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Mikkeli Centre of Photography was established in 1989, being one of the oldest centres of photography in Finland. We will celebrate our 30th jubilee in 2019. Mikkeli Centre of Photography is a contemporary and versatile Finnish art centre, which houses four, separate gallery spaces: Hall, Studio I, Studio II and Studio III. In these galleries and in the main lounge there are constanty changing exhibitions showing contemporary Finnish photography, and in Studio III old photographs of local cultural history.There is also a small, high quality library of photographic books for the audience in the Lounge as well as an Information Service Desk.
The Centre promotes photography and visual arts on regional, national and international level. The Centre organises high quality art exhibitions, conducts photography, art and media education, is an expert in publishing photography books and houses a Digital Photography Workshop and design workshop spaces for artists' work, education and research. We work in cooperation with the Cultural Services of Mikkeli City and Arts Promotion Centre Finland.
Please, note that we are closed during the Christmas and New Year period, 22.12.2018-29.01.2019.
Upcoming exhibitions will begin on January 30, 2019.
We wish you a Happy New Year!
Juha Metso
Taina Värri
Derrick Frilund
Timo Villanen
The exhibitions of Mikkeli Centre of Photography are open as follows:
Tuesday-Friday 12am-5pm
Saturday 11am-3pm
Sundays and Mondays closed.
As an exception to normal opening hours, the centre is closed on Bank Holidays, during weeks 51,52 and Midsummer, and when there is a construction period of new exhibitions.
Admission fee: 5€.
Students and pensioners: 3€.
Children and youth under 18, press, members of Mikkeli Photography Centre: free admission.
Educational groups with a teacher: free admission.
The centre and the exhibition spaces are fully accesible to individuals using a wheelchair.
Kari Autero - Teitteni vartijat [The Guardians of My Roads]
"The background of this work is the idea of nature as a living entity, even as spiritual and soulful, and of how everything in nature forms a dynamic whole. The technique is playful and experimental, the results can be described as a controlled coincidence. Through a long experiment, control began to rule over coincidental results and I was able to express this experience of nature in pictures." Kari Autero 2018
Kari Autero (born 1959, Helsinki) is a photographer from the University of Art and Design Helsinki and a photography teacher. He has worked as a freelance photographer and a graphic designer and currently works as a photography lecturer at the Pekka Halonen Academy in Tuusula. His works are in the collections of the Finnish Museum of Photography. Autero's works seek to perceive the experience of the living whole of nature while playing with the possibilities of the camera's optical properties.
Sofie Jokinen - City Distortions
In her work, Jokinen explores time, environment and how people relate to them, but also photography theory and it's essential questions about the photography's position as a reliable evidence. Does an image have a status as a reliable evidence and what happens to it when the moment of taking a photo is not anymore one precise moment but overlapping time layers? In Jokinen's pictures, however, theory and technique do not dominate the work, but together with the environment around us, they create an aesthetically interesting ensemble.
Sofie Jokinen has studied photography at Turku University of Applied Sciences and graduated in 2012. Her works that study nature and time have been exhibited in many private and group exhibitions in Helsinki and elsewhere in Finland.
Päivi Uotila - Music of the Silent Ones
Music of the Silent Ones is visual music. The Silent Ones - plants and living organisms in general - are not often heard or even seen. Their vibrant, visual music becomes visible in adequate light or under suitable humidity conditions. Such as, when light coming from below passes through spider webs to make them shine with a pale glow or burst into a quiet symphony of iridescent colours. Or when dew condenses into webs, sophisticated constructions emerge like a rich musical tale.
In the works presented in this exhibition, spider, light and water play on the silk filaments a rich and serene music that arises from the void and then fades away, only to resonate once again when light reaches them later.
Päivi Uotila (Mikkeli, Finland) is an art craftswoman, gardener and self-taught fine art photographer. She has studied, among others, art materials at the Open University of University of Industrial Arts (*). Photography has been one of her forms of expression since adolescence. Päivi portrays natural phenomena, moods in nature, light, colours, plants, insects and details. Camera motion and the use of multi-exposure are a means of expressing and highlighting the artist's own vision.
* now: Aalto University School of Arts, Design and Architecture
Ulla-Maija Alanen - No mud, no lotus
No mud, no lotus depicts water and phases of growth of three different water plants. Yet, the metaphorical level of ascending from the dark bottom towards light is the most meaningful message of the artist. Alanen found the enchantment of the under water universe in the beginning of the millenium. She was touched by a deep existential experience. At the same time she read the book Water and dreams (1942) by the phenomenologists Gaston Bacelard – she felt as if the book was written of or for her.
Ulla-Maija Alanen is a Helsinki based artist and architect whose art productions have been presented in different parts of the world. She has, among other things, been a pioneer in large-scale façade projections that offer a comment on the urban space. Her current production consists of art exhibitions as well as cultural work with the elderly with memory impairment.
Johanna Vuoksenmaa - My Water Friends
I love water, everything in them, vistas, scents, sounds, and how water is affected. In the summer of 2010 I started spotting lakes and ponds. I wanted to share my knowhow and give tips to other swimmers. I began to photograph and describe my bathing experiences. I received new Water Friends every day and I always took a swim with these guys. Creating new geographic friendships made Finland more familiar, creating meaningful places, raised the map to life. This exhibition was born as a byproduct of this fun.
Johanna Vuoksenmaa (born 1965, Hämeenlinna) is an artist photographer from Tampere. She has graduated from the Lahti Institute of Design, although she has been a film and TV director and scriptwriter in the 21st century. Between 1987 and 2000, her photography and other composing compositions were featured in numerous private and group exhibitions in Finland and abroad. My Water Friends is something completely different and Vuoksenmaa's first photo exhibition for almost twenty years.
May-Lis Andersen - You Want to Be a Little Bit by Yourself
Experiences and stories about how we are affected both positively and negatively when we are connected to the internet are many. About the brain that becomes stressed when connected with several devices at the same time. About the mother who was threatened when she took her child to the playground and pointed out to other parents that it would be good to put away the mobiles while hanging out with their children. About the girl who watches it so often that the movement has become an unconscious instinct, an extension of the body. To be seen while keeping a distance. About being a danger in traffic for others and themselves. About the other half who feels invisible and requests divorce. About global friends appearing in the living room. About the wonderful to gets one's demand of knowledge set at the moment. To carry the music with you at all times.
Or just as Markus thinks; that it's nice to be a little bit on your own when travelling to work.
The working process: On five occasions in the months of May since 2015, at the same spot in Stockholm, I have photographed people passing by with their mobile phones and headphones. At the start of the project I was uncertain of how long I would have to wait, but it turned out that most of the people who walked passed during the hour I was standing there were focused on their devices.
I am interested in the spontaneous expression, and have therefore chosen street photography as my art form. I looked for a bright and uniform background, as I wanted to highlight our movement patterns. The movements become a sort of choreography of the present. It was exciting, on my second visit to the photo spot, to realize that the background wall would not always look the same. Graffiti had changed between the occasions and added a vibrant and fast-paced feel to the pictures.
The photographs are printed as silvergelatin prints traditionally in the darkroom.
Historical Mikkeli - The Summer of Saara Särkkä
Aula's show will continue to represent the work of Saara Särkkä. Now we are able to visit Pulkkisen kulma at Savilahdenkatu 5–7 in the 50's and at the Särkkäs' summer cottage at Mustasaari, Ristiina.
Saara Särkkä os. Nyberg (1925-2004, Mikkeli) worked originally as a photographer at Oulasvirta's photo studio, later in Mikkelin valokuvausliike. The assignments included weddings, funerals and other events. When the children's number increased to seven in the 60's, Saara stayed home as a housewife. The photos are from her home album.
Risto Pulkkinen and Sakari Särkkä, Savilahdenkatu 5-7's courtyard, 1952.
Historical Mikkeli - Graani and Tuppurala in Pictures
The most vibrant season of the Tuppurala working community was at the time of the Oy Grahn Ltd's plywood and cottage factory. Production at the Grahn was at its widest at the beginning of the 1960s, with 550 employees. Grahn's operations ended in 1986. Small apartment houses will be built at the factory site in the near future.
Image: Rauhaniementie 13, in the 1950's. (Photo: Raimo Laine)
Jenni Haili
Näkemisestä - On Seeing
On Seeing is a photography based installation that handles seeing and being seen in the society. In order to create this piece, visual artist Jenni Haili has challenged herself to meet people, that we might deliberately or unintentionally pass by in our everyday lives, without really seeing them.
In the installation the photographs (Haili has taken) are at first presented in the analogue photograph's latent* form, when the picture has been exposed on the photo paper, but has not yet been developed. In order not to destroy the latent image, the exhibition space has been transformed in to darkroom look-a-like. The viewer gets to meet the people in the images at first via their own words.
As the exhibition progresses, the images will be developed in performances on: Wed 14.3. at 7pm, Sat 17.3. at 12am, Sat 24.3. at 12am, Sat 31.3. at 12am and Sat 7.4. at 12 am.
Welcome to watch the magic of creating an analog photo!
* Latent = present but not visible, apparent, or actualised; existing as potential
When printing photographic images analogically of a negative film, the film is first placed in an enlarger, where light passes through the negative and projects the image on to a photographic paper. The (light) exposure will create a latent image on the silver, contained within the photo paper. This image is as such not visible, but can be made visible through development. In order to preserve the image and make it endure white light, the print must be fixed. In the fixing process the silver that was not exposed nor developed will be removed from the paper.
Jenni Haili (b. 1980) is a Helsinki based visual artist who has made her MA in the Aalto University School of Art and Design. Her works have been shown in several solo and group exhibitions both in Finland and abroad. She also works as a part time teacher and technician of photography in the Art University Helsinki's Academy of Fine Arts. (?) Haili works with a multitude of techniques, mainly basing her works on photography. A reoccurring theme in her works is a play with showing and hiding
Anna Niskanen
Tower Over
Tower Over is a look-see into a forest and landscape; it is an inspection of independence and experiencing nature. The photographic montages present shards of abounding natural phenomena and the human relationship to surrounding nature. The photographic materian was shot in Pacific Northwest America and in the Häme region in Finland.
The works were created with a traditional darkroom process, but in fact the photograph has been deconstructed to its' various elements only to be put back together in different order. The collages consisting of digital photos have been printed on transparent film as negatives and later exposed in daylight on to silk and paper. Cyanotype (a.k.a. blueprint) is an iron based photographic process, in which emulsion is applied onto a surface and exposed in ultraviolet light to create a positive print. The chemical reaction creates a Prussian blue hue.
Anna Niskanen (b.1990, Helsinki) is a Helsinki based photographic artist and holds a Master of Arts degree from Aalto University. Her practice concentrates on challenging traditional defining features of photography, and she combines digital and analog methods fluently. The narratives often stem from landscape and souvenir photographs from travels
Historical Mikkeli
Saara Särkkä, photographer
The collections of historical photographs of the Mikkeli Centre of Photography are made up of donations from the public. The exhibitions in the lobby illustrate Mikkeli's diverse cultural heritage with old photographs that have been digitized, restored and printed at the Centre.
The lobby exhibitions offer the opportunity for the elderly people to recall their memoirs, and also open up prospects for younger visitors to Mikkeli's history.
At the moment we represent photographs by Saara Särkkä (1925-2004, born: Nyberg) from Tuppurala, Mikkeli in the 1960's. Särkkä started as a photographer at Oulasvirta's photography studio in the 40's, working later in Mikkelin valokuvausliike. The assignments included weddings, funerals and other events. When the family's child number increased to seven in the 60's, Saara stayed home as a housewife. The photos shown are from her home album.
Hanna Koikkalainen - Lakkautettu kylä / The Abandoned Village
The Abandoned Village is a photo exhibition with music. It is about leaving and leaving a place.
The exhibition combines old and new pictures, evacuated memories, archive extracts and natural elements collected from Suistamo.
Migration and leaving home is and will always be a topical issue. Perhaps we can look at modern migrants when we remember our own history.
Hanna Koikkalainen (born 1980, Imatra, Finland) is a graduate of Aalto University School of Art and Design. Koikkalainen is interested in history, stories, memories and nature.
Hanneriina Moisseinen - Kannas / The Isthmus
Moisseinen's graphic novel exhibition Kannas / The Isthmus is a fictional, archive-based trip to Karelian Isthmus and the year 1944. The exhibition consists of graphic novel originals, archive photographs and a soundtrack. The focus of the graphic novel is in the war experiences of the civilians but also animals.
Hanneriina Moisseinen, MA (born 1978, Joensuu, Finland) is an award-winning graphic novel artist, whose background in visual art can be clearly seen from her work. Moisseinen's art has been shown in art galleries and museums in more than 15 countries. She has published four graphic novel albums that have also been translated to other language.
Armas Häkkinen - Memories of Mikkeli
Armas Häkkinen (1901, Viipuri - 1973, Mikkeli) was a plumber, but he practiced the profession of a photographer throughout his working life. He had received the education in photography in the army in 1921-22.
Onni Väisänen, a colleaque in the military, had founded a photography business in Mikkeli. Häkkinen brought his four-member family to Mikkeli because he knew Väisänen.
In the 1940s and 1950s, Armas Häkkinen produced about one hundred Mikkeli postcards, which he sold mainly in local shops.
The Mikkeli photos by Armas Häkkinen are still frequently used for many purposes in various publications, because Armas never signed his postcards.
Arto Häkkinen, Armas Häkkinen's son, has donated his father's negatives to the collection of Mikkeli Photo Centre of Photography.
December 2017 was for youth culture
In December 2017 the Centre organized the Cultural Path for Media Education, Mikkeli Media Arts -education and Mikkeli Grand Lan -event for the youngsters. All the gallery spaces were dedicated to youth culture, events and media education.


