text:
Andra Watkins is fresh-faced, gentle, and kind. I'd already read her memoir Not Without My Father: One Woman's 444-Mile Walk of the Natchez Trace when I met her at BlogU '15. She brought a bottle of Blenheim's famous hot ginger ale to my room and gave me her autograph, and she encouraged me to participate in her Make a Memory campaign by spending time with someone I loved. I started to cry when I told her that my estranged grandmother was in a nursing home in advanced stages of dementia, and that I never visited.
I resolved that this summer, I would visit. I'd had the idea before, two years ago. I decided I'd drive back to my hometown once a week, leave my infant son with my parents, and spend an hour or so at the nursing home, making memories.
I don't know why I didn't do it then. Part of me wanted to, and part of me didn't. It was exactly how I felt today as I got into my car, except that the part of me that didn't want to go was winning out. I could just go shopping instead, I thought, and no one would even know.
No, I had to do it. I'd promised Andra, even though I knew what she'd say: Don't do it for me. Do it for yourself, so you don't have regrets.
I think of Andra as I walk to the elevator. Perhaps it is too late not to have regrets. I already regret not visiting my grandmother during the whole decade she's been in nursing care. I regret her aging, her dementia, the very passage of time. I regret that for my whole adulthood, our relationship has been forced, static, lifeless.
In some ways, I'm finished. I've been ready for her to die.
I feel a familiar rush of sadness when I see her. She is lying in bed with her eyes closed. She never wears her false teeth anymore and her lips are horribly sunken. I sit down at the side of her bed and put my hand on hers.
"I went to the bathroom, but I don't know if I did it right," comes a voice from the other side of the room.
I guess this is my grandmother's roommate. I look over and smile at her. "I'm sure you did fine."
"I mean, I've never seen one like that before," she continues, not looking at me, talking to no one in particular. "I don't know how it works."
Nanny opens her eyes. She looks shocked, then smiles and says what she always says when she sees me. She calls me her name. "Juanita! This is such a nice surprise." She hasn't known my name in a long time, but I believe she knows who I am, because sometimes when she looks at me, her face fills with joy.
"How are you feeling?" I ask.
She says quite clearly, "Sick of shit."
I giggle. Roommate is still rambling about whatever bathroom calamity she's had.
Nanny seems to remember me as a very young adult. She asks if I have my own apartment, and where I'm living. I pull out a recent picture of Jack and show it to her, telling her I'm married and have a little boy now. She stares at the picture a long time, and her eyelids start to droop.
"I could go to sleep," she says.
I tell her it's OK and sit there, my head propped up on one arm and my other hand holding her hand. I look at her bulletin board full of pictures—my father with newborn Jack, me with toddler Jack, me as a young girl—and cry a little. This can't be accomplishing anything. What kind of memory am I making? Does watching your beloved one drift off, holding her hand and crying, even count? I should have gone shopping. She might not even remember that I was there.
We spend the next few minutes like that, with her drifting in and out of awareness. When she is awake, she stares at me or asks me questions, like where I live, or where she lives, or if I know any of the nurses. Occasionally, like an oracle, she says something remarkably, unintentionally philosophical: "Which way do we go?" she asks once. And another time, "We've been here for so long. But it's nice." Then she drifts back to sleep. It's obvious that she's tired, that her body is shutting down. I want to know why she continues to live like this, why she can't go out in a blaze of glory and be reborn, like a magnificent phoenix.
"If anybody ever needed anything," her roommate declares, apparently over her bathroom calamity and on to a new topic, "I would do for them. I would find a way to do for them."
Her life is so small and stunted, I think as I watch her sleep. God, everything back here is so small and stunted. When I was a kid, I thought it was the world. Now I have the feeling of being larger than life as I roll back through this absurdly small landscape. It's not a feeling of triumph, but one of disorientation and sadness.
I do not always like to come home.
It appears that Nanny isn't going to open her eyes anytime soon, so I lift my weight off the chair, ready to leave—and when I do, her eyes blink open.
"Aren't you going to talk to me? Talk to me, Juanita."
So I do. I tell her about when I was a child, and we would play restaurant and Tiddlywinks and Old Maid. As I talk, she stares at me as if from a deep chasm. As if I am speaking a foreign language. I can see her searching for meaning. Then she gets tired and closes her eyes again.
Roommate is looking into the distance. "I would always try to do for that person, if I could," she says aloud.
On the way out, I want to hug the nurses and tell them they are good people, because I could never do the job they do. But I am crying, and I feel trapped, like in a recurring dream I have where I can't find my way out of a hospital. I'm both ashamed and enormously relieved to walk out the main door, into sunlight and my terrible, terrible freedom.


text:
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subset: commoncrawl


text:
Funny, I've spent a few minutes here trying to write the first sentence to this entry and I just decided to head at it from a different direction.
Somewhere back around 1993, I was trying to find my way in several styles of photography. I felt like I had potential, but the reality of my images were not quite up to what I was imagining the would be when I snapped the shutter. I was using books from photographers that inspired me to learn from. I wasn't copying their photos, but I was trying to find in my own work what I liked about theirs. Herb Ritts was a huge influence on me at the time. Still is, and I'm sad he's gone.
But I remember laying out about 15 contact sheets on my small apartment floor and my model friend Shawn and I were on the floor on our stomachs going over the hundreds of images. Funny that a decade later my models and I are going over images on a computer screen. Contact sheets seem downright primitive in some respects! But back then, it was the cramped apartment floor and a couple of loupes to look at the tiny images and mark what we liked with grease pencils.
On that particular shoot Shawn was really being creative with paint and mud and all kinds of facial expressions and body poses and as we passed the resulting contact sheets back and forth I realized the images of her did have a certain Ritts quality about them. It was the first time I felt that I really achieved a look or a feeling that I was going for that was inspired by one of my photographic idols. Looking back on those images now, I don't think anyone would mistake them for the lost negatives of Herb Ritts, but I did feel like I had created something very special with Shawn. She was very happy with what we did and I remember telling her as we lay next to each other that what I saw in these images was the same thing I saw when I would pour through the pages of my Ritts books. It was a milestone for me.
This weekend I felt that same familiar feeling. It seems like the past month or so I have been struggling with my creative demons. It's been difficult to create pretty much anything I've been really happy with. It could be the pressure of my show that's now less than two weeks away, but I think it's been something a little deeper than that.
One of the areas I was experimenting with back in the early 90s was fashion. I walked away from it then because I wasn't coming up with anything I felt was really amazing. Besides my work in travel and nude photography was really starting to feel strong to me and I decided to concentrate on what was working.
Recently though, I've been challenging myself to expand my photography and fashion always seemed to me like something I would eventually come back to. And so I have. Like anything in life, if you want to be good at something you really have to work at it. And even though I feel very accomplished in the images I've spent the last two decades creating, fashion is a completely different animal. It has been quite the challenge. It's been a little painful to not be as good at something as I want to be. Almost to the point of wanting to run back to what was comfortable just so, for at least a little while, I could feel confident again about what was coming out of my camera.
Well for better or worse, as much as I felt I needed to, time and opportunities to shoot my body work seemed to continually evaporate before my eyes. Being unable to set up shoots with my naked people became as frustrating as not succeeding in creative the quality of fashion images I was challenging myself to make. I think the longer I went without really creating something that blew me away in either area, the pressure I was putting on myself to make amazing images began to take it's toll on my ability to think creatively. It started to snowball and by mid January I was really starting to wonder where it all went.
My blogs as of late have certainly not hidden the frustration and stress I've been putting myself under. It has not been pleasant. I'm still not sure I'm completely out of the woods, but the images I created with Morgan this weekend had that same feeling of laying on the floor with Shawn and realizing that we had made something really special. Part of the reason for the success of our shoot might be the total immersion in it.
I met Morgan for dinner on Friday night and I think we both had a good vent about things that were on our minds. After an anxious wait to see what the my giant gallery prints would look like, they had finally arrived earlier in the day and the one crate I opened up to have a quick look revealed that they were indeed beautiful. I think just having that peace of mind allowed me to put that stress away enough to focus on creating new work. We made a few notes over dinner about what we wanted to accomplish in Saturday's shoot and then got a good night sleep which neither of us had experienced in a while.
After I spent the morning running around to pick up supplies for the shoot, we met at the Belmont red line L stop and spent a few hours exploring the nearby shops and managed to put together a few good fresh looks that we both felt would inspire us to create some interesting images. We returned to my studio and got to work.
I can't really explain why, but it soon became clear that Morgan and I were in a very good place to try new things and come up with ideas together that were working like crazy. She looked great and our mutual confidence in what we were doing really began to come through in the photographs. The more we shot, the better it got. And by the time we got done after midnight we both knew we had something.
The remaining crates of photographs for my show had been taunting us all day to crack the rest of them open and look at the rest of the show, but we decided to put it off until after we were done shooting. I made us a couple of cosmopolitans and Morgan put on some "opening the big show" music and we began unpacking the pieces.
Now I know I have written a few times about how big these prints are. But they really are huge. The are three feet by four and a half feet and as we began lining them up on my studio walls, both Morgan and I became more and more blown away by what was in front of us. We just stood there soaking them all in. As I told her it was so wonderful to have her there with me to see the show for the first time. It made it a little more real for me. After a beautiful day of shooting, it was so moving to get to experience this very personal moment in my life with her. This show is really important to me and Morgan is one of the many friends I am lucky to have in my life who have been so encouraging and supportive throughout the process of creating it.
Now it was getting to be about 3am and we had moved to Agavero and had managed to kill half of the bottle already, so Morgan wisely suggested that rather than heading out into the snowy cold night to get her home, she would stay and that way we could finish talking about the show and make a really amazing day last a little longer. And finish the bottle of Agavero!
I love talking all night until the sun comes up and that's exactly what we did. Those quiet hours just as the sun is coming up combined with the afterglow of an incredible shoot day and wonderful conversation made everything that had been bothering me the last few weeks just vanish. The sun finally came up and we surrendered and hit the sack.
I cooked us a healthy breakfast when we got up and I took her home and got back to the studio to finish going through all the images we made. I completely skipped the superbowl because I was so excited about what I was seeing. It was another milestone – on so many levels. I couldn't be happier about the images we made. The two I've put up here are from this shoot and are just scratching the surface of what we managed to achieve.
So I look back on that day about 13 years ago with Shawn on the floor looking at contacts and a flash forward to sitting at my computer monitor with Morgan loading the images into the computer from the camera smart cards and picking our favorites with keystrokes instead of grease pencils. The tools may have changed, but the feeling of successfully meeting a formidable artistic challenge remains just as I remember.


