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"These Are the Voyages..."
Written by Rick Berman, Brannon Braga, and Brent Spiner
Directed by Allan Kroeker
In which Commander Riker from the Enterprise-D, faced with a difficult moral choice, takes a look back at the final mission of the NX-01 and a fateful choice made by a member of its crew...
Captain's Log
Final Analysis
Captain's Log
The end of Enterprise also brings with it the end of modern Trek as it has been known for 18 years. No longer will there be a constant television presence from the franchise, and the films have come to an abrupt end with the disappointing ST: Nemesis. Whatever arguments the fandom might have regarding the fatigue of the franchise, theres one thing thats abundantly clear: the current regime is out of ideas and Paramount has little interest in churning out product for an increasingly wary audience.
The fourth season of Enterprise has been something of a love letter to the fans in and of itself. Not only did it smooth over some of the bumps that the series had created in the first two seasons, it also catered to the continuity-minded. Gone were the attempts to bring in new viewers; it was all about making the Trek fans happy. For the most part, it was a success. Those who dismissed the season were already displeased with the series and the recent direction of the franchise.
Rick Berman has been many things to the Trek franchise. Initially, he seemed to be the heir apparent to Gene Roddenberry, taking the reins of the franchise and exploring new ground. But very quickly, it was apparent that Berman was more a businessman than a dedicated fan. Gene lived the concepts of Trek, he gave them life and meaning, even to the point of making Next Generation a potential flop in the name of maintaining a certain idealistic vision. (Gene wasnt perfect, of course, but Trek was his baby.)
Berman, on the other hand, had to think in terms of franchise growth. That meant, in some cases, walking a very fine line. Early Berman efforts with other writers were often well-received. Good people were brought in to develop the later seasons of Next Generation. The first sign of trouble came at the height of the Trek revival, when Next Generation was winding down and DS9 was struggling to gain a foothold. To bolster the new series, the best efforts of the Next Generation writing staff would be handed off for retooling as a DS9 script.
From a numbers perspective, Berman was doing what he had to do to ensure future viability. But fans didnt want a watered-down Next Generation or a spinoff with different characters but the same old stories. Its a matter of record that when fresh blood was brought onto DS9 to give the series a solid identity, Berman didnt like the idea of a more serialized format. Berman made his case rather plainly: serialized shows are harder to air out of sequence, and thus have more limited syndication value.
With the public interest in Trek still high (the era between STVI: The Undiscovered Country and ST: First Contact would be the high point of public admiration for modern Trek), Berman wanted to counter the direction of DS9 through another business move. Not unlike the Law and Order and CSI franchises of current television, the theory was that two series with different overall concepts could co-exist. DS9 would cover a more serialized and self-referential territory, while Voyager would return to the episodic format of Next Generation.
The result was a mixed bag. On the one hand, Berman was correct: DS9 was appealing more to the kind of Trek fan that wanted the storytelling evident in competition like Babylon 5. Indeed, those two series were locked in a constant struggle to raise the bar, and fans responded to the creativity. But Berman saw that as self-limiting from a business perspective: the DS9 universe was too arcane for new viewers, and the franchise was beginning to lose momentum. Voyager would, in essence, be more friendly to new viewers. As such, Berman gave vast support to Voyager, mostly to the detriment of the more critically acclaimed DS9.
The miscalculation was largely on the side of Paramount. Voyager was launched as the flagship series for UPN, a weak new network that barely had coverage in the major cities, let alone the heartland and college towns where Trek fandom finds such strong expression. Those who grew up with Next Generation were suddenly unable to watch the new series. Those who could were deeply divided. Some loved the return to episodic storytelling, but others soundly criticized the lack of consistency and character growth.
As the franchise suffered from the slow bleeding of ratings, thanks to the struggles of UPN and an audience that demanded less retread and more creativity, Berman (with his now-constant writing partner Brannon Braga) focused on business-minded attempts to revitalize the franchise. The infamous addition of Seven of Nine was a clear attempt to play on young male demographics, and after Braga began dating the actress, the series seemed to focus less on character and story and more on highlighting Seven. Add to that the frustrations of a writing staff ordered to keep things simple and avoid anything resembling a plot arc (DS9 was firmly in the throes of serialized storytelling at the time), and it was clear that Voyager was struggling.
By the time Voyager ended, the franchise was in deep trouble. ST: Insurrection had proven a disaster in terms of overall critical and fan reception, and fans were annoyed by how abruptly Voyager ended. Yet Berman was pleased by the ratings and the fact that there was still support for more, and there was no reason to stop moving forward. He was aware, on some level, that the fans were unhappy with the direction of the franchise, but as his public statements have indicated, he felt disdain for the fans that were too focused, in his view, on the continuity. The real question was one of concept.
Enterprise was an attempt to cater to the maximum possible audience. It was originally divorced from Trek in order to give it a unique identity; the idea was to gain the interest of those who were beginning to avoid anything labeled Star Trek. This failed miserably. While the series got an initial strong reaction, many fans didnt even know it existed, and it didnt take long for the new viewers to recognize that the same old writers were struggling to give the new series a unique voice.
Much of this falls on Berman and Braga, in the minds of the firmly rooted fandom, because from the beginning there was a concerted effort to play it safe. The concept was supposed to be gritty and less reserved, reflective of the era in question; instead, it often felt like more of the same. The characters were even less complicated than those on Voyager. Indeed, the ratings prove out what was apparent to all by the end of the second season: Berman and Braga had put together a series that was designed to appeal to everyone, and as a result, it was appealing to hardly anyone. (What role Brent Spiner played is unknown, but his contributions to ST: Nemesis and this episode are perhaps indicative of a serious drop in creative writing ability.)