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Yuandale Evans Captures The WBC Continentals Americas Featherweight Title With Victory Over Luis Rosa Jr.
By Anthony "Stacks" Saldaña
Friday night boxing fans got their first look at eight promising prospects that came in to the ShoBox: The New Generation card with a combined record of 97-2, including two undefeated up-and-coming heavyweights and a 2016 Super Welterweight Olympian. The Masonic Temple in Cleveland hosted the quadruple header headlined by Featherweight prospects Luis Rosa Jr. (23-0, 11 KO's) as he took on local favorite Yuandale Evans (19-1, 14 KO's) in the 10-round main event for the vacant WBC Continentals Americas Featherweight Title. Evans who's only loss came in 2012 to Javier Fortuna was only fighting for the fourth time since that defeat. Rosa Jr. on the other hand looked to keep his undefeated streak alive.
In a fast paced, brutal back and forth battle both fighters landed clean shots on each other early and often as Rosa Jr. applied effective aggression while Evans countered with a solid jab. In the fourth round Evans began to stray away from his jab and stand in the pocket with Rosa Jr. as both fighter threw punches at a hellacious pace in the center of there ring. Then in the fifth round Evans went back to his game plan working his jab and counter punches from great angles slowing Rosa Jr. down for the first time in the fight. Rosa Jr. however would cut the ring off in the eighth round hurting Evans with a big right hook, Rosa Jr. would control much of the round before Evans would eventually land a short hook of his own hurting Rosa Jr. in what possibly could be round of the year. Through the first nine highly competitive rounds it was Evans who just out landed Rosa Jr. 268 to 267 in a absolutely great battle. The tenth and final round brought even more action as both fighters gave it all they had in the center of the ring and having gone the distance the judges scored the fight 96-94 Evans, 96-94 Rosa Jr. and 96-93 giving Yuandale Evans the split decision.
In the co-main event undefeated Radzhab Butaev (8-0, 6 KO's) took on the undefeated Colombian Janer Gonzalez (19-1-1, 15 KO's) in a 8 round welterweight bout. Butaev looked sharp from the start landing precise jabs and big counters on Gonzalez who was making his US debut. Throughout the early rounds Butaev continued to stay on the outside and counter Gonzalez at will, as Gonzalez never let his hands go throwing one punch at a time in a very slow paced fight. In the fifth round Gonzalez began to move forward and apply pressure on Butaev who seemed unwilling to exchange and solely rely on his counterpunching. That soon ended as by the sixth round both fighters continued to lull the crowd to sleep and after eight complete rounds the judges scored the fight 80-72, 79-73 and 77-75 all in favor of Radzhab Butaev.
Also on the card undefeated Junior Fa (14-0, 8 KO's) from Auckland, New Zealand battled the undefeated Fred Latham (9-1-2, 5 KO's) in a 8 round heavyweight bout. Fa who defeated fellow countryman Joseph Parker twice in the amateurs looked impressive as from the opening bell he wasted no time in picking apart Latham landing several big punches including 21 unanswered shots forcing the referee to call a halt to the bout at the 1:06 mark of the first round.
To kick of the Showtime quadruple header 2016 US Olympian Charles Conwell Jr. (6-0, 5 KO's) made his worldwide televised debut in front of his home crowd against Panama's Roque "Rocky" Zapata (4-2-3) in a six-round super welterweight bout. Conwell Jr. used big combinations early in the first round and big jab to keep Zapata the former MMA fighter at bay. Conwell Jr. continued to have his way in the second and in the third began completely dismantle Zapata. Conwell Jr. caught Zapata with a counter right uppercut that dropped Zapata for the first time in his career. Zapata beat the count only to have Conwell Jr. land a huge two punch combination followed by a left hook to the body that dropped Zapata for the second time in the round. In the fourth round Conwell Jr. land a barrage of punches including a huge overhand right that opened up cut a over the left eye Zapata and in the fifth Conwell Jr. again caught Zapata with a left hook that dropped his opponent for the third time in the bout. The game Zapata was able to go the distance but after six round of quality boxing the judges scored the fight 60-51(twice) and 60-53 all in favor of the undefeated Charles Conwell Jr.
Photo credit. Stephanie Trapp for Showtime Boxing

subset: commoncrawl


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- NevelskCBSAsked on November 21, 2017 at 12:46 AM
I see "guest" in Forgot password form and e-mail does not come.
- beyzaAnswered on November 21, 2017 at 01:14 AM
I've checked your mail address and you have 3 account. 2 guest account and 1 Free account and account's name is "nevelsk_sakh".
You have another form http://www.jotformeu.com/form/40340069976358. is this your form?
If you want to move this form. I can move for you
If you have any question, please let us know.
- nevelsk_sakhAnswered on November 22, 2017 at 08:43 PMYes. This is my form. And I have other forms. I need to edit one of the forms. How do I get access to the account. Combine in one account.
- JotForm SupportliyamAnswered on November 22, 2017 at 10:31 PM
I have deleted your two guest accounts and I am now able to send to your email address the password reset instruction. Please check your inbox or your spam folder for the said instructions.
We look forward to your updates.
- nevelsk_sakhAnswered on November 22, 2017 at 11:43 PMThank you!