text:
Like a lot of people who use social media, Israel Hyman and his wife, Noell, went on Twitter to share real-time details of a recent trip. Their posts said they were "preparing to head out of town," that they had "another 10 hours of driving ahead," and that they "made it to Kansas City."
While they were on the road, their home in Mesa, Ariz., was burglarized. Hyman has an online video business called IzzyVideo.com, with 2,000 followers on Twitter. He thinks his Twitter updates tipped the burglars off.
"My wife thinks it could be a random thing, but I just have my suspicions," he says. "They didn't take any of our normal consumer electronics." They took his video editing equipment.
Most people wouldn't leave a recording on a home answering machine telling callers they're on vacation for a week, and most people wouldn't let mail or newspapers pile up while they were away. But users of social media think nothing of posting real-time vacation photos on Facebook showing themselves on beaches hundreds of miles from home, or sending out automatic e-mail messages that say, "I'm out of the country for a week."
"I'm amazed at how many people get on there and say they're going on vacation," says Lee Struble, head of security at Monroe Community College in Rochester, N.Y.
Easy to get info
Struble, 53, is a member of Facebook with more than 200 friends, many of them classmates from high school and college who recently reconnected through the site.
"Some of these people you haven't seen in 20 or 30 years," Struble says. "But they know where you live or can find out pretty easily, they can do a Google Maps search and can get directions to your house, and you're telling them that you're going to be gone."
Struble is careful about his outgoing e-mail messages. "I just tell people I'm going to be out of the office; I don't say I'm going to be out of town," he says.
Despite the fact that so many people share their vacation plans via the Internet, most Americans don't think private information is secure online. "We actually polled on that question, and the majority of people, teenagers and adults, think that a determined searcher can find them — no matter how careful they are with information," says Lee Rainey, who has studied Internet behavior extensively as director of the Pew Internet and American Life project in Washington, D.C.
New communication technology has always brought with it new risks, usually learned the hard way. When telegrams were a primary means of long-distance communication, correspondents struggled to craft messages that would convey meaning without revealing private business to the operator.
Party-line phones were often conduits of gossip. And Prince Charles showed that mobile conversations could be intercepted when his pillow-talk call to Camilla Bowles was made public.
Facebook and Twitter are so relatively new that users may not consider all the risks. For Hyman, Twitter was a way to connect with fans of IzzyVideo.com, where he offers how-to videos on video production. His wife teaches scrapbooking through videos at Paperclipping.com. About half of the new episodes they release are free, but viewers pay to access their archives.
"The customers have never met me in person," Hyman says. "Twitter is a way for them to get to know me. You do business with people you know. I'm a real person. I take my kids to the park. I go on vacation. I'm not just some company!"
He adds: "I forgot that there's an inherent danger in putting yourself out there."
Detective Steven Berry of the Mesa Police Department, which is investigating the burglary at Hyman's home, says: "You've got to be careful about what you put out there. You never know who's reading it."
Despite the potential risks, some social media fans say they have no qualms about sharing their whereabouts.
"I don't worry about it," says David McCauley of Boise, Idaho, a social media consultant who posts a running update of his activities for his Facebook friends. McCauley also communicates constantly on Twitter, where anyone can sign up to read your posts.
Not worried
"If somebody really wanted to rob me, they could rob me whether they're Tweeting about it or not," McCauley says. "Most people who want to follow you (on Twitter) are typically not thieves, or they're not looking to take your stuff; they just want to follow you and understand you."
McCauley even plans to offer a description, via Twitter, of a trip to adopt a child overseas.
"In the grand scheme of all the noise that's out here on the Internet and in Facebook and Twitter, there's so much going on that it would be hard for somebody to zero in on me, looking for me to be gone," he says. "I'm just not worth that much."