By the end of the second season, Berman was forced to make a serious change to avoid cancellation. This is often forgotten. The decision to move into a more serialized storytelling format was not Bermans original idea, no matter his capacity for revisionism. Original statements about the series clearly indicate that serialized elements were intentionally being set aside; even the Temporal Cold War, Bragas brainchild, was kept undefined and to one side; the intent was always to keep things safe and episodic.
While fans were divided over the success of the third season, the critics responded. This was especially true when Manny Coto was brought onto the writing staff. While Berman denies it to this day, comments from the time confirm that Coto was brought in to inject a fresh perspective and vision. Paramount had finally realized what many fans had long since noted: Berman was a businessman, not a well of creativity, and as such, he had presided over the decline of the franchise in the public awareness.
Coto was brought in by Paramount when the writing was on the wall. Berman and Braga had been given an ultimatum: revive the interest in Enterprise and regain ratings power or the series will be cancelled. Many fans understood what Berman still cannot admit: Coto was brought in to make the best of a bad situation until enough episodes were in the can for syndication purposes. When ST: Nemesis hit an iceberg with the fans, never mind the public overall, the franchise was over. Berman, for all his business savvy, couldnt keep things profitable.
Cotos presence was felt immediately by the fans. The second half of the third season saw a more focused storytelling, even if the initial plot elements by Berman and Braga were still lingering. Fans also noted that whenever Berman and Braga were brought in to write an episode, it was poorly received; indeed, the impression was that the two would force themselves on the writing staff in some vain power play. So it is that the fourth season was written, until the end, exclusively by Coto and his hand-picked writing staff. The mandate was to go out swinging, and Coto did exactly that. Bermans comments to the contrary, there was no turning back from the direction he had set the franchise on, in the name of preserving business needs. It was only after the writing was on the wall that the fans got what they had been looking for all along (which just happened to be contrary to gaining new audience).
Theres a point to this discourse, beyond simply bashing Rick Berman for taking a creative vision and turning it into a business-driven franchise. Its about pointing to the fact that its not Enterprise itself that was denied a true ending, but the franchise as a whole. This episode is a single episode exercise in trying to achieve two separate goals: give the adventures of the NX-01 historical relevance and give closure to 18 years of modern Trek. In that regard, Bermans concept for These Are the Voyages is sound.
Its the doom of any franchise to die a slow and painful death. Seldom are franchises allowed to go out on top, and its only under such circumstances that series are typically afforded the opportunity for a true ending. This story really needed to be a double-episode, if only to allow the two major requirements of the episode to come together. Since Paramount and UPN werent willing to give the money or the time (UPN unfairly lumped episode 21 in the previous hour, destroying that episodes ability to be seen as distinct), the final product struggles to find balance.
The right pieces are in place for a realistic series and franchise finale. Some might have scoffed at the idea of having Riker and Troi look back on the adventures of NX-01 from the future, as if it were a forced connection between Enterprise and the overall continuity, but its a strong idea. And the death of Trip, coming just before the forging of the alliance that becomes the Federation (in very short order, given the fact its already 2161), is a dramatic hook that might not be necessary, but is meant to give the story emotional depth.
The problem is quite simply the execution of the idea. Clearly, Berman and Braga felt that it wasnt enough to give Archer and his crew historical relevance. Riker had to be undergoing a personal crisis and in need of some kind of assistance. Thus Troi must send him into the holodeck to see if Trips choice to sacrifice himself for a better future, breaking orders in the process, can give Riker insight. The crisis of conscience takes place during scenes set during the Next Generation episode The Pegasus.
But was this truly necessary? For one thing, if the viewers arent intimately familiar with The Pegasus, part of the episode is wasted trying to gain perspective. Rikers plight isnt well communicated, and since the final decision is already a known quantity, its not very compelling, either. While Frakes and Sirtis dont look nearly as bad as one would expect in the old uniforms, the scenes are a bit stiff, especially given the fact that they were forced to play a situation out of the original context. The effort is there, but the depth is missing, thanks to the limited time allowed.
On the other side, Berman and Braga try to develop an adventure for Archer that not only places his future in jeopardy but also allows Shran to make one last appearance. Instead of making this story something truly special, something unexpected, it plays like a truly bad stand-alone episode. The villains are incredibly laughable, and they are pulled in and out of the story in a way that makes plot contrivance sound innocuous in comparison. (In fact, there have been villains on Power Rangers with more credibility.)
If the point of the episode was for Riker to equate his psychological crisis with some past decision on Trips part, it doesnt make logical sense. What exactly is Riker supposed to learn from Trips impulsive decision to sacrifice himself to ensure that Archer can give a speech? Its not even close to resonating with Rikers situation. Between the depiction of the villains and the manner of Trips death, it just doesnt come together. (Considering that this was the original script written as the third season finale, when the renewal for the fourth season was up in the air, its amazing to think how this sat around for a year and still ended up so disjointed.)
Again, theres no faulting Bermans logic in tying up modern Trek in a single tale. Its just that the story wasnt properly conceived to achieve the two goals that it had to fulfill. Both sides of the story had to be equally self-contained and logical, and in turn, the connective thread had to exist between past and future to make the story a timeless exploration of the human condition. All three facets were lacking in this episode, and so its no wonder that the overall sense of the fandom is negative.
The sad thing is that it didnt have to be that way. With a little retooling, the overall premise could have remained intact, but far more meaningful to the audience and reverential of the franchise and its cultural context. Granted, any real attempt at such an ending would have required a double-length episode to get it right. But would it have really been so hard?