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Please note this lecture is on Monday, 10/23. The printed posters say Wednesday, 10/23. She will speak at 9 PM in the Hunt Union Waterfront. The title of her lecture is NO! I am NOT a terrorist.
Zohra Sarwari is the author of 15 books as well as an international speaker, entrepreneur, publisher, and mother to 3 children. She has a Bachelor's Degree in Psychology, a Master's Degree in Business Administration, and she is currently taking classes for a Bachelor's Degree in Islamic Studies. She spends her time Homeschooling her kids, lecturing, coaching, and working on her curriculums. She has been seen on nearly everywhere on mainstream TV including CBS, FOX News. She has also been interviewed in many magazines, newspapers, radio shows, and online publications.
As an orthodox Muslim, Zohra has faced many challenges. Her passion is to educate others about diversity using humor and personal experiences that leave her audiences transformed from the moment they leave the room. Her speeches promote dialogue and foster tolerance towards people of all races, religions and backgrounds, and her speeches are designed to be inspirational and motivational.


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Sales and Marketing -- 2
Bajet $30-250 USD
I need some help with internet marketing. I'm looking for someone that can help me with Internet marketing and ads to bring Guarnteed interaction with websites and social media content
11 pekerja bebas membida secara purata $227 untuk pekerjaan ini
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Can you please share your website URL? Which is your target country? Recently we did the similar work - https://www.freelancer.com/projects/Internet-Marketing/Internet-Marketing-Strategy-8815671/ https://www. Lagi
Hello. Read your project description and would love to discuss further. I have extensive experience and knowledge across digital media marketing and have helped many clients achieve their goals. Some include @lvlxiii @ Lagi
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Hello, I am a professional online marketer. I am now promoting AIRBNB projects and also running some affiliate marketing projects.
can you be more specific about the platforms that you want to make campaigns, also what is your website about?


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Learning to Be Better
LEXXER works to provide innovative, quality practical training solutions. We work in partnership with training providers employers and education experts in the private and public sector to provide a range of training services. From course development and assessment consultancy to training provision and delivery we draw on the knowledge of those who have worked in commercial and community training environments. Through our work with charities, causes and community based groups and through public and private partnerships, we improve the experience of learners worldwide.
LEXERCISE focuses on delivering training which is practical and sector specific as part of the wider LEXXER Dx3 Programme. The dissemination of knowledge is a key priority for LEXXER as we work with academics, researchers and others who posess a particular knowledge and wise to disseminate or commercialise it. Our knowledge based approach ensures our practice is evidence-based and supports our commitment to excellence in training.
We provide a holistic service which reaches from helping organisations or companies source or develop their own employee training to delivering that locally and internationally. Our particular area of interest is community education in post conflict societies where we take the best of practice and knowledge from the Northern Ireland context and deliver it internationally.
Our Public Affairs Team at LEX REX works together with training providers to influence and shape policy. These knowledge based interventions are matched by expertise in programme and project management and logistics, often in challenging circumstances. We have worked extensively providing training in a community setting in post-conflict contexts such as Northern Ireland and the Middle East.
LEXERCISE also works with those who require education provision as we develop courses and materials working with both the LEXUCATION and LEXIT teams to provide a full range of services.
LEXERCISE - Getting Fit for Purpose
The LEXXER concept incorporates a multi-disciplinary process, which builds upon and connects up work from separate areas in a way that generates new perspectives, fresh insights and innovative methodologies which expand and refine knowledge of a particular problem providing effective solutions.
The D×3 Process integrates the Discovery, Development and Dissemination of Knowledge and the last aspect is what has inspired our LEXXER Training or LEXERCISE Programme.
We promote Training using :-
Some of the range of knowledge brokerage opportunities where we have worked with clients to provide support, services and solutions.
Unlocking the Power of Knowledge
Knowledge brokering offers you an analogous capability. This is simply taking an idea, or process or piece of knowledge from one area or sector and applying it to another, by analogy we reach a new solution. These connections are made by our team of knowledge brokers—who create the space and time for an exchange of knowledge which combines the external ideas with internal ones to improve your business processes.
At LEXXER we wish to take international best practice and apply it to Northern Ireland in order to develop it as a world leading Knowledge Economy. While some sectors like engineering, bio-technology and IT are already quite well advanced with important partnerships between business and local universities, others have yet to discover the potential.
Therefore we wish to focus on what is known as the Third Sector – community and voluntary groups charities and not for profit organisations, which is well developed and has achieved much in the wake of recent conflict, however decades of accumulated knowledge and experience is often lost when projects stop, funding is not secured or staff move on.


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Updated January 2018
A state master contract is a contract that is competitively bid and put in place by a state government entity for use by an eligible entity.
If the state files an FCC Form 470:
If the applicant files an FCC Form 470 and considers a state master contract as one of the bids received:
If the state awards contracts to multiple service providers as a result of its posted FCC Form 470 and competitive bidding process - what we refer to as a multiple award schedule - the applicant must conduct a bid evaluation for all service providers able to provide services to the applicant under these contracts (a mini-bid process).
To conduct a mini-bid process, the applicant determines the factors to use for its evaluation - with the price of the eligible products and services as the most heavily-weighted factor - scores the service providers appropriately, and chooses the most cost-effective solution.
The contract award date shall not be earlier than the 29th day after the posting of the FCC Form 470. If an applicant files its own FCC Form 470 and chooses either a new or a pre-existing state master contract as the most cost effective bid, the applicant should record its decision to purchase off the state master contract after the bidding process is complete and record the date of this memorialization as the contract award date on the FCC Form 471.
If the state master contract requires the issuance of purchase orders or contains other requirements for applicants, the applicants must meet those requirements.
For example, if the state master contract requires the applicant to issue a purchase order by July 1, then the applicant is required to meet that deadline.


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Darude is making his way back to Seattle the end of this month on his Surrender Tour, and we want you and a friend to go for free. Marble Productions, Ora Seattle, and Dance Music Northwest are teaming up to give one lucky winner the chance to see Darude for free, with a pair of tickets.
Darude will be at Ora Nightclub on March 31st with local support from Johnny Monsoon and Web. Darude is not new to the Northwest, but every time he kills it. If this would be your first, or fourth time seeing him, it is always worth it.
And what better way to see him than for free? You and a friend could be dancing all night long. Make sure to enter soon, it is hard to believe it is almost the end of March. But just in case you don't win, tickets are still available here. Good luck and hope to see you at the show!


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Galaxy X folding Tablet from Samsung
Sources claim that Samsung is developing a folding display with a 1.0R curvature, meaning it can be folded fully over onto itself like a piece of paper. What kind of design the Galaxy X may have is unclear, though.
Industry sources speaking to Business Korea say Samsung may launch the phone tablet in 2018, a claim that seems substantiated via Samsung's own statement a few months back that it is aiming to launch a folding phone next year.
The render shows a concept design of what the Galaxy X may look like; where Business Korea got the render from is unclear.
More at the moment we do not know. Above all as regards the technical characteristics of the device, if not precisely that it will have a flexible screen.
Apple iPad X Pro
The 2018 iPad Pro lineup is said to boast quite a few changes, taking design lessons from the recently launched iPhone X.
We've already heard in a separate report earlier this year that next year's iPad Pro would feature the TrueDepth camera system that's present in the iPhone X.
We have at least one vision of what an iPad Pro with minimized bezels would look like.
The side bezels look like what Apple has already implemented on the current 10.5- and 12.9-inch iPad Pro models, with the top and bottom bezels getting the biggest reductions.
Lenovo Folio 2018 Tablet
Lenovo's Folio is a foldable display made into a sort of tablet/smartphone. When you need a slightly smaller display, it's a phone.
When you need to look at bigger kitty videos, you fold it out to a larger size.
The Lenovo Folio instead will have the size of a tablet but can be folded to "turn" into a comfortable smartphone with dual screen.