text:
SCOTT SNYDER on JOKER's Surprise Entrance in BATMAN #36 - SPOILERS
* Spoilers for Batman #36 *
Joker has a brand new face, and Batman comics have been showing it to readers for more than a year.
Eric Border, the Arkham Asylum orderly who first appeared in 2013's Batman Annual #2, has been acting like an ally to Batman ever since he showed up at Arkham Asylum.
But today, readers found out Eric is actually the Joker.
Border has a regular gig in Arkham Manor, and was also part of Batman: Joker's Daughter #1 (which now explains the note from Joker that showed up at the end of the issue). The character has also been seen in Batman Eternal, and actually helped Batman in Batman #34.
In October, Batman #35 brought Joker back into Bruce Wayne's life in a big way, involving the Justice League, as Snyder and artist Greg Capullo began a six-issue story titled "Endgame." Although Joker wasn't actually shown in last month's issue, it was clear that Batman's nemesis had returned, after having been assumed dead or missing after the conclusion of 2012's "Death of the Family" event.
Following up on our discussion last month about Joker's return, Newsarama talked to Snyder about how he hid the villain in plain sight for more than a year.
Newsarama: Scott, I can't believe I didn't see this coming. Obviously, you planned way ahead with Eric Border, introducing him… I think it was the issue you co-wrote with Marguerite Bennett, Batman Annual #2?
Scott Snyder: Yeah, it was.
Nrama: And she used him in the Joker's Daughter issue she did. It's all very sneaky, Scott.
Snyder: Yeah. It was a lot of fun when I pitched the idea of putting him in there, you know, right as we were doing "Death of the Family," and saying, can we seed him in so people can see that we have a second verse of the story, that we've been thinking about doing for a long time?
When I got the approval, I was very, very excited.
And then Marguerite was really the only person in the Bat-group that knew that for awhile. And then James [Tynion IV, Snyder's Batman Eternal co-plotter who's also currently writing the back-up stories for Batman]. It was just the three of us who knew that was him.
I was terrified that people would figure out his name. I was like, they'd know right away he was the Joker and that would be the end, and I'd have to change it somehow or figure out some other way of doing it.
Nrama: I never noticed anyone online guessing this. In the Jokers Daughter issue, Joker slips her a little note. It's probably the biggest clue we've gotten, because it was after she met Eric Border.
Snyder: Right. Exactly. She showed me that at the time and asked me about it, and we talked about it.
He also pops up a teeny bit in Eternal, and he's obviously in Batman #34 also, to kind of tease what's coming too.
Nrama: And Arkham Manor, where he's, like, a main character!
Snyder: And Arkham Manor. The funny thing is, Gerry [Duggan, the writer on Arkham Manor] is one of the other only few people I told about it, just to get a sense of the story. I told him that a long time ago — I think it was Kansas City last year. So it was two Kansas Cities ago.
Then he started talking about how much he liked the idea of Arkham with this guy lurking in it. I told him what we were going to do with Arkham in Eternal, and then he really came up with the idea for Arkham Manor in that conversation.
So Eric was a part of that original idea. He actually plays quite a bit role in that too.
Nrama: As Joker? Or as Eric Border?
Snyder: Well, as Eric, but you know now that he's Joker, because it's coming out after this issue.
So you'll see all of his actions.
I don't want to give it away for Gerry, but you'll see him in there. You'll see Eric, and then you'll catch up to the present of Batman. And you'll see the aftermath of Joker too.
Nrama: Does it tie into the back-up stories that James is doing in Batman, with the former Arkham patients?
Snyder: Yeah, he's in there too. James is writing him in there. It's all part of the same thing.
Nrama: We've still got the visual theme of the flies. Did you and Greg talk about that? In the past it was because of his face, but we've got the same theme going here.
Snyder: Yeah, Greg actually came up with that, for this issue, as a kind of running theme. I love it, because — not to give too much away, but what Joker is going to say about himself, coming up in the next issue, and what he reveals to Batman about where he's been and what he's been doing, and how much he knows about everything — all of that has, for me, I think… underpinnings of things that are pretty devilish and paints him as, like, something that's come back from the grave.
Nrama: The first issue of this storyline felt very big and bombastic, with the Justice League involved. This one moved to a creepy, back-from-the-dead, sneaky Joker feeling. Are you going to play with both those things in this story?
Snyder: Yeah, it's going to get big again. It gets small. And then I think you see hints in this issue about these things that happen, with Gotham and everything.
Nrama: The promise of a "first" infection, and a second and third, and a "party growing?"
Snyder: Yeah. You can imagine, given those hints, it's going to dovetail very big.
We wanted to open with a big warning shot across the bow, saying, you know, "This one's for real."
And then also have it something that sends a message, that's like, "We're no longer friends."
Friends to enemies.
And then we wanted to ratchet it down to show the terror of where is he? What's he going to do?
And then once he reveals himself [in this issue], in a scary way, he's saying, "Now let's start."
Nrama: I'm wondering about the juxtaposition with the scenes of how Batman dies — or how he thinks he may die, or fears he may die. I know we talked about this last month a little bit, but can you talk about why we're seeing those scenes interspersed with this Joker story in particular?
Snyder: For me, this story, it's largely about this idea that Joker is saying, "It's over." And "you're going to die this time and everyone is going down."
I wanted to do something where I'm putting pressure on Bruce. He's in the prime of his life. You know? He's not anything close to the Dark Knight Returns sort of Batman, or anything like that.
But I think, for me, deep down — not to get too "on-the-couch" about my run — but I think the thing that fascinates me about Batman, in terms of his relationship to Gotham, is his own mortality.
It's something that I have a lot of issues about, I think, in my own life.
And that sense of Batman turning himself into something that's larger than life, and legend, and folktale — something that's bigger than his body and bigger than his own physicality – is a huge part of who he is. He means something.
And then to come along and say, well, the owls sort of said, we were here before you. We're older than you.
And Joker last time they fought said, you know, you forgot that you're supposed to be forever because you fell in love with all these stupid people, your family; come back to what you're supposed to be. Zero Year is about that stuff too.
And for me, this is really the end of that theme, in a way, where Joker is saying to him, you know, this is the end. And everything goes down.
And "you don't really understand how small you really are. You're just a man. And all of this, and me — we're bigger than you. Everything you do is just throwing pebbles into a river. None of it matters. I'll show you, because you'll be forgotten very quickly, and I'll be remembered, and all the things that you did amount to nothing."
That's the greatest joke, according to Joker in this story, is that you think your life means something.
Nrama: And we're all just laughing at you.
Snyder: Right. That's the biggest nightmare.
Nrama: I know you said we're going to find out what Joker's been doing all this time. I assume we'll learn why he has a face again? Or how he got that face?
Snyder: Yes, you'll learn. There will be different possibilities. But there will be one that really sticks out as, this is probably why that happened. Yeah.
Nrama: And the theme the last time around surrounded him not having a face. I assume you see this return of Joker being more about him having a face? Do you know what I mean? It's scary in a different way.
Snyder: Yeah, I think it's scary different way, because the last story was sort of Joker extending a hand. He was saying, "let me cut my face off just to show you how much I care about you. I'm showing you that beneath this face, there's just more Joker. There's no humanity here. And that's the way you're supposed to be. You're not supposed to be whoever you are underneath that mask. You're supposed to just be the Bat-King. You're just Batman. That's why you started this and why I followed you out of the hood and all that stuff."
Now, I think what he's saying is, "No more smiling mister nice guy. This is the face of a stranger." Everything down to the way he dresses in this arc, he dresses in a very formal, kind of funereal, spooky way. He has the small shoes and black suit.
Everything he uses is black in this arc — the black boxing glove, the black flag that says "bang."
It's all saying, "you never knew me. You always thought you did. I let you think that, because I was trying to get you to see the light and come over to the right side and transcend your body, in some ways, and be with me, and be with us villains and be part of legend.
"But deep down, you're just a scared little boy.
"And so in being that, it's over. And I'm going to show you that you never knew who I was. And you never know who I am.
"I'm just a stranger coming to kill you and wreck everything for you."


text:
Middlesex County
J&M Marina
J&M Marina, Virginia
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You truly can't spend all your time indoors; you have to get out of the house sometimes, and J&M Marina in Virginia is a perfect spot to go. Famous Virginia kindness and the well kept up facilities are a perfect attraction for loads of folks. J&M Marina is a top pick marina with the folks of Deltaville.
So much fun stuff in the neighborhood of J&M Marina, and when you spend some time here you will feel like a new person. Why not have a look at Timber Neck
also while you're here; a good beach nearby is Neals Beach. Enjoy a lazy day on the beach at White Stone Beach, and people from Deltaville love to come here. Nothing beats kicking back at Bethel Beach, and Fleeton Beach is a beach
nearby that you can stop by. J&M Marina is a relatively wet place ordinarily with a great deal of rainfall. Of all the months in a year May is the one with the most rain while February is generally the driest month. For the period of the months of summer here at J&M Marina, high temperatures commonly get into the 80's. Once the sun is down it descends down to the 60's. All through the winter highs are in the 40's, and nighttime lows in the 20's for J&M Marina.
Detailed Map
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Phone, Email, Address, GPS coordinates
Local weather forecast
These outdoors activities are available near J&M Marina.
Marinas Near J&M Marina:
Walden's Marina
, Deltaville , 0 miles away
Powell's Marina
, Deltaville , 1 miles away
Deltaville Marina
, Deltaville , 1 miles away
Fishing Bay Harbor Marina
, Deltaville , 2 miles away
Mobjack Bay Marina
, Mathews , 7 miles away
Regent Point Marina
, Topping , 8 miles away
Locklies Marina
, Topping , 8 miles away
Campgrounds Near J&M Marina:
Gwynns Island Campers' Haven
, Gwynn , 4 miles away
Camp Little Bay
, White Stone , 6 miles away
White Marsh Campground
, Lancaster County , 13 miles away
Great wicomico Campground
, Burgess , 16 miles away
Glebe Point Campground
, Burgess , 17 miles away
Hotels Near J&M Marina:
The Whispering Pines Motel-Whi
, White Stone , 7 miles away
The Tides Inn
, Irvington , 10 miles away
Best Western Kilmarnock Hotel
, Kilmarnock , 10 miles away
Hampton Inn Gloucester
, Gloucester , 17 miles away
Quality Inn Gloucester
, Gloucester , 17 miles away
Great Wolf Lodge Williamsburg
, Williamsburg , 23 miles away
Yorktown Motor Lodge
, Yorktown , 23 miles away
Beaches Near J&M Marina:
White Stone Beach
, Lancaster County , 6 miles away
Bethel Beach
, Mathews County , 9 miles away
Fleeton Beach
, Northumberland County , 14 miles away
Neals Beach
, Northumberland County , 18 miles away
Public Lands Near J&M Marina:
Assateague Island National Seashore
, Berlin - MD , 68 miles away
Belle Isle State Park
, Virginia , 21 miles away
Point Lookout State Park
, Maryland , 28 miles away
York River State Park
, Virginia , 28 miles away
Kiptopeke State Park
, Virginia , 32 miles away
Golf Courses Near J&M Marina:
Indian Creek Yacht & Country Club
, Kilmarnock , 8 miles away
The Tides Golden Eagle Golf Course
, Irvington , 9 miles away
Golden Eagle Golf Club
, Irvington , 9 miles away
King Carter Golf Course
, Weems , 9 miles away
Piankatank River Golf Club
, Hartfield , 11 miles away
Copyright © Stratus-Pikpuk, Inc.


