of Communication, Rich Beckman, the Knight Chair of Visual Journalism, is most concerned about how increased competition affects ethical decision making, how a global audience affects and interprets ethical standards, and how the proliferation of citizen journalists affects ethical standards.
"With 24-hour news cycles, reduced post-layoff and buyout staff sizes, and the pressure to publish first, there is an ever-increasing strain on the process of making ethical decisions," Beckman said. "Publications have fewer editors, more people have been empowered to publish directly to online sites, and immediacy often overwhelms the need for accuracy – which is a mainstay of ethical reporting. Even those publications that have not sacrificed high ethical standards have found themselves competing for viewers with publications that publish questionable content to attract a large audience, such as when the Erin Andrews peephole video was published on YouTube ... and still photographs were published in the New York Post."
Beckman said that life was "simpler" when there were publications with relatively specific and defined audiences. "Most had a code of ethics or followed one written by its professional association," he said. "Different publications in different communities had different standards, but at least we knew what to expect and could understand these differences if not always agree upon their reasoning or relevance. Now, every publication is online and anyone who so desires can publish 'journalistic content.' And anyone, anywhere, with appropriate bandwidth and hardware, can view that content. So, how do you publish for a relatively undefined audience, and how do you define ethical standards for every individual who now claims the label of journalist?"
Indiana University associate professor of journalism and National Geographic photographer Steve Raymer sees several ethical problems in multimedia that still photographers will encounter as they make the transition. "As photojournalists combine still images, video, and natural sound, they invariably start to direct their subjects," Raymer said, "if only to explain the process or to 'mike up' a person from whom they're going to interview for sound that accompanies their pictures. There is a line we don't want to cross. Photojournalism is about being a faithful witness, not about production values. The pursuit of technical perfection in integrating stills, video, and sound can tempt photojournalists to create a story that may have a tight narrative and compelling images, but is still dishonest. The technical demands fly in the face of waiting patiently for the honest moment, or moments, to unfold at their own pace. Let's not forget the lessons of people like Henri Cartier-Bresson in our rush to dazzle readers."
Raymer is also concerned that multimedia journalists "working on their own" might not have enough editorial oversight. "Just because we can publish a story on the Web with compelling video and sound doesn't always mean that we should. The reason we have editors is to exercise judgment, which includes judgments about ethics and values. I have seen many of my own photographs killed because of matters of taste – a rather ill-defined concept that has to do with what an audience will accept – and ethics, including doing harm to individuals and institutions. Looking back on some heated discussions in the layout room of National Geographic, I support most of the judgments of editors who decided what would and what would not be published – even though I objected at the time. Let's not neglect the role of the editor in online visual reporting in our rush for immediacy and our euphoria over unlimited space for our words, images, and sound that accompanies them."
Professor James Kenney, the coordinator of the photojournalism program at Western Kentucky University, also thinks multimedia ethics can be approached fundamentally like still photography, as long as the goal is to avoid affecting the reality of a situation out in the field as much as possible and to avoid affecting the reality of a digital file through the use of processing software.
"I encourage my students to develop an ethical boundary gleaned from research on industry standards, discussion about specific ethical situations, and – mostly – practical experience," he said. "That way when a mistake is made it can be more easily identified and corrected. Perfect ethical decisions are not always made, but that shouldn't stop us from being ever vigilant."
Jeanie Adams-Smith is an associate professor, also at WKU. "There seems to be more pressure than ever for the photographer to have 'The Image,' and it has led to some irresponsible decisions, like the Reuters smoke over Baghdad and the Los Angeles Times photographer who combined the images so that there would be an implied conflict between soldier and civilian. This is disturbing because more than ever journalists must maintain credibility. It is what separates us from the masses who post information on the Web ... and it starts in the schools. WKU teaches ethics and news judgment from the first class through the last. It is the most important part of a journalist's decision-making process. Our new frontier comes with audio and video. What we feel comfortable teaching is the same standard we have applied to still photography: if they aren't doing it, don't make them, and that people saying and doing what they naturally would do will always make better pictures. If you can walk away with a sincere interview you will feel better about it."
AT OHIO UNIVERSITY'S School of Visual Communication (VisCom), assistant director and associate professor Stan Alost sees a bigger ethical challenge in the big umbrella that's going to define how multimedia visual journalists are classified. "The overriding ethics issue facing this industry, and educators by extension, is not manipulated images, foley sound [effects], or staged video; what faces us is the hard choice of whether we will create good journalism or entertainment," Alost said. "When we answer that question, the resulting choice will dictate the ethical norms and practices acceptable in creation of content.
"If we choose journalism, then the practices are guided by the single premise of providing accurate information that engages the audience and takes them places they would not, or could not, go. The content, no matter its form, explores and explains others, and us to ourselves. If a journalist holds true to accurate and inclusive reporting, then such issues as photo manipulation, music used to create emotion, and staged shots become moot. Conversely, using these techniques means the resulting content is entertainment and not journalism.