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Ossett secured the second promotion place in Championship One when they defeated Bradford & Bingley by 95 runs.
The 19 points earned from the victory saw them finish one ahead of Undercliffe who defeated East Ardsley by eight wickets in their final game.
Phil Lamb made 59 and Lee Stevenson (48) as Ossett made 201-9 when they batted first. Zack Critchelow was the best Bradford & Bingley bowler with 3-58.
Skipper Matthew Keaton (31) top scored as Bradford & Bingley were bowled out for 106. Timmy Saghir (4-31) and Chris Hosley (3-17) did much of the damage.
Undercliffe picked up a maximum 20 points for their win but it was not enough to secure second place. Abdullah Khan took 3-31 as East Ardsley were bowled out for 140, while Darren Drake led Undercliffe to victory with an unbeaten 91.
Champions Gomersal were in party mood against bottom team Keighley. All 11 players bowled and they reversed their batting order in a match that was abandoned with them struggling at 85-5.
The highlight of the Keighley innings was an unbroken eighth-wicket stand of 105 between Rory Robinson (59no) and Greg Wilkinson (37no). They took advantage of the generous Gomersal bowling to take their side to a score of 218-7. Opener Harry Hollingsworth (37) and Joe Williams (30) were the best of the earlier Keighley batsmen.
Idle will be relegated with Keighley despite beating Methley by 16 runs in their final game. Opener Zahir Shah carried his bat through the Idle innings to top score with 68 not out in a total of 184-9. Jason Baddeley was the pick of the bowlers with 4-30.
Methley, despite a determined innings of 77 from opener Dave Winter, were all out for 168. Three bowlers took three wickets each, Mohammed Sohail (3-28), Aqib Mahamuduz (3-47) and Sibtain Ali (3-11),
Shahid Rehman took 5-45 to set up Cleckheaton's final day five-wicket victory over Wakefield St Michael's.
Opener Lawrence Morton dominated the St Michael's innings of 145 with an innings of 107 which included a stunning ten sixes and seven fours.
That man Rehman came up trumps with the bat too. he scored an unbeaten 41 to steer his side to their victory target. Opening bowler Ashley Hale took 3-35 for St Michael's.
Clark Harrison impressed with 6-14 as Carlton bowled out Wrenthorpe for just 61 to set up a ten-wicket win. Tom Schofield (3-16) gave him good support as Paul Marshall (20) and extras at 20 provided most of Wrenthorpe's sorry total. Dan Hartley was unbeaten on 33 when Carlton reached their target.
Championship Two
Baildon won the race to join champions Bankfoot in Championship One next season after bowling out Brighouse for 66 and romping to an eight-wicket win.
Bankfoot rounded off their outstanding season by chasing down a Great Preston total of 131 ro win by seven wickets.
Hartshead Moor missed out on promotion by four points. They looked to be in danger of losing when they were bowled out for 105, but they hit back to dismiss their opponents for 74.
Opener Andrew Spencer rounded off his season in style with a knock of 101 for Scholes as they defeated Spen Victoria by 49 runs.
Spencer struck a six and 16 fours during his innings and shared a second-wicket stand of 159 with former Spen Victoria player Richard West (66no) as Scholes made 204-5. Mohammede Maroof made an unbeaten 59 and Liam Grant (31) as Spen Victoria made 155-8. Abrar Heder (3-12) and Neil Kellett 93-29) were the pick of the bowlers.
Northowram Fields made the biggest score of the day. They made 324-6 as they defeated Birstall by 121 runs. Skipper Dru Patel led the way with an impressive 139, an innings laced with six sixes and 18 fours. Patel was joined in an opening stand of 215 by Steve Elliott (81) while Paul Brook (3-74) was the pick of the bowlers.
Birstall opener Brad Lay also signed off with a century. he made 112 and dominated his side's score of 203-9. He struck seven sixes and 12 fours. Joseph Hough took 3-24 for Northowram Fields.
Azaad got the better of Azaad in their season's finale winning by 33 runs after scoring 164 and dismissing their rivals for 131,
The destiny of the league title has still to be resolved after Liversedge and Townville finished on the same number of points with equal qins.
The outcome will be decided by dividing the average runs per wicket for for each team by the average runs per wicket against.
This will be carried out by league officials this week once each club has audited the results of each of their games.
Townville drew level with Liversedge at the top by taking 19 points from their eight-wicket win over Hunslet Nelson. Liversedge gained 16 points for defeating Oulton by 49 runs.
Will Rich took 4-4 and Luke Slater (3-18) as Townville bowled out Hunslet Nelson for 79. Rich was on the money with an unbeaten 34 as Townville secured the win with two wickets down. If they had only lost one, they would have taken the title on points.
Liversedge looked to be in for a tough time when Oliver Brown of Oulton took 6-52 as they were dismissed for 137. Despite a battling 37 from Jonathan Landels, Oulton were all out for 88 as Adam Clarke took 5-22 for Liversedge.
There was a close finish at Buttershaw St Paul's as visitors Gildersome edged a one-wicket win after overhauling the home side's 149. Opening bowler Maddy Jamil was the star performer for Gildersome with 6-18 while veteran Keith Robson top scored with 47.
Gildersome edged home with nine wickets down thanks to the efforts of Sufiyan Zaman (59no) . He managed to see his side to their target despite the determined efforts of Dan Bolland (5-35).
Low scores were the order of the day elsewhere. Heckmondwike & Carlinghow were dismissed for 78 as they went down to a four-wicket defeat against Windhill & Daisy Hill. Fazal Hussain took 5-33 for Windhill & Daisy Hill who took the win despite some determined bowling from Dave Pickett (4-21).
Tom Hosley took 4-22and Nigel James (3-14) as Crossbank Methodists dismissed Sandal for 63 on their way to a narrow two-wicket win. Jim Davis took 5-16 for Sandal, but it wasn't quite enough to save them from defeat.
Rodley were out for the division's lowest score of 60 as they went down to an eight-wicket defeat against Adwalton. Opening bowler Tom Davidson took 4-5 and Ben Allinson (3-9) did the damage. Adwalton lost two wickets knocking off the runs.
Picture: Ray Spencer


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Forgiveness, humbleness, patience, respect, truth, etc. all seems to be the matter of the past where the main motive of the gurukul was to impart the knowledge of human values that motivate the pupils to become better humans. But the current education system produces machines that just know how to earn, produce and store money. An apt example from our ancient gurukul that educates us to implement the moral values in our lives is when Yudhishter, an elder pandav was beaten by his guru for not learning his lesson of speaking the truth. He took the beating 10 times to make sure that he not only learns the lesson of speaking truth but also implements it in his life. The earlier teachings used to not only emphasize onto our academic learning but also inclined us to implement those teachings in our lives where human's values were kept at the priority.
It is normally said that our first teacher is our home that teaches us the basic rules of the survival, then our school that teaches us the way of living our life and then the life that teaches us the art of living a life. But now these three building blocks are shaking as they are reducing their value. The demands, expectations, competitions, etc. has burdened our youngsters so much that we are not providing them the tension free ambience to develop. This sounds more like a vicious circle where the demands, needs, ambition, treatment and behaviour are passed on to their children as a virasat. The changing times has not only affected our society but also our way of thinking and living. The increased generation gap has not only lost the affection, homage and concern for the elders but also the basic mannerism leading to many orphanages and old age homes.
Now the society welfare is being replaced by the individual's personal motives and benefits then follows the family, society and further on. The existing examples of the scams in the political parties and the individual wealth of the leaders are the apt example of the accomplishment of personal motives of the individual. The aggression, anger, frustration, ambition and jealousy have burdened the individual so much that he is blindly driving in its flow. The recent cases of molestation, violent fights, fraud, and marriage case among the relationships these has been mudslinging this relationship. The faith and trust on the relationships now a days have been dwindling, be it husband or wife, brother or sister, uncle or nephew, boss or an employee, etc. The basic web of our society has been intermingled, thus leading to the ambiguities of the relations.
It is such an awkward and gloomy state to exist in where people are not using machines rather the machines are using people. Machines were developed and invented by people for making their work easier but now they have made people so addicted to them that they hardly think of their survival without them. We have become so workaholic that we hardly have time for our loved ones but the blame doesn't go to one but to our society that has made our lives so competitive that the only motive of our life becomes money that leads to the happiness to the existence of the mankind. The importance for turning the tables is such that lots of bollywood movies are being made on it. The public organizations are also working for the various causes that can unite the family.
Thus the only solution to the vanishing culture of the moral values is to introduce the subject or course work related to the moral values where the youngsters within the specific age group should be made to live in gurukul. These gurukuls should be designed such a way that it should educate youngsters about the strength of their culture and tradition. The moral science as a subject should be included at the school level rather than including other incidents like Anna Hazare, Munna Bhai as their course work. Their moral values towards humanity should be taught thus making them useful for the existence of mankind. May be by this way we can develop little more pacified, well grounded and complacent individuals. As it is rightly said a better human being can work for the better society and its development.


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So, the other day, I asked for a volunteer to do a practice (translated: "freebie") boudoir session, the images from which, I was going to use in an upcoming "Inti-Mini" Promotion.
It turned out to be quite a "learning experience" and a great deal of fun… but my personal favorite shots of the day came later when she was waiting for her ride to pick her up.
Emily has a wonderfully, uninhibited smile… but I don't think every photo needs to be of a smiling person to be successful. These two shots were heavily edited for effect. I think they look like they came from an avantguarde' publication or something… but I like them!
The trends in photography seem to be reverting back to "yesteryear" type effects. I've seen this in Wedding Photography, especially. Even commercials on tv (especially in the Summer season) seem to be filmed with this treatment in mind. The over-exposed, golden-light (and even creative lens-flare) leads to an emotional, nostalgic feeling…retro-70's maybe?
I don't know about you, but for me… growing up in the 70's… wasn't a great experience so maybe that's why this is not my personal favorite in terms of photography effects. But: I DO love to experiment!