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Mark Cuban, the outspoken owner of the Dallas Mavericks, has long been critical of the NFL. Three years ago, he was mocked in many circles for his assertion that the NFL was headed for an "implosion" within a decade – "Pigs get fat, hogs get slaughtered," he infamously said. "And [it's] getting hoggy."
Despite that, with the news on Sunday night that the Carolina Panthers will be sold by Jerry Richardson after a Sports Illustrated report detailing Richardson's lengthy history of alleged sexual harassment against female employees and at least one instance of calling an African-American team scout a racial slur, Cuban was named on at least one list of potential Panthers buyers.
But Cuban made it pretty clear to Dallas Morning News reporter Brad Townsend that he will not be the Panthers' next owner.
In an email on Monday afternoon, he told Townsend, "Not interested at all in any NFL franchise."
Then later on Monday, before his Mavericks hosted the Phoenix Suns, Cuban expounded on his reasons.
"Why would I buy an NFL team if I think the league is in decline?" he asked, harkening back to his 2014 statements.
"There's no team I would want other than the Mavericks, certainly no football team in the universe," Cuban said. "There's not even a close second. I love the Mavs. I love Dallas. I mean, Charlotte's a great city, but there's nothing I don't like here — other than losing right now. I would never turn my back on the city of Dallas.
"Like I've always said, Dallas has given me so much. And what am I going to say to my son and his friends or my daughter and her friends: 'Oh, yeah: Football's dangerous for you, but I bought a football team.'
"I know I'm a hypocrite from time to time, but I really, really, really try not to be."
(NFL rules stipulate that franchise owners can't own teams in other leagues, though Buffalo Bills owner Terry Pegula also owns the NHL's Buffalo Sabres.)
Cuban has previously shown interest in buying the Pittsburgh Penguins as well as the Texas Rangers and Chicago Cubs. He bought a majority stake in the Mavericks on Jan. 4, 2000.
More from Yahoo Sports:
• NFL Power Rankings: Don't forget about Cam
• Inspired by Kobe, superfan has lost 170 pounds
• Nance posterizes Durant, Lakers bench goes nuts
• Eli Manning: 'I think it's clear what a catch is'


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In comparison to 2011, 2012 was a bit of a lackluster year for music but there are some albums that are worth playing on repeat. Here are the best in my opinion:
1. Chairlift's Something dominated my speakers in the early part of 2012 and I go back to it time and again. I caught them live at The Troubadour and front woman Caroline Polachek gave one of the best vocal performances I have ever witnessed. Total perfection, not one note out of place. I also want to have her baby but I promise I'm not biased. Their songs are super unique and amazingly catchy. This will probably end up being one of my favorite albums of all time.
2. For me, Metric's Synthetica was a grower, not a shower. At first listen I wasn't sold but there were a few tracks that captivated me enough to prevent me from dismissing the record as a whole. As I listened more I soon began pressing repeat obsessively and now here it is at number two on my list.
3. Santigold's Master of My Make-Believe is simply awesome. Got to see her live at Nokia Theater and it was a ridiculously great show. Listen and be prepared to run it back over and over.
4. Oh Frank, I love you. Frank Ocean's Channel Orange is delicious. To be honest, I wasn't convinced at first. There was so much hype surrounding this album but I wasn't immediately feeling it as I started to dive in. Then I heard the track "Pyramids" and everything started to fall into place. Frank Ocean is one of the best storytellers in music today.
5. Lana Del Rey's Born To Die is good. Just accept it. Yes she's a crappy live performer, yes she's somewhat ridiculous and manufactured, but she has some damn good songwriters and producers working with her. I fully embrace all of it. The songs are good and LDR executes them well (in the studio at least).
6. St. Lucia – St. Lucia. Thank you, St. Lucia for renewing my faith in music this year. My hope for the future of music was waning when I was putzing around on Spotify and heard "We Got It Wrong." This lil CD is a breath of fresh air. They even managed to put on an AMAZING show at The Echo which has the worst sound in town. At six songs this mini album is a total tease. I can't wait for more from St. Lucia.
7. Twin Shadow – Confess. This album is a dark foray into the 80's. His compelling lyrics and lush instrumentation draw us into his web of destructive lust. On "I Don't Care" he sings, "Before the night is through I will say three words/ I'll probably mean the first two and regret the third." Ouch, George Lewis, Jr., ouch.
8. Tanlines' Mixed Emotions is tropical indie dance pop at its finest…whatever that means. One thing it does mean is these two dudes know how to put a great song together. Also saw them at The Echo and they put on a great show despite the vocals being too low and the usual crap sound that the venue provides. I hope to see them on the Coachella 2013 lineup.
9. Kendrick Lamar is Dr. Dre's protégé and his album good kid, m.A.A.d. city makes him worthy of that distinction. good kid is refreshing in its realness. Lamar takes the listener on a journey through his life growing up in Compton. He raps about heavy material over the top of great hooks, nasty beats, and shiny production making this album multifaceted yet approachable to the masses. Still kicking myself for not getting to the polo fields early enough to see his solo set at Coachella, but it was really really hot that day and our pool was so so nice.
10. Milo Greene – Milo Greene. Last year their track 1957 was one of my most-played and Milo Greene's 2012 full-length album did not disappoint. The self-titled album is a gorgeous and cohesive piece of sound.
11. Hot Chip knows how to make me move and In Our Heads is no exception. I saw them at the Hollywood Bowl with Passion Pit and HC stole the show. Get ready to dance your face off because In Our Heads is slick.
12. Grimes – Visions. The track "Genesis" is one of the best things to happen in music all year. This album is distinctive and awesome although let's be honest, Grimes would be nothing without Ray Lynch's Deep Breakfast (see below and witness magic).
13. Wild Nothing – Nocturne. This album would be an amazing soundtrack to an angsty teen movie. Nocturne is a beautiful, ethereal, and cohesive album. Push play and go on a journey through lush and dreamy songs while you construct a melancholy movie montage in your head.
14. Kanye West – Kanye West Presents Good Music Cruel Summer. Yeah I know I used to hate Kanye West. I still kinda hate him but I can't help but like his recent music. KWPGMCS is a killer compilation of songs and I mean, come on, he has my namesake Ghostface Killah on a track. People say this album lacks cohesion but who cares? I don't. If the songs are good, the songs are good people.
15. Chromatics – Kill For Love. This album is killer and more importantly is finally on Spotify. Kill For Love is the Chromatics' signature sound at its absolute best. I can't seem to pick a favorite track from this album—it's almost like one giant continuous song. Push play and find someone to make out with.
15.5. Ok so technically HAIM's Forever EP is not really an album but I don't care because it's so awesome. If Wilson Phillips came out of 2012 Silverlake this is what they might sound like and trust me that's a huge compliment. So so good.
Honorable Mention:
Passion Pit – Gossamer
First Aid Kit – The Lion's Roar
Kathleen Edwards – Voyageur
Miike Snow – Happy To You
The XX – Coexist (Just kidding that album was lame. I guess their boringness finally reached the tipping point.)
Stay tuned in the coming days to see my top 100 songs of 2012 as well as some top lists from guest contributors.


text: friendlyfilmer 7 Report post Posted March 7, 2018 Feels great to be posting here again. Its pretty crazy to see the people I looked up to on here are still active and ready to bring these forums back to life. A lot of you have shaped the way I film & edit skateboarding videos to this day. With that being said, I'm excited to share this new video series I am releasing through Transworld Skate for 2018. Filmed entirely in Toronto, Canada. More volumes to be released throughout the year. Enjoy 3 Share this post Link to post Share on other sites


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CO2 is an owner's summit like you've never experienced before.
We're bringing together some of the most recognized names and influential business leaders in the lawn care, pest control, HVAC, and plumbing industries in one place so you can benefit from their lifetime of experience.
You won't find pundits recycling stale presentations here. CO2 is about testing new ideas, re-examining old ones, and exploring new possibilities for yourself and your business. With over two jam-packed days of content and networking events, you'll gain the tools to push yourself beyond your comfort zone and deepen your understanding of how to meet and exceed your goals.