What this episode needed was an emotional hook. Killing off Trip is not really the sacrilege some believe it to be; its the fact that his passing has so little meaning. In terms of changing the story in some minimal way, why not have Shrans child be abducted by a group looking to disrupt the signing of the charter for the Federation? Indeed, this would have instantly tied the events of Demons/Terra Prime to the series finale. Trip could have died saving Archer during the rescue attempt, and the story could have unfolded in flashbacks.
Instead of placing the future subplot during a Next Generation episode, wouldnt it have been more fitting to place it after ST: Nemesis in the timeline? In one fell swoop, the full scope of the established history of modern Trek would have been bridged. Why would this have worked better? Because Riker becomes the captain of the Titan at the end of ST: Nemesis, and as such, hes embarking on a new journey in his life, all because of Datas sacrifice.
And therein lies a far more meaningful concept than the one offered. Its about the death of someone (something) important, someone (something) a part of ones life for so long, and moving on. Troi could have sent Riker to the holodeck to play Chef, just as he does, and in the process of helping the crew of NX-01 deal with their emotions over Data and the end of their time on Enterprise, Riker could have gained insight into his own feelings. And that would have also resonated as a general theme for fans of the franchise, as they mourn the end of an era.
In other words, what was accomplished by the very short montage at the end of this episode could have been the overriding theme of the entire hour. An episode of reflection over life, death, and change could have been interspersed with flashbacks of the rescue attempt. Ideally, Archers speech would have actually made it on screen, so that the ideals of Roddenberrys vision could be expressed through stirring monologue in the end. That, too, would have served to give Riker a context for his own command and moving on.
Its not as if the budget wasnt there to create the Titan and its interiors; the NCC-1701-D had to be recreated for this episode anyway. And any questions about how old Frakes and Sirtis look compared to earlier episodes would be a moot point. More to the point, the emphasis would have been shifted, if done properly, to the cast of Enterprise. As it is, the NX-01 might as well be revealed as a holosuite program with pretensions of grandeur.
Not everything about this episode is poorly executed. Several individual scenes are very well done, especially when the characters get to open up with Riker as Chef. Its equally obvious why Jolene Blalock found this episode to be appalling. The focus is squarely on Riker and Troi as the main characters; the cast of Enterprise is secondary. Beyond that, as mentioned, the events on NX-01 wouldnt have worked as a regular episode, let alone as part of a series finale.
Berman and Braga put together a series finale that served their interests more than those of the audience. This was about tossing in the elements that they thought the audience would enjoy, and in fact, they were close to the mark. But their lack of vision is evident by the slipshod quality of the episode and its failure as an emotionally resonant ending to the series. Identifying the pieces that are popular and knowing to pull them together is a business-level decision; bringing those pieces together into a satisfying whole is art. Berman has always been about business, and so it should come as little surprise that this finale misses the mark.
Final Analysis
Overall, this episode was not the satisfying series finale that the audience deserved. In fact, it serves none of the functions that the writers were clearly hoping it would fulfill. It wouldnt have taken much to create a finale with true resonance, focused on the characters of Enterprise, even retaining the perspective of characters from a future time. The death of a main character comes as the result of events that wouldnt have passed muster as a regular episode, let alone the series finale. In the end, modern Trek ends not with pride, but instead, with a sense of profound disappointment.
Writing: 0/2
Acting: 1/2
Direction: 2/2
Style: 1/4
Final Rating: 4/10
Season 4 Final Average: 7.3
Back to Season 4
Back to Starfleet Command


text: This list is dedicated to the development of printer drivers and spooler components for the Windows family of operating systems.Looking for Win32 peer support? Not here. But if you've got a design or implementation issue with a Windows printer driver or spooler component, this is the place to be.Take the opportunity to learn from your peers to get over that particular development hump.

subset: commoncrawl


text: Research Article | July 01, 2010Impact of Chromosome 4p- Syndrome on Communication and Expressive Language Skills: A Preliminary Investigation Althea T. Marshall Author Affiliations & Notes Althea T. Marshall Southern Connecticut State University, New Haven Contact author: Althea T. Marshall, Southern Connecticut State University, Department of Communication Disorders, Davis Hall Room 012 L 501, Crescent Street, New Haven, CT 06515. E-mail: firstname.lastname@example.com. Copyright © 2010 American Speech-Language-Hearing Association Article Information Special Populations / Genetic & Congenital Disorders / Research Articles Research Article | July 01, 2010 Impact of Chromosome 4p- Syndrome on Communication and Expressive Language Skills: A Preliminary Investigation Language, Speech, and Hearing Services in Schools, July 2010, Vol. 41, 265-276. doi:10.1044/0161-1461(2009/08-0098) History: Received August 25, 2008 , Revised January 11, 2009 , Accepted April 27, 2009 Language, Speech, and Hearing Services in Schools, July 2010, Vol. 41, 265-276. doi:10.1044/0161-1461(2009/08-0098) History: Received August 25, 2008; Revised January 11, 2009; Accepted April 27, 2009 Web of Science® Times Cited: 6 View Article Figures Tables PDF PDF Supplemental Data Supplements Multimedia Share Email Twitter Facebook Pinterest Tools Get Citation Citation Marshall, A. T. (2010). Impact of Chromosome 4p- Syndrome on Communication and Expressive Language Skills: A Preliminary Investigation. Lang Speech Hear Serv Sch, 41(3), 265-276. doi: 