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Big Dave McLean
Big Dave McLean
Juno-nominated Canadian blues legend Big Dave McLean swears he didn't set out to make a record with a theme. But there are a lot of spiritual references on his brand new Steve Dawson-produced recording, "Better the Devil you Know". From gospel-tinged blues numbers to tributes to dearly departed loved ones, the songs on this album betray Dave's roots as the son of a Presbyterian minister – while also giving the Devil his due, figuratively speaking.
There's a righteous cover of Blind Willie Johnson's gospel tune "You're Gonna Need Somebody on Your Bond" that sees Dave rocking out on harmonica. An original entitled "Talk About a Revelation", inspired by the mass shootings in Paris, finds Dave singing in impassioned tones about a day when people work together for peace. There's "Swinging on Heaven's Gate," a mandolin-sweetened gospel country number that Dave wrote back in 2000 after the deaths of his father and close friend – the latter a hell-raiser who Dave envisioned literally swinging defiantly on the pearly gates. And then there's "Deep Down in Florida," one of two pure Delta blues songs on the record. A cover of a classic song by Dave's musical hero Muddy Waters, it was the favourite Dave's late bass player, B.B. Gordon.
The album also features two Steve Dawson-penned homages to deceased southern bluesmen; "The Side of the Road," about the mercurial Delta bluesman Skip James, juxtaposes earthy banjo against blistering electric guitar while "Angeline," a country blues tune about the aforementioned Blind Willie Johnson, laments Johnson leaving his wife with nothing but the blues. On a more "agnostic" note, Dave delivers a swampy, gritty, and downright rip-roaring original called "Where the Music Comes From," inspired in part by his visit to Clarksdale, Mississippi a few years back with a film crew making a documentary about him.
He includes a cover of Johnny Shines' "Pet Rabbit," recorded in the 30s-style recording booth at Jack White's Third Man Records in Nashville. He also gives another nod to his hero, Muddy Waters, with a heartfelt rendition of "Can't Lose What You Ain't Never Had," featuring the brilliant Kevin McKendree sounding like a reincarnated Otis Spann on piano.
"Better The Devil You Know" sees producer Steve Dawson pushing Dave far beyond his Chicago and Delta blues roots and into country blues, southern gospel, and Americana. He captures every gravelly, weathered note of Dave's rough-hewn vocals like a cabinet-maker captures the beauty of distressed wood. Blackie and the Rodeo Kings' rhythm section of John Dymond and Gary Craig bring their kick-ass roots-rock sensibilities to the mix. Legendary Nashville string player Fats Kaplin (Mark Knopfler, Waylon Jennings, the Mavericks, Nanci Griffith) plays heartfelt mandolin and fiddle. Ann and Regina McCrary's inspired backing vocals help contribute to the gospel feel of "Deliver Me" and "You're Gonna Need Somebody on Your Bond."
It seems fitting that such A-list talent should come to the service of Big Dave McLean, the man often viewed as an unsung hero of Canadian blues and an inspiration to younger generations of musicians such as Colin James and Wide Mouth Mason. Ever since getting his start with an impromptu guitar lesson from John Hammond at the 1969 Mariposa Folk Festival, this Yorkton-born, Winnipeg-based artist has been devoted to his craft, touring relentlessly through Canada's blues bars, folk clubs and folk and blues festivals, even when it meant supplementing his income in the early days with all manner of side jobs.
Along the way, there have been career highs: opening for his idol, Muddy Waters; earning two WCMAs, a Prairie Music Award, a Whisky Award and countless Maple Blues honours – including the Blues with Feeling (lifetime achievement) Award; sharing a Juno for his contribution to CBC's Saturday Night Blues Vol. 1 album; and, most recently, garnering his third career Juno nod for his last album, "Faded but not Gone". Billboard's Larry LeBlanc once wrote that Dave "has done more to shape western Canada's blues scene than perhaps any other artist."
With "Better the Devil You Know" Dave continues to set an example for new generations of musicians by constantly evolving his sound, embracing new artistic collaborations and making records that just keep getting better and better.
January 25 - Cumberland, BC - Cumberland Hotel - Get tickets: http://www.islandmusicfest.com/concerts/big-dave-mclean/
January 26 - Victoria, BC - Upstairs Lounge
January 27 - Nanaimo, BC - Queens Hotel
February 11, 18, & 25 - Winnipeg, MB - Times Change
February 4 - Saskatoon, SK - Bud's on Broadway
March 4 & 25 - Winnipeg, MB - Times Change
March 2 - Regina, SK - Regina Performing Arts Centre
May 6, 13, 20, & 27 - Winnipeg, MB - Times Change
May 18 & 19 - Calgary, AB - Mikey's Juke Joint
May 23-27 - Edmonton, AB - Blues on White (Commercial Hotel) **Big Dave is also BEING INDUCTED INTO LEGENDS CATAGORY AT THE EDMONTON BLUES HALL OF FAME***
July 7 - Montmartre, SK - Folk Festival "Get All Folked Up"
July 19-22 - Ness Creek, SK - Ness Creek Festival
August 5-12 - Winnipeg, MB - Times Change
August 9-11 - Winnipeg, MB - BBQ Blues Festival
August 17-`19 - Salmon Arm, BC - Salmon Arm Blues Festival
August 24-26 - Edmonton, AB - Edmonton Blues Festival
Click on an image to download a hi-res version
Click on a video to see a performance by this artist


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For anyone who is going to study in Argentina, Who is studying in Argentina, or who has studied in Argentina
Members: 228
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www.sendloveba.com will do this all for you and deliver to your door. Intrigued??? Get in touch!
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Dave Keith and Dick Paulsen came away winners at the May 17 Hot Springs Village anglers' club wildcard bass tournament. Thirty anglers participated in the competition which let the fishermen seek their prey on lakes Pineda, Coronado, Cortez or Balboa.
In the co-angler division, Paulsen took the top spot with four bass weighing 6.3 pounds.
Mark Smith came in second with three bass totaling 4.9 pounds.
Paul Galfund's four bass weighing four pounds slotted him into the third position.
Allen Thompson took fourth with three bass totaling 3.8 pounds and Dick Markovic came in fifth just one-tenth of a pound behind Thompson.
Keith's five bass weighing 10.1 pounds took top honors in the angler division.
Bob Alexander, also with five bass, took second place with a weight of 8.6 pounds.
Mike Crews' five bass weighed 6.6 pounds which qualified him for third place.
Don Langston took fourth with four bass totaling 5.9 pounds and James Watson took home a fifth place finish with three "keepers" weighing 5.8 pounds.
Keith also won the big bass prize for the event, which weighed 3.6 pounds. He and Markovic won the boat prize for best total catch by partners with 13.8 total pounds caught.
The next angler club event will begin at 7 a.m. May 31 on Lake Balboa.
The next angler club meeting will be at 7 p.m. June 4 at the Coronado Community Center.
The club meetings are a great way to meet fellow fishermen and learn some of the local tricks of the trade.


text: Positive Discipline And Guidance For Parents I'm sure every parent would agree with me when I say that raising kids is one of the most challenging (but also most rewarding) experiences you will ever undertake. One of our biggest concerns in raising well-balanced, confident children that can make good decisions for themselves is Discipline. What is Discipline? When one thinks of discipline you probably think of punishment, and more than likely, physical punishment (such as giving a "hiding"). More positive techniques of disciplining teach children self-control and responsibility; as apposed to strict parenting that produces angry children who feel bad about themselves. "Children misbehave when they feel discouraged or powerless. When you use discipline methods that overpower them or make them feel bad about themselves, you lower their self-esteem. It doesn't make sense to punish a child who is already feeling badly about herself and heap more discouragement on top of her." Kathryn J. Kvols Try the following Positive Parenting techniques: Reward Good Behaviour Catch your kids doing something right and reward them with thanks and praise. A great idea is a reward chart. Try to ignore bad behaviour as much as possible. Be a Good Role Model Children learn by emulating their parents. Children are very impressionable and while they may listen to lectures and instructions for some time, they will take more information from how they see the adults in their lives behaving. And don't forget – you need to practice what you preach!! Distraction This works well with younger children. Sometimes it is easier to just distract your child from their behaviour by giving them something else to do, or guiding their attention to something interesting to look at or explore. Tell Them what you Expect beforehand If for instance you are going on an outing, you could explain what behaviour is acceptable for that particular situation. Logical Consequences Good for older children – it helps them learn responsibility for themselves. For example – if they continue to leave their dirty clothes on the floor instead of putting it in the laundry basket, their clothes don't get washed. Set Limits By setting and maintaining limits, your children will learn from your positive discipline and develop their own sense of right and wrong and attitude of self-discipline. Set limits and consequences together. Children will naturally test the limits you set, so consistency is key! Having them obey rules and face the consequences when they are broken is real love. When the rule is violated, remind your child of the consequence and make it happen – no matter what. Consistent application gives the child a feeling of security in knowing that your word is real and that you expect hers to be the same. Unconditional Love Children should never feel that they have to earn a parent's love. Through unconditional love, the child learns to love and value himself. Your child should feel comfortable enough in your presence to be herself. A child that is shown unconditional love will have the desire to behave well. The goal is to encourage even when disciplining your children, they need to know that although you expect better next time, you love them no matter what. Leave a Reply Cancel ReplyYou must be logged in to post a comment.


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Plain Corrugated promotional box with Clear Window
Supplied unprinted this corrugated 0427 style promotional box had a pvc window to display the contents, this item could be supplied with a printed sleeve if required. As with all our products this presentation box is custom made to your design and size specifications.
Make an enquiry
E flute corrugated
Unprinted, die-cut and assembled with clear pvc window. Supplied flat.
Features / Benefits:
Pvc window displays contents to recipient. Supplied flat with plinth, easy to assemble and cost effective as the recipient can assemble this product themselves.


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Out of the box, when Keystone issues a project scoped token, it returns all known service endpoints regardless of whether users have access to them or not. This is neither efficient nor secure. In the Havana release, an endpoint filter extension was created. Unfortunately this offers limited filtering capabilities and furthermore is difficult to manage service endpoints. The purpose of this specification is to outline an improved endpoint filtering solution.
bp multi-attribute-endpoint-grouping
At present with the Endpoint Filtering extension in Keystone, we are able to associate endpoints with projects, thereby limiting the service endpoints that appear in a catalog for a project scoped token. However, anyone who belongs to a given project can see all the project scoped service endpoints. From a Security perspective this clearly violates the principle of 'Least Privilege'. For instance, a Glance Administrator on the US West Coast should not see Glance or for that matter any other service endpoints on the US East Coast or any other region for that matter. Therefore there is a strong need to be able to offer more fine grained capabilities for filtering service endpoints returned in the service catalog. In particular, we should be able to filter service endpoints according to service (e.g. Nova, Swift, etc) or interface type (e.g. admin, internal, etc) or region or any combination thereof.
In addition, with the present Endpoint Filtering extension, managing service endpoints is a challenge due to the static nature of the relationship between a service endpoint and a project. For example, currently you must explicitly create a project association for every new service endpoint which is a management headache. Essentially the current solution provides a static group of endpoints associated with a given project.
Multi-Attribute Endpoint Grouping essentially builds upon and extends the capabilities offered by the Endpoint Filtering extension by introducing a dynamic endpoint attribute filtering capability that is directly associated with a project.
The underlying idea of Multi-Attribute Endpoint Grouping is to provide a key-value based filtering strategy that groups service endpoints having the same characteristics (e.g. service, type, region).
The benefits of Multi-Attribute Endpoint Grouping are as follows:
An alternative solution to Multi-Attribute Endpoint Grouping is to be able to define fine-grained rules in the policy file that dictate which service endpoints be included in the catalog for a given project scoped token. At the moment, such fine-grained dynamic rules are not feasible, in part, because both the policy language and Keystone's interpretation are insufficient but also due to the static nature of policy configuration, limits dynamically adding new service endpoints at runtime.
This extension is not intended to provide additional security. Instead, endpoints are simply omitted from the user's service catalog. This behavior does not prevent users from communicating with an endpoint.
The benefit of this proposal is that we offer more fine grained control over what service endpoints are returned to the user in the underlying service catalog.
Generally speaking this change should reduce the size of the service catalog included in project scoped tokens since we are filtering service endpoints. Each project scoped token request will require an additional SQL query to find all endpoint groups associated with the target project. And then one SQL query per associated endpoint group. This additional querying should add minimal performance impact and by default filtering is not enabled.
Deployers will need to enable the endpoint filter extension and create the
endpoint filter extension tables. This information will be documented in
Except where otherwise noted, this document is licensed under Creative Commons Attribution 3.0 License. See all OpenStack Legal Documents.