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Latest News
How to: Getting a Jamaican work permit
Persons wanting to work in Jamaica are obligated by law to obtain a work permit before commencing a job in the country.
The Ministry of Labour and Social Security needs relevant information to allow for careful consideration and ease in processing an individual's application for a work permit.
Here is how to attain a permit to work in Jamaica:
1. The application forms to apply for a work permit can be accessed at www.mlss.gov.jm.
Employers will have to prove previous steps taken to recruit a Jamaican national for the job to be undertaken by the applicant.
Employers must show they tried to recruit a Jamaican national for the job before trying to employ someone from overseas.
2. Applicants seeking a work permit, on the basis of being self-employed, also have to complete the application form.
3. A non-refundable fee has to be paid for processing the application.
4. Payment vouchers are available at the work permit section of the Ministry of Labour and Social Security in Kingston and parish offices islandwide.
5. Payments are to be made at any branch of the National Commercial Bank (NCB).
6. A work permit will not be issued without evidence of the payment of fees.
7. Where approval has been granted for a work permit, prospective employer of the applicant will be notified.
8. On receiving the notice of approval, a work permit fee is payable by the employer before the work permit may be issued. The work permit becomes effective from the date it is approved.
9. Work permits are not transferable. If an individual has been granted wishes to withdraw his or her services from one employer, and takes up employment with another, before the expiration of the current work permit, the applicant is required to submit a letter from the previous employer when making a new application.


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The San Antonio Spurs can't live with Dennis Rodman, and they can't live without him. They have colluded against him, sent an assistant coach to one of his motorcycle rallies, debriefed his confidant, and they still hear only grunts out of him.
When he chose his Harley-Davidson over the team -- and wiped out his right shoulder in an accident on loose gravel -- the Spurs tried to move on. They won 12 consecutive games in his absence; they considered him out of sight, and out of his mind. But when they then lost two straight, including one in which no one hit Charles Barkley back, the company line became, "If Dennis was here, we win."
It was their admission finally that, for better or worse, the Spurs cannot seize the National Basketball Association championship without their rebound homing device: Rodman.
As a result, their coach, Bob Hill, recently waved over the only person who speaks fluent Rodman: his teammate Jack Haley. Haley wears shades at night, eats hot dogs a half hour before tipoff and takes his portable stereo wherever he roams, all right up Rodman's alley. They have double-dated with Madonna ("She wanted to have his babies, get married," Haley said) and gambled together in Las Vegas, Nev., and the Spurs know all about it.
"I've almost become the liaison between the team and Dennis," Haley said. "I interpret both worlds."
So, when Hill got Haley in his clutches, he pointed Haley toward a drawing board. The coach then scrawled a huge circle.Continue reading the main story
"This is us," Hill told Haley. "This is our team."
The coach then drew two smaller spheres outside the circle.
"These," the coach said to Haley, "are two moons off to the side that circle around our team. These are you and Dennis."
"So, what are you saying, coach?" Haley said.
"I'm saying I want you in our galaxy, at least," Hill said.
If Rodman does not re-enter the Spurs' solar system, if he does not adhere to the team's hallowed rules now that he is back from his injury of a separated shoulder, the Spurs' league-best record of 59-20 will be wasted. If not, the astute transactions of the rookie general manager, Gregg Popovich, will go for naught. If not, senior citizens like Doc Rivers, Terry Cummings and Chuck Person may never come down this road again. If not, the most-valuable-player-candidate, David Robinson, will have no armor to fend off the Shawn Kemps, the Barkleys and the Karl Malones of the world.
"You need hardened criminals out there," said Dave Cowens, the Spurs' assistant coach and former Celtic star.
And they have one -- nose rings, tattoos, 17.2 rebound average and all -- if only Dennis Rodman would stay off his Harley.
"I have definitely not tamed the wild horse," Popovich said of Rodman. "I'd love to tame him more, but I have absolutely no chance."
At least, management has scowled at him, which is more than the previous coach, John Lucas, could say he did. Lucas extended unlimited rope to Rodman, and hanged the entire team in the process. There was one set of rules for 11 players -- be in the locker room by 6 P.M. on game nights -- and another set for Rodman -- be there, in any hair color, by tip-off time.
After an opening-round playoff disaster last season in which the Spurs were eliminated, 3-1, by Utah, during which the league suspended Rodman as if he were a ninth-grader for roughing up John Stockton, Lucas saw a clumsy situation getting clumsier. The front office was cleaned out, and Lucas bolted for Philadelphia. Popovich, a former assistant coach tutored over the years by Larry Brown and Don Nelson, arrived with a military mind-set, and chose Hill, a head coach with strong ideas about team chemistry.
Together, they were united to rein in Rodman, and, in the process, conspired to turn the team against the 6-foot-8-inch forward, too. It was a secret pact among all to tell Rodman to shape up.
"We had meetings," forward Sean Elliott said. "Dennis had a meeting with us. We met with the coaches. We met with ourselves. I got tired of it. We met more than I.B.M."
For conduct worthy of a grammar school student -- temper tantrums and such -- Rodman was suspended for the first three games of the season. He then took a leave of absence for a month and was later suspended again. During that period, the players wore suits and ties on the road and synchronized their watches. Lucas would not have recognized them.
"Last year, some of the guys felt Dennis was separate from the team," Robinson said. "They didn't feel we even had a team. So, the guys came to me and said: 'We want a team. You're the man. If Dennis wants to play, fine. If not, we'll play without him.' That meant a lot to me. That meant I had 11 guys who wanted to play."
Of course, their 7-9 record to start the season put Rodman on their minds again, and when he returned on Dec. 10, several players, in the best interest of reaching the playoffs, suggested that Hill lift the coat-and-tie rule. Rodman will wear a sports jacket, but usually it is without a shirt.
Upon his return, the Spurs switched into a dead run, going 49-9. He was the elbow in Barkley's face, the long arm obstructing Kemp. Robinson could now concentrate on other matters, scoring, for example. Few realized, too, that the center was just getting healthy from a brutally injured left thumb that happened three years ago, not to mention a knee operation from the summer of 1993.
New rules prohibiting browbeating in the post position also helped Robinson. The rules, in fact, freed the entire squad. With point guard Avery Johnson, off-guard Vinny Del Negro and small forward Elliott, the three Spurs are perhaps the league's scrawniest group. The rule that banned hand-checking favored all of them. Suddenly, Johnson, Del Negro and Elliott were clear to accelerate to the basket, and together they have averaged a remarkable 44 points a game.
Popovich had also handpicked several veterans -- 33-year-old Doc Rivers (Knicks) and 30-year-old Chuck Person (Minnesota), to name two, who were discarded by their former teams. Now they played with an added, selfless purpose. Elliott, who was angry at Detroit, and Johnson, angry at Golden State, had similar gripes. And the Spurs, with the oldest average age in the N.B.A. at 29.64, took their wrath out on the league.
Moses Malone, at age 40, even became their good-luck charm. Signed originally as Robinson's backup, Malone has been a fourth assistant coach in charge of amusement. When he heaved a last-second shot from three-quarters court in one game, and swished it, he had no idea where the ball would end up. "What's everyone so excited about?" he asked. "I lost the ball when it crossed midcourt."
Appeasing Rodman was just as much of a long shot.
The team succeeded at ignoring his various hair colorings. "Do we make fun of his hair? Behind his back, obviously," Rivers said. But the coaching staff had no such luxury. From time to time, it would need to discuss strategy with Rodman, and that is where Haley turned invaluable.
"Dennis will not speak," Haley said. "And when I say won't speak, I mean, he really won't speak to anyone else on the team, even in just any type of basketball question. Maybe just a one-word answer. He won't return their calls. They try to ask him things, and he'll just sit there. So, that's where I came in."
Haley is white and Rodman is black, but their bond is in their eccentricity. They met one season ago, with Rodman looking right through Haley, but Haley managed to crack Rodman's safe.
"My locker was right next to Dennis's," Haley said, "I walked in the first day and said, 'Hey, how ya doing? I'm Jack Haley,' and I got a nothing response. No handshake, no look, not even a grunt.
"I sat next to him three weeks and never spoke to him one time. I tried several times for conversation and got zero in response. But through playing and practice and hitting each other, it started. I talked to him in games and got up in his ear about rebounding and how many rebounds he had and going for the rebound title. We slowly started to communicate.
"Then one night, he and his girlfriend asked my wife and I if we wanted to go grab a drink and he took us to a gay bar. I think he wanted to try to shock me, see how straight and narrow I was. They had male dancers, you know? So I shocked him and slipped the guy a buck in his G-string."
From then on, the two were inseparable, and Haley eventually took Coach Hill to Rodman school.
"I told him, the No. 1 way to deal with Dennis is just to be direct with him," Haley said. "Don't ever, ever make the mistake of lying to him, and under no circumstances threaten him. Because if you threaten him, he'll seize the opportunity to go the other way. If you want him to do something, you have to ask him. Say, 'Hey, Dennis. We need you to do this. Can you come do this?' And he'll say, 'Sure no problem.'
"It's funny, because for a guy who's an extreme individual and who's so into standing alone he loves to be needed. And he loves the fact that the team needs him."
They need him so dearly, that Popovich asked Rodman on March 19 whether Cowens, an old biker from the 1960's, could ride with Rodman and his motorcycle gang. The Spurs were in search of communication, at any level, but Cowens ended up communicating only with an ambulance after Rodman was injured with a separated shoulder.
Healed now, Rodman returned to the Spurs last Friday, and squeezed 38 rebounds in three straight victories. The team is half-relieved, half-indifferent about his return, but the players realize that without him they are less of a cohesive engine. For example, on Tuesday night Rodman had 13 rebounds as the Spurs routed Denver, but he was ejected with 1 minute 46 seconds left.
"Dennis doesn't endear himself to anybody," Cowens said. "He's back and he's a great player, but he's a pain. I mean, we're thinking, 'Does he like us?' It just brings that tension which to me is unnecessary."
But, little does anyone know, Haley has whipped Rodman into a frenzy. They have a special hair-color planned for the playoffs, and Haley said he shouted something in Rodman's ear last week: "I said, 'Right now, it's about the team, it's about the 12 guys, it's about us winning the world championship!' He agreed, and he's ready to go."
In other words, the Harley-Davidson will not be heard from.
"Because," said Haley, "I've got the keys."Continue reading the main story