"Part of the dilemma is that the crucial role of journalism is financially less robust today than in the past. There is strong financial pressure to provide entertainment and not journalism. Yet, for democracy to thrive, journalism is essential. For photojournalism to survive, journalistic ethics are essential."
Arkansas State University associate professor John B. "Jack" Zibluk sees the multimedia ethical challenge as one that extends outside the "professional" circles of traditional journalists. "With so many new points of access – cell phones, Web pages, blogs, YouTube, Facebook – more people than ever are acting as photojournalists and documenting their daily lives, their communities, and their activities," Zibluk said. "Many new media practitioners are acting as journalists professionally as their employers press everyone from CEOs to clerical employees to use cameras and other gadgets for both promotional and editorial purposes. The majority of these new journalists have little or no background in traditional journalism, journalism ethics, or any kind of ethics at all. And this lack of background contributes to lower technical and ethical standards throughout the world of communications. At the very least, it's breeding a new kind of digital divide: the cognoscenti who understand ethics and maintain high standards are becoming fewer all the time, and the ever-growing group of folks who have little understanding and respect for journalism as a profession.
"The profession needs to reach out beyond its shrinking self to explain to the new journalists who don't even know they're journalists, the semi-journalists, and the audience," Zibluk said. "If we do that, it will serve democracy and eventually revitalize the profession."
He also sees a need to bridge the gap between video and multimedia reporting and the ethics of still photography photojournalism. "As someone just coming up to speed in the multimedia world, I found The Kalish Workshop to be everything I needed and more," he said. "I saw a huge paradigm gap between video and still. In still photojournalism, you grab the moment. One instant says it all. But multimedia and video is more like reporting with words. You take a lot of information and then reconstruct it all to make a narrative. It doesn't have to be in chronological, real-time order," he said. "The disparity is wide. I am coming up with a 'reporter test' that says 'Don't do anything that a reporter wouldn't do.'"
Loup Langton, the visual journalism program director at the University of Miami School of Communication, has two ethical issues at the top of his list of concerns. "First, captions have always critically affected the ways in which photographs are interpreted. Readers rely on the caption to find out what is going on in the photograph. Multimedia photojournalism tells stories a little differently than print media photojournalism. Nevertheless, the pairing of images and words remains subjective and potentially dishonest and unethical. 'B-roll' images paired with words – voice or written – create a reality. Multimedia journalists – content gatherers and producers – are obligated to take as much care as print journalists when combining words and pictures," he said.
"Second, online visual reporting has expanded the marketplace of news. The diversity of news sources is almost limitless, and many of these sources practice 'committed' or 'advocacy' journalism. The concept of 'objectivity' – which I never believed possible in practice – has become less esteemed. This does not mean that ethics, fairness, accuracy, and thoroughness should be tossed overboard as well. Journalists should pay extra attention to these concepts precisely because they are personally committed to a particular story and viewpoint."
At the Rochester Institute of Technology, photojournalism professor William D. Snyder (who formerly worked with Leeson at The Dallas Morning News) believes that one of the most pressing ethical concerns multimedia photojournalists face today is that so many people view Web content as being "free."
"For us, that translates into attribution and monetary compensation," the four-time Pulitzer Prize-winner said. "Whether it's a single issue someone 'borrows' for the blog or an aggregator who imbeds a multimedia piece for their site, others are using our work to produce revenue for themselves without compensating us. Yes, more people may see our work and maybe our 'hits' go up, but we still don't realize the revenue we deserve for our work. If someone is using our work to provide content and they make money from their site, we should be compensated."
Unfortunately, many students contribute to this "free" mindset, Synder said. "They view content on the Web as 'free' themselves, unless – of course – it's their work. They rip off music, 'borrow' photos for projects and, in general, use material from the Web without proper attribution or compensation to the producer. I talk to students about how to protect their copyright and in the same conversation confirm that they illegally download music for their 'private collection' without a hint of irony, much less embarrassment. It's an attitude that's pervasive throughout society – that the Web equals "free" – and it will bleed us to death unless we education our students, and figure out a way to fix it online."
WHEN INDIANA UNIVERSITY School of Journalism executive associate dean James W. Brown was asked what he thought were the most pressing ethical concerns facing multimedia photojournalism and online visual reporting these days, the response he found himself writing was quite lengthy. So long, in fact, that he realized he couldn't confine himself to a couple of paragraphs so he went ahead and wrote a lesson that he could use in the classroom as well as on his blog.
"Such a simple question turned out not to be so simple in my mind," Brown said. Some of what he ended up writing in response is reported here.
"Most print photojournalists would prefer to be completely unnoticed as they go about their work and in a perfect world so would television photojournalists," Brown wrote. "Often the best moments in pictures come when the subject is ignoring the camera and photographer. For decades now, still photo equipment has been relatively unobtrusive. The major difference between traditional photojournalism and multimedia is the addition of sound and motion. And that is a huge difference. There is no doubt that sound can be a super additive catalyst in making a story even more compelling. Pictures have the capacity to create emotion and sound can add another layer of emotion. We have often seen still pictures with synchronized comments by the photographer, which helps frame the interpretation of the pictures. Motion can help explain detail where movement is important.