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|Nutrition and You: Keeping Young Kids Healthy
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Good nutrition for infants and children is one of a parent's greatest concerns. Am I providing the right types of foods? Is my child eating correctly? Can we go to a fast food place? Is she or he gaining enough or too much weight? There are so many things to think about.
When you have a child who relies on home enteral or parenteral nutrition (HPEN), the concerns are not really that much different. Here are a few check points for growth and development so you can know how your kids are doing.
GrowthGrowth is a key assessment tool for infants and children. At birth, measurements are made of weight, head circumference, and length. Follow-up measurements tell us how well the child is progressing. As the child grows, height and weight are compared to growth charts indicating growth velocity (the rate at which your child grows).
All children have their own natural growth pattern. For example, if a child's parents are both very tall, most likely the child will be tall and also track higher on the weight growth chart. Conversely, if the child's family is shorter, they will likely be closer to the lower percentiles as they grow. The important point is to watch for a sharp upturn or downturn, or for numbers that fly off the chart from either the top or bottom. You can find growth charts online at www.cdc.gov/growthcharts
Children with special needs, like those receiving HPEN, get a break on having to be measured against the reference "standards." Sometimes we are happy with small increases and sometimes even stability. If your child is receiving HPEN, you probably have a clinician who is charting your child's status, but you can chart it, too.
Feeding and DevelopmentAnother key point is progress in development. Physical development is tied to the child's ability to eat certain foods. For instance, first foods and cereals are not typically given to infants until they can sit with help or support and can push up on their arms when lying down on the tummy. This is usually around four to six months of age.
By the time your baby is an independent sitter, she has started to master pulling food in and swallowing, and can go on to slightly thicker baby foods—usually called "stage 2." Introduce only one new food every few days to make sure there is no allergic reaction. (If there is a family history of allergies, those foods should not be introduced until around age two.)
Even if your baby is on PN, he should be learning to suck on a pacifier or bottle and have the experience of different textures and tastes in and around his mouth. Later on, "mouth feel" becomes important. We all know someone who doesn't like a certain food because of the way it feels in his mouth. For example, some kids dislike foods with a slimy or pasty-mouth feel, like certain beans and fruits, while others love them. Depending on the underlying medical condition, it may be good to try some different food items that the child can tolerate to help to prevent food aversions. This is part of the development process.
Around twelve months, infants are graduated to "toddler" status and can typically eat small, cut-up, solid foods. The key is to expose your child to a variety of foods. If your child does not accept a food at first, do not remove that food from the menu. Research shows that a child sometimes needs to be exposed to the same food many times before she accepts that food. If you remove foods right away, this can end up creating a limited variety of foods that your child will eat and prefer. Instead, continue to put foods on her plate and eat those same foods with her so she sees that you like them.
Nutrition for our little ones can be complex. Working with a dietitian, along with your physician, nurse, and others, such as the speech therapist, completes the circle of care.
This column has been compiled and reviewed by our guest co-editor, Angela Lemond, RD, CSP Pediatric Dietitian; Carol Ireton-Jones, PhD, RD, LD, CNSD, FACN; Laura Matarese, PhD, RD, LD, FADA, CNSC; Cheryl Thompson, PhD, RD, CNSD; and Marion Winkler, PhD, RD, CNSC.
LifelineLetter, July/August 2011
6/21/2019 » 6/24/2019
2019 Oley/UI Health Combined Conference


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Macedonian Morphological Lexicon (MACPLEX)
View resource name in all available languages
Lexique morphologique macédonien (MACPLEX)
MACPLEX comprises two dictionaries: a dictionary of lemmas (over 80,000 entries) and a dictionary of word forms (over 1,300,000 entries). Morphological information (PoS, gender, case, definiteness, number for nouns, tense, person, etc. for verbs) is available for each entry. Out of the more than 1,300,000 word forms, there are 345,350 nouns, 467,744 adjectives, 500,220 verbs and 19,472 adverbs. The remaining entries correspond to pronouns, adpositions, conjunctions and numerals. The lexicon is available in Unicode.
View resource description in all available languages


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Antique Bottle: Sessions 5 & 6
Friday, February 27, 2009 at 7:26PM
Had fun spending most the day on the front edge of the shelf, all the chipped paint and knots and scratches were so satisfying to paint, and so much faster than the wax paper. Now everything is done except for a couple more sessions on the wax paper.
See the previous post about this painting here


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HOME » About us
About us
We NOW offer NEW Business Opportunities under the NEW Management of:
We have 2 Types of Business Opportunities, apart from becoming an Investor or Shareholder in the NEW
Bike Zone Retail Brand
1) Existing Bike Stores can NOW Join us -
Form part of our Indipendent Collective Buying Group under the NEW Management of GROUP TRADE AFRICA
2) Apply and OPEN your very own NEW Bike Zone Retail Store
A Little bit of History and About the NEW Bike Zone Retail Brand:
The aim was to network independent, owner run bike / accessory stores across South Africa, giving them access to the backing, buying and bargaining power of a consolidated group, while at the same time safeguarding their individuality and independence. The model proved to be very successful and managed to open in excess of 18 stores.
The Group Franchised their concept during August 2013. The Stores were NOT ready for this and Bike Zone lost 16 or so of their stores overnight. As any business, we made mistakes along the way.
The nett result will be that in conjunction with this young and dynamic organisation, individual stores are finally able to compete against groups and other franchises for market share without sacrificing profit.
GROUP TRADE AFRICA has other Retail Brands under their Wing and will be Launching these in due course:
Should you wish to find out more, please send an email: firstname.lastname@example.com
Please keep on checking this NEW and Improved website for our NEW "TOOL-BOX". Now available !
Here you would find our Total Offering, NDA and Prospectus and much more. CLICK HERE to register for:
1) New Prospect - An Individual or Existing Motorcycle Dealership wanting more information of how to Join us,
2) If you are an Existing Bike Zone Store, and Need to Register,
3) An Already Listed Supplier,
4) New Supplier - Want to Become a Preferred Supplier to the Group ?,
5) On-Line Partner - This is necessary for Individuals or Companies wanting to Buy and Sell using our Website as a Business Tool.
Any other Inquiries, please send us an email: email@example.com
An existing Motorcycle Store can choose either to:
If the latter is chosen, Bike Zone Retail signage has to be present to allow Special Pricing and Services
We NOW have Super NEW Business Modules to fit your Existing business into, or we can mould any of these modules to suit your needs.
Email: email@example.com