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The latest on Canadian-Egyptian journalist Mohamed Fahmy and his two imprisoned Al Jazeera colleagues
WATCH: Canadian-Egyptian journalist Mohamed Fahmy and his two imprisoned Al Jazeera colleagues will have their case heard again, after an Egyptian court ordered a retrial. But, Fahmy's family is disappointed the judge refused bail. Stuart Greer has the story.
CAIRO – An Egyptian appeals court ordered a retrial Thursday in the case of three Al-Jazeera English journalists held for over a year, overturning the ruling in a case that ensnared the reporters in a wider conflict between Egypt and Qatar.
The decision by Egypt's Court of Cassation came after a hearing that lasted less than half an hour. However, Canadian-Egyptian Mohammed Fahmy, Australian journalist Peter Greste and Egyptian Baher Mohammed, who have been held since their arrest in December 2013, were not released on bail.
The three journalists did not attend the brief hearing that began around 9 a.m. local time (0700 GMT, 2 a.m. EST) in Cairo. Reporters gathered to…
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Your final choice for running Windows 8 in a virtual machine is to use the free Virtual- Box software. The concepts for installing Windows 8 on it are identical to those for Parallels Desktop and VMWare Fusion, so this section is going to move pretty quickly. Refer back to the earlier sections ( Running Windows 8 Using Parallels Desktop and VMware Fusion) if you need to.
One thing to keep in mind is that with VirtualBox, you can't migrate Windows 8 from a PC to your Mac, so if that's your plan, you'll have to use either Parallels Desktop or VMWare Fusion.
Install VirtualBox on your Mac and start it up. Grab a Windows 8 DVD disc, or an .iso file ready for installing Windows 8. In VirtualBox, click New. On the next screen, name your virtual machine, and select Microsoft Windows 8 as the operating system. Click Continue.
On the next screen you're asked exactly how much RAM to devote to Microsoft Windows 8 (See Image Below). The default is 2 GB, but some people have stated being able to use only 1 GB. I recommend going with the default.
After that, you're asked to create a virtual hard drive. You've got several other options here. Go with the default size of 25GB and click Create. For the type of hard drive to create, you have got half a dozen options. For example, one of them is to create an HDD (Parallels Hard Disk), in which case you'll also be able to use it with Parallels Desktop if the sun and stars align. But your best bet here is to go with the default, VDI (VirtualBox Disk Image).
Next, you're asked whether the hard drive should be of a fixed size or one that dynamically changes based on how much space it requires. The default is to choose a dynamically allocated drive, and I've found that to be a good choice. If you prefer, you can instead choose "Fixed size." That partition will take more time to create than a dynamically allocated one; however, it might lead to faster performance.
After all that, you come to a screen summarizing the name of the virtual drive and the size you've told it to be. You can make final changes here. Otherwise, click Create and the hard drive is created (See Image Below).
At that point, you've created a virtual hard drive and machine where you'll install Windows 8. You'll be sent to a screen (Virtual Box interface), shown in following image.
That summarizes all of the settings you've chosen for when you install Windows 8. The screen lists all of your virtual machines. Click Windows 8. If you're adventurous, you can try fiddling around with these settings, such as for how much video memory to use, and etc. But keep in mind that they've been pre-chosen to work well with Windows 8, so my suggestion is to stay with the defaults. Now you are ready to install Microsoft Windows 8. Select the Microsoft Windows 8 machine you have just created and press Start. On the next screen, choose either the disc where you have the Windows 8 installation DVD, or else the .iso file you're going to use. And then click Start. From here on, it's just like a normal Microsoft Windows 8 installations.


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Sunday, November 13, 2016
- The truth of the matter
6 comments:
- Angie said...
- November 14, 2016 at 8:37 AM
- jude said...
- November 14, 2016 at 9:09 AM
- Mo Crow said...
discerning while being open to new understandings
- November 14, 2016 at 12:43 PM
- Stephanie Jo said...
Thank you, Liz.
- November 14, 2016 at 2:55 PM
- Dana said...
I read that article too and was shocked. I'm only the most peripheral participant in Facebook and had no idea how pervasive it is. The idea that so much right-wing hysteria originates in places like Macedonia (???) to make money for teenagers is deeply discouraging. I like your lesson...I hope your students tucked it away with their sense of skepticism.
- November 14, 2016 at 10:40 PM
- Liz Ackert said...
Thanks to all for coming by. I'm still grappling with how to counter the nonsense on social media (short of sticking my head in the sand). Sadly, I'm equally disturbed by the violence and degraded views of behavior that have long been a part of the television, video game, publishing, and movie-making machines. Sometimes it seems hopeless. Then I come here to find a gentle forum for peace, love, and respect.
- November 15, 2016 at 7:39 AM


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The Alhambra: part fairy-tale castle, part medieval fortress, rising above the hills of Andalusia with graceful towers and smooth arches. Those attributes help soften its stern red walls, but there's no doubt the Alhambra was built to withstand the centuries. Named The Red Castle for those massive walls, within you'll find a complex of palaces built and rebuilt over the centuries for sultans and kings. You'll find graceful courtyards and patios built with the complex precision of Islamic geometric design; dizzying domes set with intricate tile mosaics or wooden marquetry, and carefully designed gardens meant to enliven the senses and calm the mind. It's a must-visit on any tour of Spain or a vacation including the beautiful Andalusia province.
So where did this astonishing palace come from? Here are five facts about the Alhambra:
1. The Alhambra is more than just a castle.
It's not just one palace: in fact, the Alhambra is comprised of three main sections: the Nasrid Palaces, the Alcazaba, and the Generalife. The most famous section of the Alhambra is the Nasrid Palaces, which feature the Alhambra's signature Moorish architecture and mosaic-work. The Alcazaba, built in the Renaissance era by the Spanish, today houses the Alhambra's artifacts and offers spectacular views of the surrounding area. The Generalife are the meticulously designed gardens and the summer palace of the emirs.
2. The Alhambra was already six hundred years old when it became part of Spain.
The high hilltop overlooking Granada was ideal for a lookout, and its first fort was built around 899. The first change from fort to palace occurred around 1333, by the Sultan of Granada, Yusuf I. It would stay in the Moorish royal family until 1492, when the kingdoms of Castile and Aragon conquered Granada. While King Fernando and Queen Isabella were planning their campaign against Granada, the queen found time to fund Columbus' expedition across the Atlantic.
3. The Alhambra was designed to be "paradise on earth."
As the years went by and new rulers came into power, each added their own touches to the palaces and gardens. The theme never changed, though: the Alhambra was meant to be a paradise on earth.
4. The Alhambra's exquisite decorations are purposefully flawed.
The geometric artwork decorating the interiors of the Alhambra follow Islamic law, meaning there are no depictions of living beings. This also means that within the seemingly perfect patterns, intentional flaws were placed, as aspiring to perfection would be blasphemous.
5. The Alhambra is one of the most popular attractions in Spain.
As many as 6,000 people a day visit the Alhambra in the busy summer months. When you plan your visit, buy your tickets ahead of time, booking your time slot for the Nasrid Palaces in particular early in the day. Or pick an escorted tour which includes the Alhambra as one of its destinations–your tour guide will know how to best get you through the palaces and gardens.
Visit the Alhambra as part of a fantastic vacation in Spain. To travel with a knowledgeable tour director, try our popular escorted tours of Spain, many of which includes stops in Seville, Granada and the Alhambra, Toledo and Madrid.
Ready to explore on your own? Try our independent Spain Sun Coast Vacations, complete with airfare and hotel in historic Malaga, less than two hours from Granada and located on the sparkling blue sea.