10.1044/0161-1461(2009/08-0098). Download citation file: RIS (Zotero) EndNote BibTex Medlars ProCite RefWorks Reference Manager © 2018 American Speech-Language-Hearing Association × Alerts User Alerts You are adding an alert for: Impact of Chromosome 4p- Syndrome on Communication and Expressive Language Skills: A Preliminary Investigation You will receive an email whenever this article is corrected, updated, or cited in the literature. You can manage this and all other alerts in My Account The alert will be sent to: Confirm × Sign In or Create a free account to receive alerts. × Purpose The purpose of this investigation was to examine the impact of Chromosome 4p- syndrome on the communication and expressive language phenotype of a large cross-cultural population of children, adolescents, and adults. Method A large-scale survey study was conducted and a descriptive research design was used to analyze quantitative and qualitative data regarding the communication and expressive language manifestations of 200 children, youth, and adults from 16 countries and Puerto Rico who had been diagnosed with 4p conditions, including Wolf-Hirschhorn syndrome (WHS), Pitt-Rogers-Danks syndrome (PRDS), Proximal 4p Deletion syndrome, and complex chromosomal rearrangements associated with 4p-. Results Individuals with Chromosome 4p- syndrome represent a heterogeneous population with complex phenotypic profiles. The majority of the participants exhibited communication and expressive language skills below the 36-month developmental functioning level. A relatively small cohort of the study population exhibited advanced expressive language skills, a finding not reported in the professional literature. Conclusion Results broaden the spectrum of expressive language skills associated with Chromosome 4p- syndrome and highlight the communication potential of a subset of individuals with 4p abnormalities for development of advanced language structures. It is hypothesized that the largest 4p deletion, which includes the 4p16.3 band and contiguous gene regions, results in the most severely affected expressive language phenotype. ACKNOWLEDGMENTS This work was supported, in small part, by a Connecticut State University research grant awarded to Glenda DeJarnette and a Southern Connecticut State University Sponsored Programs and Research grant awarded to the author. A portion of the data was previously presented at the 2007 national convention of the American Speech-Language-Hearing Association in Boston, MA. The author gratefully acknowledges the study participants and their families and care providers who generously participated in this study and gave profound meaning to the research. Sincere gratitude is also extended to Barbara Lewis and Susan Felsenfeld for their encouragement and for generously shepherding the paper to completion. The author is appreciative of feedback provided by Rhea Paul on an earlier draft of the manuscript. Special thanks to Beth Paris, who provided invaluable assistance with retrieval of the literature; Dr. Mariano Rocchi, Universita' di Bari, Italy, for granting permission to publish the chromosome 4 ideogram; and the study participant portrayed in Figure 2 and his parents for granting permission to use the photo. Subscribe to view more For full access to this article, log in to an existing user account, purchase an annual subscription, or purchase a short-term subscription. Order a Subscription Subscribe Pay Per View Entire Language, Speech, and Hearing Services in Schools content & archive 24-hour access $30.00 Buy Now This Article 24-hour access $15.00 Buy Now Become a Visiting Scholar Sign In or Create an Account Please sign in using your ASHA.org login. If you do not have an ASHA login, you may register with us for free by creating a new account. Sign In or Create an Account Related Articles Children With 7q11.23 Duplication Syndrome: Speech, Language, Cognitive, and Behavioral Characteristics and Their Implications for Intervention SIG 1 Perspectives on Language Learning and Education, October 2011, Vol. 18, 108-116. doi:10.1044/lle18.3.108 Experimental Evaluation of a Preschool Language Curriculum: Influence on Children's Expressive Language Skills Journal of Speech, Language, and Hearing Research, August 2008, Vol. 51, 983-1001. doi:10.1044/1092-4388(2008/072) Crossed Aphasia: A Review of the Syndrome SIG 2 Perspectives on Neurophysiology and Neurogenic Speech and Language Disorders, April 2006, Vol. 16, 11-16. doi:10.1044/nnsld16.1.11 Prelinguistic Predictors of Language Outcome at 3 Years of Age Journal of Speech, Language, and Hearing Research, December 2006, Vol. 49, 1224-1237. doi:10.1044/1092-4388(2006/088) Children's History of Speech-Language Difficulties: Genetic Influences and Associations With Reading-Related Measures Journal of Speech, Language, and Hearing Research, December 2006, Vol. 49, 1280-1293. doi:10.1044/1092-4388(2006/092) Related Topics Special Populations Genetic & Congenital Disorders


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Words by Matt Jarvis
Stephen King, the modern maestro of spooky storytelling, once called H.P. Lovecraft "the 20th century's greatest practitioner of the classic horror tale".
King's recognition of the author in the early eighties neatly summed up the remarkable boom in popularity and recognition that Lovecraft's work had experienced in the half-century following his death in 1937, when he had died largely unknown by the wider public, his fame confined to the small readership of pulp magazines in which his stories were published.
Three-plus decades on from King's eulogy, and fast approaching the centenary of Lovecraft's death, it's hard to find someone who hasn't come into contact with a Lovecraftian yarn of forbidden knowledge and cosmicism – the existential fear of an uncaring, godless universe, symbolised by the fruitless struggle of humanity against celestial beings of incomparable power that appear in so many of Lovecraft's tales. Netflix series Stranger Things, horror movie The Void and PS4 video game Bloodborne are just a few of the more-admired efforts to pay homage to Lovecraft and his distinct flavour of cosmic dread in the last couple of years.
Noted Lovecraft scholar, bibliographer and literary critic S.T. Joshi admits that even he is "constantly stupefied" by the author's ongoing popularity.