"So what is the problem?" he asks. "From a still photographer's perspective, recording sound ratchets up the level of intrusiveness. We don't have to be recording engineers to know that the closer the microphone is to the source, the better the signal-to-noise ratio. Frequently, this involves putting a wireless microphone on the subject and running the cable inside the shirt or blouse of the subject. And shooting video has the potential to be even more intrusive. Now the photographer has to worry about screen direction and attempting to find repetitive action that one can edit into a matched action sequence. There may be multiple changes of tripod setups for different views. Photographers can no longer be as unobtrusive as they might wish."
Brown tells his students about a video he shot of a man assembling a bike in a high-end bicycle shop. There was a radio playing in the background that distracted from the sound in Brown's edited story. He took the video to former NPPA president Steve Sweitzer at WISH-TV in Indianapolis for a critique. Sweitzer told Brown that he needed clean audio for his pictures and he didn't have it due to the radio. "Do you mean I should have turned the radio down or off?" Brown asked. "Yes, under certain circumstances," Sweitzer said. "Ask yourself what the story's about; if the radio's a part of the story then by all means, leave it in. But if it's just a distraction from the sound you need to tell the story," in this case the sound of the bike chain as it spins through the gears, "you might have to exercise some control over the background noise. Maybe use a lavalier microphone rather than the stereo microphone on the camera. Sometimes you have to ask a reporter to quit talking or shut a window to eliminate the lawn mower noise outside." Brown says Sweitzer's practical test is to ask himself if he had to explain to a room full of viewers what he had done, would they believe he had behaved unethically or if he had in some way created a visual lie. "That's a good test," Brown said.
"At some level there is inherent manipulation of reality in every act of a photographer in both print and broadcast, beginning with making the appointment to shoot the story," Brown wrote. "Many variables come to play when the shutter is pressed on either a still or video camera. Lens selection and viewpoint, editing, sequencing, and timing of pictures are but a few of the decisions that we know may have an effect on the meaning of the story in the viewer's mind. All photographers could work at being better at anticipating behavior and being at the right place for the shot you need without any direction of the subject. If possible, ask what the subject is planning to do when you first meet; this will help you plan shots in an unobtrusive manner. And all concerns about the technology and processes of multimedia story telling should be openly discussed in the newsroom. Each news organization should arrive at policies that guide reporters and photographers in the field. Ethical concerns make us think about what we ought to be doing in seeking the 'truth' of a story ... and after all, what is truth?"
© 2009 News Photographer magazine, reproduced with permission.


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A number of critical issues are at play concerning the short- and long-term availability of water for the California almond industry. The most pressing of these is the recent Delta smelt decision that will impact about 216,000 acres of almonds served by the Central Valley Project and the State Water Project.
In response, irrigation and water experts in the UC Division of Ag and Natural Resources are developing a Web site for drought water management in almonds and other crops. UC researchers, farm advisors and Extension specialists have developed extensive information over the years on water management practices during periods of reduced water availability. The Web site will compile this information, and in particular, will focus on drought management and irrigation.
Terry Prichard, UC water management specialist, and Larry Schwankl, UC irrigation specialist, are leading this effort. Numerous agricultural crops, both perennial and annual — as well as urban horticulture — will be included; however, Prichard and Schwankl chose almonds as the first and the "template" crop because the Almond Board of California has funded a substantial body of research over the years.
By March 17, you will be able to preview the almond-related drought management information on the ABC Web site www.almondboard.com. Click on production research and look for the drought water management link. Here you will find drought and deficit irrigation management practices and strategies for almonds that make the best use of limited water supplies.
When the UC Web site is up and running, you will find a link from the ABC Web site to this valuable drought management tool. While the Web site will be aimed primarily at drought concerns, the water management information will be applicable to a wide array of situations and therefore useful under normal conditions as well.
For almonds, the Web site covers the key areas of: 1) Timing of water stress; 2) Developing a deficit irrigation strategy under varying scenarios — moderate water stress vs. more severe water stress vs. keeping the tree alive; 3) Irrigation system management; and 4) Soil- and plant-based irrigation scheduling. Here are some key pointers:
Timing of stress
Early season - Water stress is most harmful during this period — from leaf out through shoot growth of terminal and lateral buds. Because trees do not need much water during this period, deficit irrigating can save little.
Nut development - Nuts undergo a rapid growth phase and are sensitive to water deficits during this time. However, once the nuts have sized, trees and the crop can tolerate drought stress during the two months prior to harvest. This permits successful deficit irrigation during this period.
Post harvest - Moderate stress during this period will have little effect on subsequent years' nut numbers, but severe water stress during bud differentiation dramatically reduces fruit set the following spring.
Deficit irrigation strategies
It is best to use both plant-based (e.g., pressure bomb) and soil monitoring in concert. Effective monitoring along with irrigation system efficiency is crucial for deficit strategies.
Moderate water stress strategy - If possible, do not compromise from leaf out through mid-June. However, from mid-June through harvest, 50 percent to 60 percent of full water use will result in only minimal reductions in kernel weight.