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Plus Peeps!
I'm June Thomas, editor of Outward and a member of the Double X Gabfest squad. I'm also an immigrant, so unlike many of you, I will not be taking part in the annual fall festival pilgrimage. My family never pressures me to fly home for Thanksgiving, because they don't know what it is. ("Is that the one with pumpkin pie?" my mom always asks, not realizing I eat pumpkin pie twice a day, 365 days a year.)
Still, I've been in this country long enough to know that there are times during a family holiday gathering when the only thing that could save your sanity is being able to block out certain relatives. Why not fill your ears with Slate and Panoply podcasts instead? This week saw some fab ones: The Message reached its bone-chilling conclusion, which means you can enjoy a little under two hours of audio entertainment set in a location that's even scarier than an American kitchen just before the Thanksgiving dinner comes together. Sir David Hare guested on The Gist with Mike Pesca last Friday, and I loved how the playwright started the interview slightly suspicious of his American interlocutor and ended up in love with the guy. And on You Must Remember This, Karina Longworth explained how David O. Selznick came to make the highest-grossing movie of all time: Gone With the Wind.
If, like me, you plan to spend a good bit of the holiday catching up on television, may I recommend Netflix's Jessica Jones? As well as being a great show, it inspired some wonderful Slate pieces, from Jack Hamilton's review to Willa Paskin's look at its terrifying villain, Christina Cauterucci's praise for one crucial scene, Arthur Chu's smart comparison with Gamergate, and Claire Landsbaum's love letter to JJ's leather jacket. (OK, I admit, I wrote about it, too.) The only thing that could make watching Jessica Jones better would be if you could wrap yourself up in the "cartoonishly chunky wool blankets" Kristin Hohenadel wrote about earlier this week—I swear those giant stitches haunt my dreams.
Do not miss Christina Cauterucci's investigation into why female meteorologists all wear the same dress; Mark Joseph Stern's fascinating look at a Benghazi whistleblower's lawsuit; Vanessa Vitiello Urquhart's hilarious, profound account of growing up gay online; Jamelle Bouie's explanation of why fascist is the political label that best identifies Donald Trump; and Josh Voorhees' roundup of Trump's latest set of fearmongering falsehoods. You should also feel free to enjoy some of Ben Mathis-Lilley's perfect headlines. (The pieces themselves aren't bad, either.)
I'm going to end with a confession: It's been a busy week, and I'm behind on my Slate reading. Here's what I'm going to catch up with over the next few days—given the authors and subject matters, I just know they are guaranteed to be great: Seth Stevenson's story of sleeping all night in a sensory deprivation tank; Amanda Hess' deep dive inside the Sony hack; Laura Miller's take on the Philip K. Dick masterpiece behind Amazon's new series The Man in the High Castle; and Reihan Salam's examination of the latest threats to Obamacare.
As is traditional at this time of year, let me tell you what I'm thankful for: my colleagues at Slate for being such good eggs, and to you, dear Slate Plus members, for helping to make the magazine possible.
Happy Thanksgiving!


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Q+A's to purplefrog01:
Have you ever had a near death experience? Yes. 3 times
What is your favorite season? Summer
Do you like chocolate? Yes. as long it is not Dark Chocolate
What is your favorite school subject? The reading part of English
What is your favorite bible verse? I Do not have any
Have you ever broken a bone? No. But I fractured one when I was 2 years old.
Do you play sports? No
What genre of music do you listen to? Old Classical
Do you like to travel? Sometimes. as long it is not moving from one location to another
Do you like to bake? Sometimes
What is your favorite book? I do not have any. but I like Sci-fi books like Fableheaven
Question for my nominees:
- Are you Christian?
- Are you a good cook?
- What is your favorite color?
- What is your favorite food?
- Have you broken any bones?
- Do you have any nasty scars, and Where (if it is too personal, you do not have to mention it)?
- Do you do like doing anything creative with your hands, like making jewelry, building things?
- Do you have any pets?
- What is (are) your favorite book(s)?
- Are you an outside person (a person who loves being outside)?
- (extra question, if you did not counted the 6th question as two questions) Do you love to camp or and travel?