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Josh Nichol, part 1: Moving Towards Softness
Josh Nichol represents a historical tradition of horsemanship, a thread that can be traced back through centuries of time and many world cultures. Yet never has the approach to horsemanship which emphasizes softness, communication, and seeing things from the horse's point of view been common. What you are about to read is a clear statement by a talented young practitioner of the deeper art, and the greater way, of horsemanship. Here are keys which you may have been missing. They relate to what is going on inside the horse, and at the same time they call on you to clarify what may
be going on inside of yourself.
Deb Bennett, Ph.D., Director
Equine Studies Institute
Livingston, California
JOSH NICHOL: Moving Towards Softness
text by Susan Kauffmann
Anywhere you look these days, there are people with all kinds of opinions about the best way to work with horses. Amidst this cloud of information, the relationship with the horse is often lost to techniques, equipment and disciplines. By focussing on these things, we miss the essence of the horse – and our horses suffer the consequences of our lack of awareness. My hope is that more people will come to understand the true nature of these great animals, and how working with that nature, instead of against it, enhances every aspect of horsemanship. That is the purpose of this series of articles, the first of which is designed to get you thinking, while the rest will give you some more hands-on things you can do to improve the relationship you have with your horse. Finding the words to express the way a horse works has been a difficult task, but with help from an individual skilled in this art, I have attempted to explain some of my thoughts on horses. I hope you find them helpful. – Josh
Every one of us would like to have horses that are easy to handle, willing under saddle, and genuinely happy to be with us. These things and more can all be achieved through something I call "softness", which in this context means that there is a willing flow of responsiveness in every part of the horse, mind and body, to whatever you ask of him, free of any mental or physical resistance. Softness is the ultimate goal in everything we do with our horses, for only through softness can a horse be and give his best. Unfortunately, the reality is that many of us find ourselves struggling with our horses on the ground or under saddle, which can be both frustrating and dangerous. Whether your problem is something as seemingly minor as resistance to a bend, or something as serious as bucking, bolting or rearing, you know this isn't how you want it to be. The good news is that change is possible – and can often happen quicker than you might think – but moving towards softness will likely require some changes in your way of interacting with horses, starting with your way of thinking about horses.
The way we think about our horses influences every part of our relationship with them. Many of the problems we have with our horses stem from our tendency to think of horses in human terms, interpreting their actions through a distorting veil of human emotions and motivations. For example, you might think your horse doesn't like you or that he's being a "jerk" when he avoids getting caught or bucks you off. Just as incorrectly, you might think that a horse is being sweet when he walks right up to you and pushes his nose into you. In these instances, you are missing what the horse is really telling you because you're thinking like a human, not like a horse.
The truth is that horses perceive life very differently than we do, and therefore, their thoughts and actions have a language and a logic all their own. While most of us understand this to some degree, few of us realize how often we fail to take these differences into account. Therefore, if you want to improve your relationship with your horse, the first step is to develop a higher awareness of the horse's way of thinking, which is the key to opening the lines of communication between human and horse.
One of the things we need to keep in the forefront of our minds is the fact that the horse's primary motivation, in all that he does, is his own survival. This doesn't mean that the horse is scared for his life at every moment, but it does mean that he is naturally going to try to do what he feels is in his best interest. Of course, as prey animals, horses are often fearful, sometimes of things we don't think they should be fearful of. But before we go and call a horse "stupid" because he shies from a blowing leaf or a boulder he has seen a dozen times, we should recognize that the degree to which a horse is fearful or relaxed is a reflection of how he feels about the person directing him. A horse who feels truly confident in the leadership of the person handling him tends not to react fearfully to his environment, because he knows the person will keep him safe. If you've got things set up this way, the horse's survival instincts actually work for you, inspiring that horse to want to be with you and follow your guidance. In order to achieve that, you need to fully understand how those survival instincts influence the horse's mind – and therefore his actions.
Essentially, a horse is always wanting to be in a safe place where he feels free from danger, confusion, unfamiliarity, or any other form of pressure – a place that gives him a deep sense of overall contentment, or what I call "okayness". The many forms of resistance we see in our horses often happen because we take them away from places where they feel okay, and put them into situations where they feel anything but okay. However, the truth is that although you can force a horse's body to go somewhere, his brain will remain focused on that place of okayness. This leads us to a key truth about horses: a horse's feet will always seek to be where his brain is. Therefore, any time you take a horse away from where he feels okay, that horse is going to do whatever he can to get back there.
This is a crucial point for you to remember when thinking about communicating with your horse. A horse whose brain is somewhere other than the place you are forcing his body to be is basically unable to "hear" your attempts to communicate anything. This is not a case of the horse willfully ignoring you: it is simply that a horse will attempt to stay as focused as possible on that okay place. Your goal, therefore, must be to become a portable place of okayness to your horse. In other words, you want to create a foundation in which your horse comes to feel a sense of okayness whenever he is with you. A horse that feels that way will want to be with you because he feels safe and secure when he is, and therefore, he will willingly do just about anything you could ever ask.
In order to achieve this goal, you must learn to recognize when your horse's thoughts are not with you, and learn how to call that brain to you when you don't have it. Once you are able to easily call a horse's brain, that's when real communication can begin. We will go into detail about various ways to accomplish that in the next article, but for now, try to do some observing when you are with your horse, and notice how often and for what reasons your horse's brain is not with you. For example, his brain might be back with his buddies at the barn when you are out on a trail ride, causing him to jig, toss his head or rush back home to where he feels more okay. Or it might be focused on an attractive patch of grass, a scary object, or an unfamiliar sound. Just learning to notice these moments for what they are – the horse's brain leaving you – is a very important part of the process.
Of course, what and how you communicate, once you have the attention of your horse, will determine how far you get in building the kind of relationship you want. The main thing you want to communicate to your horse is that you are a trustworthy leader, because that is what is going to allow the horse to feel okay when he's with you. However, in order to earn the position of leadership, you must communicate to your horse with horse clarity and horse consistency. To do this, it helps to understand how horses communicate with each other, and to use that knowledge as much as possible when we work with them.
Most of us are pretty familiar with the more obvious vocalizations and body language that horses use to express themselves – things like nickering, pinned ears and swishing tails – but a lot of people are not as aware of how important space is in the language of horses. This issue of space is sometimes confusing to people because it is not such a big deal in human life. We certainly do have some sense of "personal space", but the way our society is, we learn to ignore it to a great degree. If we didn't, we would learn much more about the person sitting next to us on the bus or the one in line at the supermarket.
To a horse, control over his personal space – who is allowed into it, and who is moved out of it – is the primary means of establishing leadership, which in turn establishes okayness. Leadership, whether you are a horse or a person, is earned by gaining directability of a horse's feet. This means that you are able to draw a horse to you, as well as being able to ask that horse to move with you or away from you. In a natural herd, the lead mare is the primary director of space, able to get the other horses to flow with her or away from her, depending on need. Because of this, the other horses look to her in times of trouble to get them to safety.
The lead mare has earned her position by showing that she can and will direct the other horses feet. To do this, she uses different degrees of pressure at different times. Sometimes, just a mild glance is enough, but if necessary, she will use pressure as strong as a bite or a kick if that's what it takes to get the other horse to do as she is directing. In this way, she never lacks clarity. If she says "move", she will make herself clear to the horse she is directing by applying as little pressure as possible, but as much as necessary to create the change she is asking for, then immediately dropping the pressure when that change occurs. That release from pressure rewards the right thing, thus making it completely clear what was being asked. Think about how this applies to the way we can most clearly ask something of a horse.
The lead mare is also extremely consistent, which allows the other horses to trust her. For example, she will almost never walk around another horse that is blocking her way. Instead, she will direct that horse to move out of her space as she approaches, and she will not fail to follow through with what she presents. She will also insist on her personal space being respected, and you can be certain that any horse bold enough to come into that space uninvited will learn very quickly that such behaviour is not allowed. Because of this clarity and consistency, the other horses know what is expected of them, and they know that there is someone who is capable and in control, which makes them feel safe. This creates great peace in the herd – the "okayness" previously mentioned.
We need to receive the same directability from our horses as a lead mare receives. I say "receive" because it is something our horses give to us when we prove to them that we have earned it – not something we take from them by force. People often make the mistake of putting too much emphasis on the "moving away from" part of directing a horse, thinking that by sending or chasing a horse around a pen, they will gain "dominance". What this really does is scare a horse and make his brain leave you even faster than his feet can run. It is not surprising that a horse treated in this manner will typically leave physically at the earliest opportunity, and is often unsettled under saddle. It is truly much more important to be able to draw your horse's brain to you, and to keep it connected with you even when you are directing the horse's feet to move further away.
Whatever kind of ground work or riding you do, it is that directability you need, because directability leads to that all-important quality we are looking for in everything we do with our horses – softness. Softness is the product of a horse whose brain is present and who is participating in a conversation with an equally present human on an intimate level. Softness – or the lack of it – influences everything from your horse's way of going to his soundness, and its value cannot be overemphasized. The degree of softness your horse gives you depicts the degree of leadership you have earned. If you don't have true softness clear through your horse, this tells you that for some reason – typically a lack of clarity and consistency on your part – your horse does not have complete faith in your leadership.
Trying to work with a horse who doubts your leadership can lead to all kinds of trouble, because a horse without a clear leader will feel forced to look out for himself in order to survive. Placed in such a vulnerable position, the horse will believe he must make his own decisions about what he needs to do, and more than likely, they won't be at all what you had in mind. Your attempts to direct a horse in these circumstances only add pressure to an already stressful situation, making the horse far more likely to be reactive and fearful. This is the most common way that people find themselves getting injured by their horses. Think of it this way: when the horse feels that the best option is to follow his own thoughts, yet your thoughts keep getting in the way, he will feel the need to try to push your thoughts aside and follow his own. This can lead to things like bolting, bucking, pulling, head tossing, resistance to the aids, refusals, and evading the bit. We often interpret these actions as defiance, laziness or stubbornness, when in the horse's mind, they are merely acts of self-preservation – or attempts to take his feet back to where his brain is.
Many people, when confronted with such behaviors, try to address them by either "getting tough" with their horses, or by using gadgets such as draw reins, tie-downs, flash nose bands and so on. Neither method will ultimately correct the problem because both are addressing the symptoms – the bucking, high-headedness, etc. – instead of the real issue, which is that your horse's mind is not with you, you have not become a leader to your horse, and therefore you create resistance instead of softness.
No matter how much resistance you are experiencing in your horse, rest assured that softness is possible. Every horse will soften, as that is the natural state every horse wants to be in – but it first requires a change in you. Once you begin to see life from the horse's point of view, you will come to understand the horse's need for a leader, his desire to be okay and his deep longing for a truthful relationship.
In the next article in this series, we will focus on things you can do to draw the brain of your horse, which is the beginning of the journey towards true softness. Some basic applications of this foundation will also be described to show you how having that brain present gives you the directability of your horse's feet. Until then, spend time with your horse, attempt to be a leader, but allow your horse to be part of the conversation. Your horse is ultimately the best teacher, and if you take the time to really listen, you'll find that he's got a whole lot to say.