More severe water stress strategy - Reduces use by a seasonal 50 percent with water stress in early to middle to late season. For instance, up to April through May, no irrigation should be applied until the trees reach a pressure bomb reading of -12 to -14 bars. From June 1 through hull split, pressure bomb stem water potential readings can reach a higher deficit reading of -20 to -22 bars. Expect nut weight reductions the first year and in succeeding years if the same strategy is followed, and also reduced nut numbers in years after this deficit program is followed. After four years of this strategy, trees and yields recovered within two seasons in UC studies.
Staying alive strategy - Less is known about this strategy since it is rarely an option. However, based on past drought conditions, trees may be kept alive using about a foot of water. This strategy does not consider growth and yield — just tree survival.


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Learning College Manual
Campus Support and Facilities
Facilities Utilization
Isothermal Community College shall make certain unrestricted facilities available for periodic use by governmental agencies, community organizations or individuals, provided that the use of the facilities is not in conflict with the purpose of the College or any policies, regulations, or legal statutes governing such use. In all cases, College use of unrestricted facilities shall have priority over requests for use by any external organizations, agency or individual. This policy does not apply to the Performing Arts and Conference Facilities in The Foundation Performing Arts and Conference Center, which has its own facility utilization guidelines. Use of College facilities by on-campus groups, departments or individuals shall also be governed by the following guidelines:
- College facilities may not be reserved or used by
- Partisan political groups and religious organizations
- Private organizations or individuals on a restricted basis (Dance, birthday parties, etc.)
- Organizations as a regular meeting place
- Any organization, group or individual when the intended use is profit-making (this guideline does not include legitimate non-profit, charitable organizations.) Exceptions may be made by the Vice President of Administrative Services or a designee when products and/or merchandise are sold in conjunction with a contracted College activity or performance. If an exception is made, an appropriate fee will be assessed.
- Only employees of the College may reserve College facilities for use by on-campus groups. Student groups must have a faculty or staff advisor reserve facilities for their use.
- A reservation agreement with a user may not be transferred or assigned to any other person or agency without the consent of the scheduling authority.
- Any agreement/reservation to use College facilities may be cancelled at any time prior to the event by the President of the College or his designee for cause.
- General classrooms, labs and shops should be scheduled only as follow:
- Labs and shops must be scheduled only for uses for which they were designed. (Exceptions may be made by the Dean/Director responsible for a particular lab or shop.)
- General classrooms may be scheduled for activities/non-curriculum instruction if the activity is to be completed before the first day of classes of the immediately following semester. General classrooms not scheduled for curriculum instruction in a particular semester are available for special scheduling one weekafter the semester begins.
- Special event facilities should be scheduled only as follows:
- Reservations by non-College groups or individuals may be made no more than three (3) months in advance of the date of intended use. Exceptions to the time restriction may be made by the scheduling authority after notifying the Director of Administrative Services.
- Reservations by College groups or individuals may be made no more than six (6) months in advance of the date of intended use. Exceptions may be made by the scheduling authority after notifying the Vice President of Administrative Services.
- These facilities should be scheduled only for events, which meet for no more than five (5) days and may or may not be FTE producing.
- Regularly scheduled classes should not be scheduled in a special event room. Further, it is the intent of this guideline that events that are to be held in these rooms should already have been scheduled (not planned to be) and cancellation would be the result of a crisis or emergency, not lack of enrollment.
Employees are strongly encouraged not to reserve special event rooms as a convenience to groups in which they are a member.
- An application form must be completed before any reservation request can be considered. Four (4) copies should be made by the scheduling authority: the scheduling authority should file a copy, forward a copy to the Human Resources Assistant and the Director of Marketing and Community Relations and give the user a copy. A copy should be forwarded to the maintenance department if the request involves any set-up or if the event takes place after normal working hours (8:00 am – 4:30 pm).
Note: A Use of Facilities Application Form may be obtained from the Colleges Intranet site or from the Vice President of Administrative Services.
- Exceptions to the guidelines listed above may be made with the approval of the Vice President of Administrative Services.
- Fees will be charged if additional services are required on the part of College staff (set-up; custodial, security, traffic control, etc.). Depending on the number of people expected by the user, the College may require the user to provide police security.
- Additional charges may be assessed for damage to property or for missing property.
- It is the responsibility of the user to supervise the activity he/she sponsors including the maintenance of order and the safety of the people present.
- It is the responsibility of the user to insure that the standards of reasonable public behavior are observed.
The following are strictly forbidden on the campus and centers of Isothermal Community College:
- The use, possession or sale of alcohol or illegal drugs. The use of alcohol in The Foundation Performing Arts and Conference Center is governed by separate policy.
- The possession of weapons, i.e. knives, guns, etc.
- Gambling
- Use of tobacco products of any kind inside any facility.
- Any activity which is in violation of the laws of North Carolina or the United States of America.