"I cannot think of a single writer from his era who has infiltrated both 'high' and popular culture the way he has," he explains.
While Lovecraft's presence in film, TV and games has ebbed and flowed over the decades, his work has remained consistently popular on the tabletop, with dozens of board, card, roleplaying and miniatures games inspired by his oeuvre released every year. While the unrelenting barrage of Lovecraft adaptations and spin-offs has become somewhat of a running joke (and, at points, gripe) among players, several tabletop takes on Lovecraft remain some of the highest-regarded games of all time.
The first major Lovecraft game to hit the tabletop was Call of Cthulhu, an RPG designed by Sandy Petersen and published by Chaosium in 1981. As well as innovating on the roleplaying staples established by earlier titles such as Dungeons & Dragons by grounding its human investigators in reality – death and insanity are typical, and direct combat often deadly – Call of Cthulhu's themes opened the portal for games to subject players to darker, interconnected narratives and tougher challenges in line with the doom-and-gloom tone of its muse.


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|Note: When ordering with a credit card, the Billing Address must be the same mailing address as where your credit card bill is mailed to. The Shipping Address can be different. Checks must be in US Dollars from a US bank with encoding at the bottom of the check. It is common for many of the items to be shipped separately from different locations.
|Shipping Charges: When ordering large or heavy items as noted on the web pages, such as mattresses, flooring, wall treatments or refrigerators, actual freight charges are calculated after ordering. We will get your approval of the shipping charges prior to processing your order. Mattress Freight Quote Form. firstname.lastname@example.com For Other Items Shipped Within The 48 Contiguous States: Subtotals Under $7.00: $4.95. $7.01-$20.00: $6.95. $20.01-$50.00: $8.95. $50.01-$120.00: $11.95. $120.01-$175: 10%. Over $175.00: 5%. The shopping cart does not put the correct shipping amount for orders being shipped Outside the Contiguous United States, we will email you after you order with the correct shipping charges to get your ok before processing the order.


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NexPrint Profitably Produces Books with the KODAK NEXPRESS 2100
Friday, March 11, 2005
Press release from the issuing companyROCHESTER, N.Y., March 10, 2005 -- NexPrint, a 20-person print firm based in Moscow, has strategically grown their business from a copy center to an exclusive provider of digital print solutions for books and artwork. Since their acquisition of a KODAK NEXPRESS 2100 digital production color press, NexPrint has established itself as an expert in the production of high quality digital reproductions of rare art and history books. NexPrint's books have won awards and gained the attention of clients and collectors alike. Careful planning and the right technology allowed NexPrint to capture a lead position in this high-margin niche market. NexPrint began in 1994 as a copy center and four years later, was the first firm in Russia to install a two-color RIP station. Mikhail Vorobiev, director digital print solutions at NexPrint, describes the progression to digital printing. "After the financial crisis in 1999, the prices on print machine services dropped and we had to find a new market. That's when we decided to go digital," recalls Vorobiev. After extensively researching available digital solutions, NexPrint purchased the NEXPRESS 2100 press in 2002. NexPrint quickly gained new digital work, but Vorobiev acknowledges that the competition was tough. The ambitious firm was hungry for a technical challenge that would set them apart. The answer was digital book printing. "We possess a unique scanning technology for digitizing rare books and have no competition in this market segment," explains Vorobiev. "By the end of 2003, we were totally focused on scanning and digitally producing rare books and art images. Short run, digitally printed books have become a major trend in the Russian publishing business. It is fashionable to showcase expensive rare leather books at home or in the office. Our timing was perfect - with the right technology in place, we captured a leading position that has resulted in windfall of profits." This specialization has generated significant results for NexPrint in the award-winning production quality of the books. NexPrint's reproduction of the book "Biographies of Italian Artists" by G. Vazary received the prize for Best Design at the 2004 Design & Advertisement exhibition in Russia. The company was also honored with a Special Award for print quality excellence at the International Book Fair in Moscow. According to Mikhail Vorobiev, the award-winning "Biographies of Italian Artists" was a challenging book that could not have been produced without NexPress technology. The speed and print quality of the NEXPRESS 2100 press readily handled the demanding production criteria. "Biographies of Italian Artists" had very difficult colors and graphics," says Vorobiev. "But it was an order by one of our key customers and we printed 150 books, each more than 600 pages, in just one week." NexPrint may invest in a NEXPRESS 2100 press with the fifth imaging unit to create added value for their book-printing applications. Vorobiev is especially interested in the KODAK NEXPRESS intelligent coating solution to address their requirement for pure-black print quality. "We print black with some additional colors, and by adding a clear coat, it will become even more attractive. Competitive systems add color to the black making it look a bit dull and are not able to offer this in-line service," he notes. The latest book project at NexPrint is "Discover Russia", an exclusive, high-priced series based on very rare Russian history books. A professional book collector has opened his archive of manuscripts which are unknown outside of Russia. "We are addressing people who are interested in Russian arts and history and have started a special book club for clients," says Vorobiev. The NEXPRESS solution has enabled NexPrint to produce interesting, high-level projects that offer pride of workmanship, as well as profits. "We're focusing on book printing because it is a highly profitable market where we can collect high margins," concludes Mikhail Vorobiev. "Compared to straightforward digital printing jobs, we have a profit margin that is 10 times greater."
Industry News
Copyright © 2018 WhatTheyThink. All Rights Reserved


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Raj Agrawal of Center Valley has been named office supervisor of the manufacturing engineering department of Spirax Sarco Inc., Allentown. Agrawal had served as a methods engineer prior to his appointment.