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Director Ben Wagner recently released his brand new horror film "Dead Within" to audiences all over the world. This is a very unique film as it revolves around two people stuck inside a cabin in what we can assume is a zombie apocalypse. I had a lot of questions about the film for the young director and here is what he had to say.
Nick Leyland from The Movie Network: Ben, how are you?
Ben Wagner: I'm wonderful. I'm excited for finally seeing my movie get out there.
TMN: Has it been a long time coming?
Ben Wagner: Well it's an adventure, you invest a lot of time and effort into something and it's something that starts small. It's something you think, "Yeah, let's just do this experiment," and it grows and becomes something bigger that people seem to be responding to which is probably the most exciting part about it.
TMN: And it came out on the 9th on DVD, right?
Ben Wagner: Yes. DVD and digital platforms.
TMN: Well, congratulations. I got to watch the film and it was very intriguing. It's a very intriguing film and I wonder if you could tell our audience, because horror is a kind of a weird… There's sub-genres of it. Is it more of a psychological or paranormal or slasher kinda film?
Ben Wagner: It's all of the above. No, I mean it's definitely more of a psychological thriller, more of like an invasion. It touches on, not a haunting, not necessarily paranormal but it definitely is much more the suspense-driven Italian horror model, but I think it definitely starts out seeming like an infection zombie outbreak story and ultimately, it is. But later in the story, you sort of see what this trauma has done to these people. You realize that their mental faculties aren't as strong as they once were, so they can no longer rely on their memories, their thoughts, and there's this sort of split between reality and what their interpretation of reality is.
TMN: Now, there's like three of you or four of you guys that wrote it, what was going through your mind when you were writing this thing?
Ben Wagner: Yeah, well, so a lot of it, it started, my writing partner, Matt, and I sort of came up with the core idea and the central premise is that it's about a toxic relationship between two people who otherwise wouldn't be together except for extenuating circumstances, being that they're survivors of an apocalypse and so it's really sort of looking at this relationship that's falling apart with real heightened stakes, that there are life and death consequences to the decisions they're making, that they can't just break up and go separate directions, potentially causing each other's death. So that was sort of the ideas that we were playing with. And the reason that there are four writers credited is because Amy and Dean, the lead actor and actress… Part of the process making this film was that we decided we were gonna improvise part of it, and I locked them in my kitchen, which is a cabin in the mountains of Los Angeles for three days, and we shot them for three days straight almost 24 hours a day.
And because we were gonna put them in these extreme circumstances, the concept was that all the four of us had a very strong idea of where this story was gonna start when we put them in that room. So we developed their back stories, we defined who their relationships were, their characters, all the events that happened up to the point of the start of the film and then from there on out, it was going to be largely improvised. And the reason we did it that way is I wanted to get the real visceral reactions of something banging on a window in the middle of the night, or worms crawling under a door, or something flying at them, all these sort of haunted house sort of elements that we set up, so that we could knock them on their heels, get them scared, get them tense, get them really feeling the moment, and then see what they did with their characters going from there. It was just showing them respect for the effort that they were going to do in creating these characters, and potentially the dialogue.
That being said though, we had a very clear roadmap of where we needed this story to go during that three-day period, so Matt and I knew what needed to happen when and from a production standpoint, everyone was aware of it. So the camera operators knew when something was gonna happen, so we could position the camera operators so you get the right reaction shots from the actors at the time. And also to sort of see narratively how things would be put forth. So you know there's one key point where they lose one of the things that's been keeping them going and when that point happens, we shot one of the actors reacting to it the moment it happened, the other actor was not aware of it, so when they come back in, they had to sort of improvise that beat, and so we move through these moments and see where the narrative will go. It will be a gut check, it would be great because you'd get to the end of their improvisation, and if they had not reached the point that we needed to, we knew that there was a shortcoming in the script less though in their performance and thankfully, the vast majority of time, they ended up going from point A to point B on their own naturally, and the story was really great. We sort of checked the logic of the story moving forward and it all sort of worked out in the end. And ultimately, after that three-day shoot, we'd go back and we'd fill in the spaces that we couldn't get during that sort of that marathon and needed emotional beats, or reaction shots to some of the scares that we got. So you'll see, there are some VFX shots in there that, obviously, we didn't shoot while they were in that three-day marathon, but we did make sure it matched what did happen during that period so that it would sort of edit seamlessly together.
TMN: It almost reminded me, I've been watching a lot of Alfred Hitchcock Presents lately, and I got a little bit of that vibe from this film because it's obviously a super small cast. It's two actors and it's in one space, do you feel that, too?
Ben Wagner: It's funny you say that, Alfred Hitchcock Presents, I have the DVDs, I watch them all the time. I mean, that must be some sort of influence on me because I love those. This was a very theatrical experience. And I don't mean to say it's not cinematic, but it really was like a black box theater where we're working with actors in, essentially, a set and giving them props and letting them explore ideas. And so I think there is that sort of the stagecraft element going on there. I like to think that we sort of do take advantage of the cinematic medium. It's well-shot, there are some real things you can only see in a film, but it really is rooted in character and performance. And I think, also to your point, that's largely why you love those Albert Hitchcock Presents things.
TMN: Yeah.
Ben Wagner: You watch those and it's for 22 minutes, you can see, well, I guess those were half an hour at that time. These characters just exploring, doing it all verbally, communicating with their voices and their eyes and their body language, which we don't necessarily see as much of in films.
TMN: Yeah. And the same with those Alfred Hitchcock Presents, you're watching, a lot of times, you're watching two people where one looks obviously insane, but the other one could also be, but you don't really know it yet. And that's the vibe I got from yours. Because obviously, it seems like Kim is a lot more distressed than Mike.
Ben Wagner: Right. And that's one of the things that we really tried to play out in this film. I mean, I know what the answer is, but I intentionally left things ambiguous. There are lots of ways to cut this film, and you can make one character the clear villain and you can make the other character the clear villain, but we made a concerted effort to sort of leave it as sort of a Rorschach check, they can look at it. And different audiences interpret it in different ways. I think it's one of the most fun things about this movie because of the ambiguity that's purposely built into it. Every time I've shown it for a group of people, they instantly go into a debate of who did this, who did that, why did this happen, who was crazy, who wasn't crazy?
And often, it really comes down to where you are in relationships with other people in terms of… Because again, it comes down to its exploration of a relationship between two characters and it's all about assigning guilt. And I think when we're all in a certain situation, we wanna assign the guilt to a person and sometimes we ignore the fact that we're the one who's at fault.
TMN: I really enjoyed the hallucinogenic scenes, the one where she were to see shapes and forms and things moving. Was that what you were imagining when you shot the scenes?
Ben Wagner: Yeah. Jamie, my effects guy, Jamey Clouse did a really good job creating those. That was one of the scenes where, I mean, we really had to go at it. We're shooting the specific thing, there was no improvisation. You're doing map work, essentially. I think she had a lot to draw. For one, she is a very fine actress. But two, having gone through the shoot, I think she's still the draw for that exhaustion and that sort of fogginess. But I think she was still sort of suffering through. But yeah, that was the vision from the beginning when we painted those murals, and that's why we picked those bright colors and the shapes. It was specifically to enter that sort of child-like turning state.
TMN: Well, it's awesome. I really enjoyed the film and I imagine you guys are ready to get out of that cabin after a couple of days of being in there filming for 24 hours a day.
Ben Wagner: Yeah. For sure.
TMN: It's almost like a new kind of horror. It's like claustrophobic or something as you're watching it.
Ben Wagner: What we're trying to do is play half of claustrophobia in a way that would make people appreciate what it's like to be stuck in that place without it getting visually boring. That was one of the challenges, but I think that that's one of the things that makes the film work is because we were challenged with that. We're constantly trying to think, "Okay, how can we make this visually interesting? How can we do something slightly different here?" And I think that that helped us creatively.
TMN: It did and I didn't get bored watching, I'll tell you that. It was really, really beautiful to watch because sometimes you'd expect to get a little bored watching it but you have all this stuff going on and what it would actually be like in there which made it enjoyable to watch.
Ben Wagner: Thank you. Like I say, it was a labor of love and some of the things you need is hope, when you stage something that it's gonna look right. That's probably the thing about making a horror film is so much of it is about execution. The scares have to work. The performances, obviously those have to work too, but you're not worried because you know what you're doing and whether or not it's working.
But then when you go to do a scare and the blood isn't squirting right, you get frustrated because there are certain things you have to do right to make something that works. There were a few situations where things didn't quite work as well as they should've, but they bother me more than anyone else involved in the production, 'cause I'm the director.
TMN: What can we see from you now in the future? What's going on with you?
Ben Wagner: From here, I have a couple of projects that we're setting up and I'm hoping to do one of the two or three of them in the next year, so, but the one… I have a thriller, they're all thrillers, but one's more of sort of high-octane thriller that I hope to do next.
TMN: Alright, man. Well, I look forward to seeing all your work.
Ben Wagner: Looking forward to having something else.
TMN: Well, hey, man. Thanks a lot. I really appreciate you taking the time to talk with me and hopefully, everyone will go check this film and we look forward to see your stuff in the future.
Ben Wagner: I appreciate it, man. Thank you so much. I'm so happy that you responded to it, and thank you for your time. It was really good talking with you.
TMN: You too, man. I'll talk to you again sometime.
Source: www.themovienetwork.com/interview/interview-ben-wagner-talks-dead-within


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4. Determine the meaning of general academic and domain-specific words or phrases in a text relevant to a grade 4 topic or subject area.
5. Describe the overall structure (e.g., chronology, comparison, cause/effect, problem/solution) of events, ideas, concepts, or information in a text or part of a text.
6. Compare and contrast a firsthand and secondhand account of the same event or topic; describe the differences in focus and the information provided.


text:
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Title:Level E Set


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JPS students speak OUT on possible "State Takeover"
October 12, 2017 in Education
By Othor Cain,
Nearly a dozen students gathered on the steps of City Hall in Jackson Monday to express their concerns about a possible state takeover of the second largest school district in the state. The fate of the Jackson Public Schools (JPS) District is in the hands of Governor Phil Bryant.
The Mississippi Department of Education (MDE) suggested last month that an extreme emergency situation exists within the district that jeopardizes the safety, security and educational interests of the students. MDE presented its findings to the governor in hopes that he would agree. "We do feel like JPS is definitely in a place where we need some help," Latoya Washington, an alumna of Provine High School said. "But we disagree vehemently with the fact that a takeover or seizure of our district is the appropriate route to take."
Washington moderated the press conference Monday that included students from all seven high schools in the district, that serve as JPS Ambassadors. The Ambassador program cultivates young leaders through civic engagement and leadership training for a select group of high school students across the district. Through weekly meetings, intensive workshops and field experiences such as participating in and facilitating community events, the Ambassadors learn to identify, organize and create constructive responses to obstacles in their lives, schools and communities.
Callaway High School Senior Dante Moore, an ambassador with this program and also a newly elected student representative for the JPS board of trustees put his training into action. "I feel that a state takeover is akin to a dictatorship in which the students would have no say and it could destroy the morale of students that are already struggling with school and drive some of us to give up entirely," he said. "I don't think that as a district we want that for any of our students. I feel that a takeover would clear out the school houses and fill up the jail houses."
In a statement released by the Ambassadors they concur with Moore's remarks. "The loss of our voice will result in apathetic behaviors towards school. It is also necessary for students to generally voice our concerns, opinions and ideas due to the fact that it's impacting 'OUR' future."
One student expressed his concerns about extracurricular activities. "Not every child goes the academic route in school," said Joseph Jiles, a junior at Lanier High School. "When you talk about wanting to better themselves, sports is a way for them to do that. Sports is their motivation to make good grades, for a lot of kids, it's their motivation to come to school."
Bryant said he would make his decision Oct. 19, when the next State Board of Education meeting takes place and school's performance ratings released.
Zion Blount, a 17 year old senior at Murrah High School said she read the 680-page report and attended the commission meeting last month. "It didn't really reflect what it was like going to JPS," she said. "I feel like JPS can no longer continue going the way it is now, but I also feel like with MDE's help, we can actually go towards having a better school tomorrow…for generations to come."
Ultimately, the ambassadors understand that the biggest impact a takeover would have on the district are the students and that student voices should be heard. They also embrace a collaborative effort of working together, giving JPS the tools it needs to be successful.
"I want everyone to know that the students in Jackson are worth it," said Washington emphatically." We're worth rethinking the system, we're worth teaching correctly, we're worth giving an adequate education. It seems like a lot of people are misconstrued about that. But the students here are too valuable to suffer through a system that continually isn't stable."