- Classroom, Labs and Shop Assignments:
Assignments of general classrooms, labs and shops shall be made by instructional Deans/Directors. These assignments shall be reflected in the course schedule. Records of other assignments of this space shall be maintained in the offices of the Dean/Director. Responsibility for assignment of general classrooms, labs, and shops is as follows:
Responsibility for Classroom Assignment Department Name Business Sciences Classroom/Labs Dean of Business Sciences Applied Sciences & Technology Shops and Classrooms; Communications Technology Labs and Classrooms;
and Auto Body, Welding, and Machine Shop Labs/Classrooms
Dean of Applied Science & Technology Administration/Arts & Sciences Building,
Information Technology Building and
Student Center Classrooms/Lifelong Learning Building
and Classrooms/Labs
Dean of Arts & Sciences Academic Development & Academic Support Classrooms,
Administration/Arts & Sciences Building
Director of Academic Development Gymnasium and pool (Student Center) Dept. Head, Physical Education Library Building Rooms 114 & 116 Director of Library Services Continuing Education - The Foundation; Art Studio;
Truck Driving Classroom;
Rutherford Center;
Additional Continuing Education Classroom
Dean of Continuing Ed. Polk Center Director, Polk Center Business and Industry Training Room
Communications Technology Building Room 108
Director of Customized Training and Development
- Special Room and Space Assignments:
Responsibility for the assignment of other rooms and meeting areas is as follows:
Responsibility for Other Rooms and Meeting Areas Department Name Library Auditorium Director of Library Services Student Center and Amphitheater Dean of Student Services President's Dining Room Dean of Student Services Administration Board Room Administrative Assistant to President Outdoor Facilities/Grounds Vice President of Administrative Services Business Sciences, Blue Room & Red Room Dean of Business Sciences Polk Campus Lobby & Lecture Room Director, Polk Center
Policy No: 802-01-01AP
Cross Reference: 802-01-00BP
Adopted: December 15, 1994
Amended: May 2, 2000; July 20, 2006; January 28, 2009


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Mickle wrote:Im not sure about when the biopsy comes back...Seamus was starting to fall over and we needed to get him in the car. Everything is going well here. The area isnt swollen or anything and it doesnt seem to bother him. Keeping him quiet sucks..He wants to run and play and we try to give him snuggle time but hes so wound up we end up putting him back in his crate Sad poodle!
Mickle wrote:My vet is awesome! I just got a call from them checking to see how Seamus is doing. That was very nice, I have never had an office do that after a surgery before! They also said we should have the biopsy results by the end of the week!!
Mickle wrote:Biopsy came back and its a Malignant pilomatricoma. Apparently its very rare for this to be malignant, they are usually almost always benign and its a very common problem with poodles. Its a hair follical tumor. They told me not to worry that they think they got it all and it usually doesnt come back. Heres hoping. Does anybody know anything about this? I looked it up and the only page that I could understand clearly was on a poodle forum. Thanks
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* For active and closed projects, the commitment amount at Board approval is shown in US$ millions.This does not reflect any cancellations. Proposed (pipeline) and dropped projects show the forecast amount. The commitment amount for projects in the pipeline is indicative and may be modified during the project preparation.Click column header to sort, click again to reverse.
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Joys of Irish Song
Jim Harkins presents humorous Irish songs, Thursday, March 7, 7 p.m. Franklin Square Public Library, 19 Lincoln Rd., Franklin Square. 488-3444.
Wait Until Dark
The suspense thriller about a blind women terrorized by a trio of thugs in her home, Thursday and Friday, March 7-8, 8 p.m.; Saturday, March 9, 3 and 8 p.m.; Sunday, March 10, 2 and 7 p.m. $55. John W. Engeman Theater, 250 Main St., Northport. (631) 261-2900 or www.engemantheater.com.
Danny and the Deep Blue Sea
John Patrick Shanley's dramedy about two damaged outcasts who discover redemption in a Bronx dive bar, Friday and Saturday, March 8-9, 8 p.m.; Sunday, March 10, 3 p.m. $20 Friday and Sunday, $25 Saturday. Arena Players, Vanderbilt Museum Carriage House Theater, Suffolk County Vanderbilt Museum, 180 Little Neck Rd., Centerport. 293-0674 or www.arenaplayers.org.
Demetri Martin
The comedian performs as part of his "Point Your Face at This" tour, Friday, March 8, 8 p.m. $49.75 and $39.75. NYCB Theatre at Westbury, 960 Brush Hollow Rd, Westbury. (800) 745-3000 or www.livenation.com.
Martin Short
The comedian-actor performs some of his acclaimed impersonations, Saturday, March 9, 8 p.m. $79.50, $49.50 and $39.50. NYCB Theatre at Westbury, 960 Brush Hollow Rd, Westbury. (800) 745-3000 or www.livenation.com.
Paula Atherton
The jazz sax player-vocalist performs selections from her new CD, Saturday, March 9, 2 p.m. Elmont Memorial Library Theatre, 700 Hempstead Tpke., Elmont. 354-5280.