Mitchell Engelmeyer, formerly a promotion writer for Rodale Press Inc., has been named promotion manager of advertising for the Rodale magazines Bicycling, Cross Country Skier, New Shelter, Rodale's Organic Gardening, Runner's World and Superfit. A New Jersey resident, he will relocate to the Lehigh Valley.


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Richard P. Scott, 85, formerly of 215 N. New St., Nazareth, died Monday in Gulf Breeze, Fla. He was the husband of the late Cecil CQ (Maxwell) Scott and Josephine (Henry) Scott.
He was an industrial engineer for the former Penn-Dixie Cement Co., Bath. After retiring from Penn Dixie, he was an independent consultantfor the cement industry.


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Kendra Wilkinson is getting back on top.
The reality star is moving forward after meeting with divorce lawyers, and she's sending the message loud and clear.
Wilkinson, 29, wore a T-shirt emblazoned with "IM NOT SORRY" while out and about Los Angeles's Studio City neighborhood Friday. And the accessory she didn't wear – her wedding ring – spoke even greater volumes.
In July, the former Playboy model was rocked by rumors that husband Hank Baskett had an affair – while she was pregnant with their now 12-week-old daughter, Alijah Mary.
And a friend tells PEOPLE that wasn't the first time the retired athlete had strayed.
"The cheating happened another time a few years ago, but she forgave him that time," a source close to Wilkinson says. "This time it blew up, and there's no turning back."
Now, the mom of two is healing with some fun, going out with girlfriends for dinner and dancing.
And though Wilkinson and Baskett continue to live together to care for Alijah and 4-year-old son Hank IV (while still filming their show Kendra on Top), the source says there's no fixing their five-year marriage.
"Once your trust is demolished like that, and it's happened more than once, there's no turning back," the insider says. "She's so devastated but is being super optimistic."
• Reporting by MELODY CHIU
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|I love me some kettlebell ... sort of!
No, it's not a legal battle: I'm on day five of my self-imposed Two Week Challenge at a local gym, and what a journey it's been so far! In addition to taking hour-long classes auspiciously named "Body Sculpt" and "Muscle Mix", I've been working with a personal trainer in half-hour sessions. I found out mid-week that my trainer, Nic, is known as "The Punisher". He is a Mixed Martial Arts athlete and looks like it. Like most dancers, I am pretty good at driving myself hard, so I wanted someone who would push me - Nic certainly is tough!
My goals of cross-training and exploring different ways of working my body are certainly being met. I thought that as a dancer, I'd already learned how to use my muscles in myriad ways, especially with my work in Chinese ethnic dance. But as soon as I started the challenge at the gym, I learned just how much dance has trained me to use my body in one way: Up and forward, on the balls of my feet, always stretching towards the heavens. Even Korean dance, the most "down" I've ever had to be, is still forward compared to what I'm working on now.
Back on Your Heels!
One of the first things I learned was the proper "squat" stance. It is a prerequisite to many exercises, including one that involves holding a kettlebell and swinging it between the legs, then snapping the hips upward to swing the kettlebell up. After Nic showed me the stance and moves, I gamely picked up the weight and nearly swung myself out across the room.
"Back on the heels! Sit in your hips! Butt back into your hips! On the heels, snap the hips, on the heels!" Nic barked, albeit in an encouraging way.
Wait, what do you mean, "back on the heels" and "sit in your hips"? This was the very antithesis of everything I've ever learned! It suddenly dawned on me as I panted and sweated that this was going to be very tough and interesting, indeed.
After a grueling half hour of variations on kettlebell routines, involving single arm swings, presses overhead, circling the kettlebell around the head with elbows tight, and so forth, I was feeling it everywhere. The next day I could barely bend my legs without acutely feeling all these new muscles that I'd never engaged before, since I am never back on my heels.
By the way, when I first laid eyes on the 18lb iron thing Nic had placed before me on the floor, all I could think of was those weights that would, if you were unlucky, drop on your character and cause his untimely demise in the old sidescroller game Dark Castle. I certainly wasn't going to let the kettlebell crush me, and yesterday was my second session of kettleball delight - a series of 5 exercises, repeated twice.
And you know what, I felt stronger the second time around! I felt more secure in the back of my heels, butt so far out that it felt like it was in outer space. However, this position really does enable you to snap your hips and get that kettlebell up so you're not only using brute force in the arms. It works your whole body like you wouldn't believe.
Two unexpected side effects of this work:
1) I am acutely aware of where I'm weak and where I've been cheating in dance. Nearly all moves are done in perfect parallel in the fitness world, and if you're attached to a kettlebell even the smallest imbalance is magnified 100 fold (or so it feels). I realized that I've been skewing my body in arabesque to the left much more grossly than I'd imagined. I felt how much less strong I am on that side, and now know what I need to work on. Bless/Darn that kettlebell!
2) Going to ballet technique class after a fitness workout reminds me of how much I love ballet, and how much it is "home" for my body. I get to engage those familiar muscles, to lengthen, to stretch to the sky. It was like a breath of fresh air, despite my soreness. Ah ...
Week Two, here we come. I'll best you yet, kettlebell!


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History of Great Shelford Free Church
Click on the image of the church to access a PDF version of the history of Great Shelford Free Church which was produced for the Centenary Year of the church building in 1956.