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I am considering further refinements to the rules including a card driven command point system as well events.
|The Quiet Hamlet of Dorkshire.
Red Army on Manouvres through the village
The Battle for the South
|Robert...do you see what I see? Ready your breech loading cannon with your rammer!
|The Greek regulars being their impetuous advance across open ground.
|Turkish Krupps in support. Don't shell the Greeks by mistake now!
|The valiant Greek evzones were quickly cut to ribbons!
|The Turks have overrun the Sheep Brigade! Well done men! No abusing the prisoners now!
Armoured Car Support for the Turks!
Meanwhile in the West
|The Germanic hordes march through a farm,
|The hills are alive....with the sound of gunfire...lalalala...
British Tars Protect the river crossings and put heavy fire against their German sailor opponent...
eventually resulting in mutual destruction..and glory!
The impressive western defenses before the firestorm....nonetheless they did their duty!
Much, Much Later in the North!
|Russian gunners lounge about waiting for the French advance.
|Hey guys....do we have time for a drink?
The French....waiting for a strategic moment,,,,just the right opportunity...
after their allies have softened up the enemy. debouch from the treeline.
|Sometime later...they finally enter into long range.
|Opposing the French, the Highlanders taking many casualties from boredom go looking for a fight elsewhere.
|These troops and the Russian artillery are soon taken under fire from German Artillery far to the rear.
|The Elite Zouaves would be the last French infantry unit standing.
|These guys quickly became French Toast!
|......as did these.
|French Cuirassiers...prudently kept in reserve


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Loved catching up with these guys! They have the sweetest kids who did such a great job! And what a great little park right in my backyard. We were so lucky to have amazing weather.
#cedar grove park #family session #family with children #orange county #orange county photographer
November 30, 2016
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Dutch Babies, again
One of the things that makes the recipe so simple is that it only calls for a few ingredients: butter, eggs, milk, flour and salt. You also need some powdered sugar and lemon to be added at the table. The other thing that makes it easy is that you bake the pancake. Mix it, throw it in the oven and your work is done.
First, preheat the oven to 425. Add butter to your pan or pans. My recipe serves two (doubling the recipe or making enough for 3 is very easy and works well) and you can either make one thick pancake or two thinner ones. It's up to you and I've tried a variety of sizes of pans and I've made it as one and I've made it as two in a variety of sizes. They all turn out well. Today I used two 9 inch metal pie pans. Use whatever you have on hand. When using two pans I put 1 tablespoon of butter into each pan (or 2 tablespoons in one pan) and place the pans in the preheating oven so the butter will melt. While mixing up the pancake, don't forget the butter. You want it to totally melt, but you don't want it to burn.
For the pancakes (to serve 2) you need:
4 eggs
1/2 cup milk
1/2 cup flour
1/4 tsp. salt
Into a small bowl crack the eggs and whisk until foamy. Add the milk and continue whisking. Add flour and salt and whisk until flour is fully dissolved.
Turn pan(s), evenly distributing butter on all surfaces. Pour batter into pans.
Bake for 18 minutes or so. While baking, prepare the lemon, cutting into wedges and get out the powdered sugar.
The pancakes will puff up in the oven, ideally forming a bowl-like shape (although sometimes they will expand with all sorts of bumps and lumps).
Once removed from the oven they will deflate a bit.
And on plates they'll probably be somewhat flat.
Before eating sprinkle with powdered sugar and generously squeeze lemons over the entire pancake. I prefer mine with LOTS of both.
The lemon juice will melt into the powdered sugar and the results are delicious.
I hope you'll try it and tell me what you think!


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Jessica Clare - Hitman #2 - Last Breath
Last Breath (Hitman #2)
Jessica Clare
THE man above me pushes into me with a grunt, his weight heavy on my back. I stare at the wall and think of zombies and play a mental alphabet game. I'm a horror movie aficionado, but I can't recall if there are any zombie movies that begin with the letter A. Attack of the Living Dead, maybe? It's a probable title, but I might be making it up.
The man fucking me squeezes my ass and bites out something in a foreign language. Portuguese, maybe. I ignore him and mentally continue sorting through my list of zombie movies. There's Dawn of the Dead, of course. Night of the Living Dead. Shaun of the Dead. Land of the Dead. But I can't think of a single movie that begins with A. Arrival of the Dead? Anarchy of the Dead? Surely someone's had a movie called Arrival of the Dead, haven't they? Pretty sure there's a Return of the Living Dead out there, so if they're returning, they have to arrive at some point. Right?
Someone should really get on to the whole A title thing. I shift my hands on the floor, thinking. Okay, now I can't think of anything with the letter B either. Jeez. I suck at this game.
The customer squeezes my hips painfully, drawing my attention back to him. "Cadela," he snarls out, smacking my skin hard enough to sting as he drives into me again. He's deliberately trying to hurt me, but in the last few weeks, I've become amazingly good at tuning men out.
At least from this angle. When they shove their rubber-covered dicks into my mouth, it's harder to push the world out and keep my mental narrative running. That's usually why I bite. Most have learned not to stick their dick in the American girl's mouth because she's a biter, but occasionally, I have to remind them.
The man shoots an angry stream of words at the back of my head and pulls on my hair, but I still ignore him because I know it will piss him off. The men that buy my time want a girl that struggles. One that weeps and cries. Pussy is a dime a dozen in Rio, or so I am told by the brothel madam, but fucking a captive American girl that will fight you and weep? That is something special, and they pay extra for that.
And because they do pay extra, I do my best to ignore them, even when they're hurting me.
He saws into me, slamming his body into mine so roughly I tumble to the thin, dirty mattress that has been my home for the last few weeks—ever since I went to sleep in Russia and woke up here in Rio, nursing a hangover from shitty roofies. Now my owners speak Portuguese instead of Russian, but they still chain my ankle to the wall so I can't escape.
Some things don't change.
Grimly, I press my cheek to the mattress and let him pound into me, ignoring the hand tangled in my hair that pulls a little too hard. He wants me to cry and weep and beg for mercy, so I won't give him the satisfaction. I go back to my mental game instead. Where was I? B? Oh wait, Bride of Reanimator. That's a B movie for sure. I move on to C. C is an easy one. Children of the Living Dead. D is easy, too—
The man pulls out of me and drags me up by my hair, shouting at me, now. He wants my attention, and I'm not giving it to him. When he pulls me up to his face, screaming, I give him a thin, pained smile and shoot him the bird. Fuck you, I think. You're not getting tears from me.
I cried a lot in the beginning. I never understood what was happening, really. What I had done to somehow get kidnapped and sold like I was nothing.
All I knew was that I'd driven my roommate Daisy to work one afternoon and I'd settled down to study. I'd borrowed her phone because mine was lost, and I had it on me. Daisy was supposed to call me when she was ready to leave work.
An hour after I dropped her off, two men had showed up at the door. Two tall, frightening strangers in suits with cold eyes. One was blond and enormous, and the other one was slim and ugly. They both had thick Eastern European accents, and I immediately regretted opening the apartment door. By then, it was too late. They'd forced themselves into the apartment, bound and gagged me, and then dragged me into their car. Thirty minutes later, we went to the gas station where Daisy worked and they grabbed her, too.
Later, I was told that Daisy's boyfriend was mixed up with the wrong people, and that was why she had been taken.
Me? I had been taken because I had Daisy's phone . . . and because I had a pretty mouth.
Me and Daisy were hauled onto a private plane, and before long, I was dragged in the back and raped by the ugly one. Yury. I fought him a little, but he drugged me into a stupor. I guess he didn't care if his girls struggled or not.
That was about all I remembered. Then, two days later, I came out of the drugged stupor and realized that I was sore all over from Yury's attentions. I was in a small hotel room, and I was alone with one of Yury's new friends, who also raped me.
I loathed myself for letting him do such horrible things to me. I wasn't a virgin, but I wasn't all that experienced when it came to sex. I'd had sex with my boyfriend, Mike, but no one else. Now here I was, having sex with two men against my will.
Yury never came back. His friend did, though. And after he raped me again, he put a bag over my head, shoved me into a car, and drugged me. It seemed that I had been stolen twice now. Once from the States and now this man was stealing me from my original kidnappers. The shit just kept piling on around here.
The next thing I knew, I'd woken up in a Russian brothel, chained to a wall.
I was terrified, not only for myself, but for poor Daisy, who was utterly sheltered and innocent. She was somewhere out there, likely living through the same hell that I was. She could be dead, even.
In the beginning, I told myself that someone would find us. That Regan Porter, all-American college student from Minnesota, couldn't fall off the face of the earth and not have someone looking for her. Not the girl who once thought her biggest fear was driving into a deer in the middle of the night.
Finding me and Daisy would take time, I told myself. The police were bound to come looking for a pair of American girls that vanished, weren't they? My boyfriend Mike wouldn't give up on me. Neither would my family and friends.
So I clung to hope.
I cried all the time the first week in the brothel, and I hoped. I cried every time a man touched me, each rape felt like it was the first one. I cried every night, biting down on my knuckles to stifle my sobs. And I fought back when they touched me because if I gave in, it wasn't rape, right?
I stopped crying once I realized two things.
I realized no one would be coming. No Daisy. No Mike. No one. They left me here to rot. I had vanished and no one would find me, ever.
I realized, too, that the men that paid to fuck me? They liked it when I cried and fought. They got off on that just as much as they got off on shoving their dicks inside me.
After that, I learned to mask my emotions a bit more. I learned to mentally shut out what men were doing to my body, protecting my mind. They could have my body all they wanted, but that would be all I would give them. So I distracted myself. I rewrote horror movies in my head. I re-cast roles of my favorite films, switching out actors and actresses and replaying scenarios in my mind. I made up games, like the alphabet one, naming films I had seen and characters from B movies.
I did everything I could to distance myself from what was happening to my body.
Eventually, it wasn't so bad. I guess. If I didn't pay attention, I wouldn't remember faces. Wouldn't remember men slapping me in the face and yelling for me to put up more of a struggle. I almost forgot that my ankle was chained to a beam in the wall and that I was a prisoner. I lived inside my head.