Same Time Next Year
Bernard Slade's popular comedy that focuses on two people, married to others, who meet for a romantic tryst once a year for two dozen years, presented by the Lantern Theatre, Saturday, March 9, 8 p.m.; Sunday, March 10, 1:30 p.m.; Wednesday, March 13, 7:30 p.m. $18, $16 seniors and students Saturdays. Congregation B'Nai Israel, 91 N. Bayview Ave.,North Freeport. 221-4485.
Susan Werner & Patty Larkin
The folk duo in concert, Saturday, March 9, 8 p.m. $45 and $40. Jeanne Rimsky Theater at Landmark on Main Street, 232 Main St., Port Washington. 767-6444 or www.landmarkonmainstreet.org.
Nunsense II: The Second Coming
The spirited sequel to Nunsense in which the Little Sisters of Hoboken are back on stage with jokes, songs and an audience participation game, presented by Plaza Theatrical Productions, Sunday, March 10, 2 p.m. $28, $20 seniors. The Show Place at the Bellmore Movies, 222 Pettit Ave., Bellmore. 599-6870 or www.plazatheatrical.com.
Greater Nassau Chorus
The a capella chorus in concert, Sunday, March 10, 2 p.m. Program includes popular standards, Broadway showstoppers and Big Band tunes, sung 'barbershop' style. Elmont Memorial Library Theatre, 700 Hempstead Tpke., Elmont. 354-5280.
Itzhak Perlman
The acclaimed violinist joins forces with Cantor Yitzhak Meir for "Eternal Echoes: Songs and Dances for the Soul," Sunday, March 10, 7 p.m. Program combines liturgical and traditional works with a chamber orchestra and klezmer musicians. $150, $100 and $60. Tilles Center for the Performing Arts, LIU Post, Rte. 25A, Brookville. (800) 745-3000 or www.ticketmaster.com or www.tillescenter.org.
Jimmy Moore's The Irish Show
Hear tall tales and timeless tunes in this tribute to the Old Country, Sunday, March 10, 2 p.m. Tickets required. Oceanside Library, 30 Davison Ave., Oceanside. 766-2360.
Long Island Choral Society
The chorus performs Mozart's Requiem and Solemn Vespers, Sunday, March 10, 4 p.m. With orchestra and guest soloists. $25, $20 seniors, $10 students. Adelphi University Performing Arts Center, 1 South Ave., Garden City. 594-2926 or www.LICS.org.
Music for a Time of Penitence
The Cathedral Choirs in concert, Sunday, March 10, 4 p.m. Psrogram includes Gabriel Faure's Requiem in D Minor, Op. 48. along with works by Gerald Finzi, Francis Poulenc, Giovanni Pergolesi, Antonio Vivaldi, and more. $15, $5 seniors and students.The Cathedral of the Incarnation, 50 Cathedral Ave., Garden City. 746-2955 or www.incarnationgc.org.
The Precisions
An afternoon of Doo Wop vocal harmonies, Sunday, March 10, 2 p.m. Baldwin Public Library, 2385 Grand Ave., Baldwin. 223-6228.
The award-winning musical set in 1962 Baltimore, presented by Nassau Community College's Department of Theatre and Dance, Thursday through Saturday, March 14-16, 8 p.m.; Sunday, March 17, 3 p.m. $18, $15 seniors. Nassau Community College's Mainstage Theatre, Garden City. 572-7676.
Mostly Motown
A revue of classic R&B and '60s soul with Rhonda Denet, Thursday, March 14, 7:30 p.m. Tickets required. Hewlett-Woodmere Public Library, 1125 Broadway, Hewlett. 374-1967.


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Our goal is to operate our business in a safe and environmentally friendly way so that our employees, customers, neighbors and the communities we work in benefit from our stewardship.
As an industrial rental company, we work with our customers to provide them with turnkey solutions to help them operate safely while protecting the air, land and water upon which we all depend.
Health and safety are the priorities for every Rain For Rent employee.
Our goal is to:
Send Each & Every Employee Home Safely Each & Every Day
We believe that all accidents are preventable and a zero-incidents goal is attainable. Every Rain for Rent employee is continually working to prevent injuries, illnesses and accidents for incident free operations.. One of our customers said it best "Operational excellence is no longer the cost of doing business. It's part of the price of admission," says Dave O'Reilly, ChevronTexaco's chairman.
We have adopted a methodical approach to constantly improve our safety performance. Using time-tested methods of training, pre-job safety analysis, "near miss" and incident analysis we become safer every day. Our compensation and incentive programs directly reinforce the goal of an incident free workplace. While improving our safety performance, we minimize risks and improve our overall financial performance to better serve our customers.
Zero incidents is the team goal at Rain For Rent.


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Find us on:
National Association of States United for Aging and Disabilities
1201 15th St. NW, Ste. 350Washington, DC 20005
202-898-2578 (Voice)202-898-2583 (FAX)
The National Aging Information and Referral Support Center provides information and referral systems design and management, service delivery and professional staff development support to state and local aging networks. Training, technical assistance, product development and consultation are provided to build capacity and promote continuing development of aging information and referral services nationwide.