Ministers who have served the congregations of Great Shelford Free Church
1825 Rev. J. Heafford
1837 Rev. W. W. Cantlow
1846 Rev. W. Symonds
1851 Rev. C. R. Player
1866 Rev. B. J. Evans
1874 Rev. G. T. Ennals
1885 Rev. N. J. S. Naish
1890 Rev. D. Bruce
1907 Rec. F. Chilton
1914 Rev. W. H. Redfearn
1926 Rev. V. J. Smith
1934 Rev. S. H. Price
1944 Rev. W. R. Bowell, M.A.
1948 Rev. C. E. Bayliss, B.A., B.D., B.Sc.
1956 Rev. H. W. Trent, B.D.
1968 Rev. R. Cousins
1986 Rev. J. Burrough
2002 Rev. R. Beardsley
2007 Rev. M. McDade
2014 Rev. M. Cockerill


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Life is tricky to say the least and you realize that you might not want to spend it alone. Love too is tricky. There are so many people who share the same interests as you yet you might never fall in love them and somehow you end up falling in love with someone who is your exact opposite and you cannot see it any other way.
So, when they pop the question you probably wanted to scream yes before they even finished the sentence. So, now you are going to marry the love of your life but there is one hurdle left to cross, your wedding day. Your wedding day is basically the start of your life together so there is always a lot of pressure when it comes to making your wedding day perfect.
Photo by Dylan M Howell.
However, dealing with wedding preparations is not an easy task especially if you are already juggling other priorities. There are a lot of things that need to be planned months beforehand and this goes on till the minute you walk down the aisle. This is when a lot of brides-to-be turn into 'bridezilla.' This is where a wedding planner steps in, if you are still not sure as to whether or not you need a wedding planner, then we will talk about how you can benefit from hiring a wedding planner for your own wedding.
A wedding planner is organized. This is a godsend for unorganized people who cannot maintain a folder for the life of them. Your wedding planner will organize your entire wedding binder for you so that you don't have to.
If you are still uncertain about how you want your wedding to be, a good wedding planner can sit you down and walk you through different ideas and help you pick the best one according to your needs all the while remaining within budget.
They will organize all your tasks for you. This is a plus point for people who do not work well under pressure. They will inform you which day you have to go for the cake tasting or for your dress fitting, selecting your floral arrangements etc.
They will sort out things you didn't even know you needed. This includes dealing with the entertainment, the catering, the Wedding Photography, the venue setup, finding the right officiant and getting your dates booked before someone else takes them.
Planning a wedding is not an easy task and there are bound to be other brides whose wedding dates may clash with yours and they might have already booked the same entertainment or venue etc. This can be really stressful to deal with, this is where your wedding planner comes in and deals with the entire issue and make sure you get what you wanted.
There are always slip ups along the way and a wedding planner always has a team that is ready to deal with them so that you can walk down the aisle with a smile on your face the entire time rather than just when your Wedding Photography is happening.


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Plants vs Zombies hitting XBLA tomorrow
The Xbox 360 version of PopCap's successful desktop defence title Plants vs Zombies will be released on XBL tomorrow (September 8th) for 1200 Microsoft Points – which is around 10.
PopCap also confirmed retail versions of Zuma and Peggle will hit stores later this year.
Plants vs Zombies on Xbox 360 boasts seven game modes including a range of features exclusive to the console. Gamers have access to 21 mini-games, two multiplayer modes – co-op and versus – and 12 unlockable achievements.
With a ton of new features and content exclusive to the XBLA version, we've pulled out all the stops to both expand and optimise this adaptation for a hardcore gaming audience," said PopCap's head of worldwide studios Ed Allard.
The two new multiplayer modes allow gamers to work cooperatively to defeat hordes of invading zombies, or go head-to-head in a true 'Plants vs Zombies' challenge."


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A personality-based intervention reduced problematic drinking among high-risk kids, British researchers found.
In a randomized controlled trial, the targeted program reduced the risk of binge drinking by 43% (OR 0.57, 95% CI 0.41 to 0.80, P<0.001), Patricia Conrod, PhD, of the University of Montreal, and colleagues reported online in JAMA Psychiatry.
It also appeared to have a "herd" effect on adolescents who weren't considered to be at risk for problematic drinking, the researchers said.
"Considering the enormous costs of alcohol misuse to society and the brief and inexpensive nature of this targeted program, nationwide implementation could potentially translate to substantial savings to the public," they wrote.
Some prevention programs that target kids with personality risk factors for addiction and mental health problems have been shown to reduce substance use and misuse.
To further evaluate that relationship, Conrod and colleagues conducted the Teacher-Delivered Personality-Targeted Interventions for Substance Misuse (known as the Adventure trial) at 21 secondary schools in London boroughs totaling 2,643 students -- 1,210 of whom were considered to be at high risk for drinking problems. Their mean age was 13.7.
Schools were randomized to provide either a brief personality-targeted intervention to high-risk youth or to provide treatment as usual.
In the personality intervention, school staff -- including teachers, counsellors, and education specialists -- were trained to provide interventions to students with one of four high-risk profiles: anxiety sensitivity, hopelessness, impulsivity, and sensation seeking.
Training involved a 2- to 3-day workshop in which staff learned how to administer to cognitive behavioral therapy (CBT) principles and motivational enhance therapy (MET) in personality-specific ways.
The students were then assessed for drinking, binge drinking, and problem drinking at 6-month intervals for 2 years.
Conrod and colleagues found that overall, high-risk students at intervention schools had a 29% lower risk of drinking over the course of the trial compared with high-risk kids at control schools (OR 0.71, 95% CI 0.51 to 0.99, P=0.046).
They also had a 43% lower likelihood of binge drinking during the trial compared with high-risk controls (OR 0.57, 95% CI 0.41 to 0.80, P<0.001).