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Rule #1 - Be Patient - Rule #2 - Don't ask when, if you don't contribute - Rule #3 - You have coding skills - LinuxMCE's small brother is available: http://www.agocontrol.com
Looks like I am the only one updating my own problem.. but anyway.I think the problem was related to the Logitech bluetooth keyboard and mouse. My guess is that when the bluetooth dongle device kicked in using the logitech mouse/kb hub it then upset the working mouse and kb.I have added a normal mouse and kb for the moment and removed the bluetooth dongle device that was automatically created. That seems to get around the freezing problem but I don't really have a solution as I want to use the wireless mouse and kb on that machine and also want it to have the bluetooth dongle device.Has anyone else any experience using wireless mouse and kb (bluetooth) as well as the bluetooth dongle device?RegardsDarren
Hi Andrew,Finally bit the bullet and put a new machine into the mix.I now have a dedicated Core and the previous Hybrid now is a diskless MD. Still have the same requirement - but the diskless MD is the one with the Bluetooth gear on it. Still in early stages but it is not freezing the Orbiter anymore however I am still losing the keyboard at some stage in start up.I have both a PS2 mouse and the Bluetooth mouse plugged in and both seem to work OK. Still need more time to get a chance to examine the keyboard issue.My ideal scenario would be for each MD to be fitted with some form of bluetooth dongle or hub and dynamic pairing with the keyboard, keypad and/or mouse whenever I enter that room with it. Realise this might require a bit of work (or may not even be possible) but it would be nice.But that may be a bit off yet.Thanks for your interestDarrenps: eveything works so much easier and with fewer problems with a dedicated core - wish I had done it from the start.


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Day 1
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Photos from Day 1 of the 2009 National Conference on Volunteering and Service held in San Francisco, CA.
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ACC M5: 12.05.12 EditionPosted by EMann on December 5th, 2012
- Yikes. It's not quite at the level of Clemson's futility in Chapel Hill, but Boston College has now lost to Harvard for the fifth season in a row. While Harvard has shared or won the Ivy League title the last two years, the team was not expected to be quite as formidable considering the absence of two key contributors from its NCAA Tournament team last season. Although Ryan Anderson had 23 points on 11-12 shooting, Boston College's anemic defense (Harvard's starters were 25-41 from the floor) was definitely the culprit in this loss. Boston College's expectations are not high this season, but consistently losing to Ivy League opposition is not something that teams aspiring to improve in the ACC typically have on their to-do list.
- NC State finally got the marquee win it needed to assure everyone not to push the panic button in Raleigh quite yet. Wearing uniforms stitched with "Don't Ever Give Up," emblematic of former Wolfpack coach Jimmy Valvano's famous speech at the ESPYs shortly before his death, the Wolfpack got a 69-65 win over Connecticut in the event that bears the late coach's name. While NC State's vaunted freshmen struggled, veteran forwards Richard Howell and CJ Leslie each had double-doubles in the Wolfpack's victory. Beating UConn doesn't quite carry the cachet that a win in Ann Arbor would have had, but seeing NC State finally emerge victorious in a nationally-televised match-up should help the Wolfpack begin to recover from the burdens that everyone's preseason expectations may have placed on them.
- Chapelboro: Freshman point guard Marcus Paige of North Carolina is expected to return to action this weekend against East Tennessee State, after missing UNC's victory over UAB last weekend following an elbow injury. With negative x-rays supporting the decision, head coach Roy Williams is confident that Paige will be able to play. Getting the freshman back should be helpful for the Tar Heels, who have had a lot of uncertainty with their lineup this season. Williams says that while his team is small, it is not necessarily quick enough to play overly aggressive defense, so they have practiced a zone. Having a healthy Marcus Paige in the lineup is important for North Carolina as the team hopes he can continue to improve and become a consistent, steadying presence during ACC play.
- Tallahassee Democrat: The calling card of Florida State's recent success has been its exceptional defense. However, head coach Leonard Hamilton has not seen the consistent effort that his recent teams have put together at the defensive end this season. The statistics bear him out: the Seminoles are only ranked 80th in Ken Pomeroy's defensive efficiency rankings, by far their worst mark in the last five years (the Seminoles were in the top 15 the last four years, including finishing first twice). Hamilton is particularly worried about his team's defensive intensity as Florida State faces Florida next, a team ranked second in the overall Pomeroy rankings and third on offense. Hamilton hopes that playing their in-state rival can provide a return to the intensity that his team has shown in years past.
- Clemson's T.J. Sapp has decided to transfer away from the program. Sapp, a sophomore guard who has started all seven of Clemson's games this season, gave no reason for his decision to leave. Even though Sapp was starting, he was averaging only about 15 minutes per game this season. Sapp's decision to transfer leaves Brad Brownell with three guards with the potential to slide into his starting spot: freshman Adonis Filer, sophomore BYU transfer Damarcus Harrison, and freshman Jordan Roper. Out of those players, Filer has used the most possessions when he has been in the game, with Filer and Roper having extremely similar offensive ratings, slightly superior to Harrison.


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about time nokia n97 fof the win. Internet on the go. Guess where i am heading now?
excited as hell.
i'm 5mins frm bugis. And its oppo simlim? Ok cöol thx wil big help there. Keep updating me okay?
That's all we have. Here is the pic again if you can see it:
Just a gut feel, could someone check the G-Max reverse bungee? Maybe, just maybe that could be a roadblock...?
Joab, there is a building in the pic with a bright yellow band going horizontally.Next to a building , concrete with square columns . Set back under and behind the columns are the stores. Well under an overhang.
Ok he can see the pic now. No luck so far, lots of ice cream sellers. And the flags may not be there if teams have already come or not yet come.keep it up Wil, that is just what he needs.
Would the numbers and letters in the right hand corner of the picture "FQ936" mean anything? That might be something to look for.
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- Photographers
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- Ninoslav Stojanovic ninoslav Belgrade, Serbia
MyWed member for 4 years and 11 months
- hometown rating Wedding photographer: Belgrade 3 place
- Destination Zurich 3 place
Wedding destination photographer based in Serbia, available worldwide. Trough storytelling I combine variety of styles, such as fine art, photojournalism, fashion, playing with light and colors and trying to make something authentic and creative. Many international weddings from Italy to India.
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Phone number+381 63 1166325 saycheesestudio.rs
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text: The New York Office of UNITAR is dedicated to fulfilling its small part in the broader mandate of the United Nations. Pursuant to its origination in a General Assembly resolution in 1964, UNITAR seeks to enhance the effectiveness of the Organization, especially within the New York diplomatic community – the largest such community in the world. To this end, the New York Office aims to equip members of this community with the capacity to navigate and contribute to the United Nations more broadly. In particular, it seeks to respond to the needs of delegates from developing and least developed countries, providing them with the knowledge and capabilities necessary to operate effectively within the United Nations system. Read more


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|Cross Cut Shredders
Clary 520 shredder is a high security cross-cut type shredder designed especially for shredding highly confidential documents. It is all surrounded by the features which are inclined to making the shredding process easy. It literally converts the documents to very minute pieces which are almost impossible to assemble. It can shred 4-5 sheets at the speed of 18 feet per minute which is pretty much for efficiently shredding confidential documents. Its 9.5 inch throat size allows it to shred a variety of standard paper sizes.
Clary 520 shredder is provided with various convenient features. It has on/off switch which is equipped with reverse functioning. Its automatic start and stop functioning provides greater control to the user. It has a large capacity waste container which can be removed for cleaning purposes. In case the waste container is removed or is filled to its capacity, the shredder automatically detects it and stops functioning. The shredder also has an integrated container which can be used as a waste paper basket for the non-confidential documents.
The motor of Clary 520 is being manufactured with thermal protection that prevents it from overheating. Due to this feature, you can use the shredder continuously without worrying about thermal impact. Moreover, patented technology has been used in its manufacturing to make it power efficient. It is good to note that in stand-by mode, it consumes zero power. Whether you need it for shredding personal confidential documents or official documents, it is the best ever choice to make.
Shredders cut unwanted confidential material, ensuring they dont fall in the wrong hands. They can shred paper, CDs, DVDs, floppy disks, flip charts, hard drives and credit cards. Shredders can be personal shredders, departmental shredders, office shredders, industrial shredders and high security shredders.
Shredders come in different types and sizes. They can be cross cut, micro cut, strip cut, and CD & hard drive shredders. Boxis, Dahle, Fellowes, Formax, GBC, Kobra, Martin Yale and MBM are the prominent manufacturers.
Popular shredders are Fellowess SB-89Ci, SB-99Ci and SB-125i, Formaxs FD 8600SC, FD 8500HS and FD 8400HS, Martin Yales Intimus 602 CC, Intimus 007SF and UC5500, MBMs 2360SC, 2260SC and 3803SC, Dahles 30434, 20090PSe and 21015, GBCs GDX1813, Boxisx R510, and Kobras Cyclone Compactor C-500.
Cross cut shredders cut unwanted confidential material, ensuring they dont fall in the wrong hands. They offer extra security by slicing paper vertically and horizontally in the shape of confetti.
Cross cut shredders offer more security and some can shred more than just paper. Some of the larger cross-cut devices have continuous-duty motors. Dahle, Clary, Fellowes and Formax are the prominent manufacturers.
Popular shredders are Dahles 20813 and 30414, Clarys 3800X, and 3900X, Fellowess SB-125Ci and C-225Ci, and Formaxs FD 8400 HS, FD 8500HS and FD8802CC.
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Selecting your vehicle's make, model, and year allows us to display only parts and items specific to your car's model and year.
Part# CH28584
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OPGI Price: $26.99
Part Type: (R) = Authentic reproduction of the original GM product
Years: 1968-1972
Sold As: PAIR
2018 Skylark Catalog Page: 159
These small stamped steel plugs are identical to original equipment used to fill the drain holes under the rear seat. Sold per pair, these plugs feature a raised center and are designed to be installed with seam sealer.