And the odds of problem drinking fell by 29% for high-risk kids at intervention schools compared with controls (OR 0.71, 95% CI 0.53 to 0.94, P=0.02).
But the "secondary outcomes of this trial are particularly novel" as well, the researchers wrote, noting that the intervention appeared to display a herd effect in kids who weren't perceived to be at high risk of problem drinking.
It appeared to delay the "natural progression to more risky drinking behavior," they said. For instance, the intervention significantly reduced overall drinking rates (P=0.049) and the growth in rates of binge drinking (P=0.001) over the course of the study in low-risk kids.
There were also "some signs of a marginal herd effect on problem drinking symptoms in the longer term," they wrote.
The potential mechanisms of this herd effect aren't clear, the researchers wrote, but said it may be that high-risk kids at intervention schools "modeled less drinking and less problematic drinking to their low-risk peers, who have a later onset of drinking and a less risky drinking profile."
That hypothesis is supported by the fact that the intervention effects on binge drinking and problematic drinking in low-risk kids started to appear 6 months after intervention effects on high-risk students, they noted.
The study was limited by its reliance on self-reported data from students, but Conrod and colleagues still concluded that broader models of the intervention should be assessed.
The study was supported by the charity Action on Addiction.
The researchers reported no relevant financial conflicts of interest.
- Reviewed by Zalman S. Agus, MD Emeritus Professor, Perelman School of Medicine at the University of Pennsylvania and Dorothy Caputo, MA, BSN, RN, Nurse Planner


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Tuesday, August 31, 2010
Monday, August 30, 2010
Tiny Teacup
"Tiny Teacup" is one of Stampin' Up!'s à la carte stamps and is featured in this card we made at my August workshops. It is stamped with Marina Mist classic ink on Whisper White card stock and then punched out with the 1-3/8"Circle Large punch (119863, $15.95). I then mounted it on a piece of Rose Red card stock punched with the 1-3/4" Scallop Circle Extra-Large punch. However, the layered image was the last step in preparing this card.
First, we had to run the Whisper White card stock (4-1/4" x 11") through the Big Shot Die-Cutting Machine (113439, $99.95) using the Perfect Polka Dots Textured Impressions Embossing Folder (117335, $7.95). The different colors of "ribbon" are Marina Mist, Rose Red, So Saffron, Wild Wasabi and Pacific Point card stock cut with the Dotted Scallop Ribbon Border Punch (119275, $15.95). A piece of Marina Mist 5/8" Satin Ribbon (119751, $8.95 for 15 yards) served as the embellishment before adding my stamped image with Stampin' Dimensionals (104430, $3.95 for 300). Fun and simple!
First, we had to run the Whisper White card stock (4-1/4" x 11") through the Big Shot Die-Cutting Machine (113439, $99.95) using the Perfect Polka Dots Textured Impressions Embossing Folder (117335, $7.95). The different colors of "ribbon" are Marina Mist, Rose Red, So Saffron, Wild Wasabi and Pacific Point card stock cut with the Dotted Scallop Ribbon Border Punch (119275, $15.95). A piece of Marina Mist 5/8" Satin Ribbon (119751, $8.95 for 15 yards) served as the embellishment before adding my stamped image with Stampin' Dimensionals (104430, $3.95 for 300). Fun and simple!
Wednesday, August 25, 2010
Everyone who knows me at all well, knows I love my tea--not iced and not herbal, but hot and black. I do enjoy my flavored teas, but, well, herbals are not really tea (they contain no tea leaves, in case you didn't know). Anyway, I had been longing for stamp sets that would show that side of me and Stampin' Up! has included several items in this catalog that fit the bill.
The card below is made using the "Take a Sip" wheel (120323, $6.50) and Concord Crush ink. Once again, I am using all the coordinating colors available in our Idea Book and Catalog. This Whisper White card is layered with Concord Crush card stock and Concord Crush designer series paper from the Patterns Designer Series Paper Stack. I've added the coordinating 1/2" Stitched-Poly Ribbon (what's a card without ribbon, after all?) and a tea bag from the "Morning Cup" stamp set. I used Concord Crush and Blushing Bride Stampin' Write markers, along with a touch of Blushing Bride card stock for extra color.
While I was at it, I decided to make a coordinating book mark using the "Two Tags" Bigz Die (115954, $21.95) for the Big ShotDie-Cutting Machine (113439, $99.95) and the "Morning Cup" stamp set. Isn't that just "tea"rific?
Monday, August 23, 2010
Without Coffee
While on vacation this week, my brother-in-law, Danny, sat down at breakfast saying, "I gotta have my coffee, I gotta have my caffeine." I immediately thought of my new stamp set, "Morning Cup" (W 116988, $21.95; C 120489, $16.95) and just had to make this card for him when I returned home.
Baja Breeze is the primary color in this card with accents in Early Espresso, Very Vanilla and Poppy Parade. The striped paper strip is from the Subtles Patterns Designer Series Paper Stack (117152, $19.95, 40 sheets of 12"x12" dsp). I love the paper stacks! What a great way to have coordinating dsp for an entire color collection!
An added advantage of clear mount stamps is the ability to arrange your stamp images on one block before stamping, which is what I did here. I set the coffee mug next to the coffee pot on the clear acrylic block before stamping with Early Espresso Classic Ink. Then I colored the images with my Stampin' Write Markers. Once again, Stampin' Up! makes it possible to have everything match perfectly with matching inks, markers, card stock, ribbons, brads, etc. That is one of the many reasons I am sold on Stampin' Up!
Now to write a quick note inside and get it in the mail...
Sunday, August 22, 2010
My husband and I just returned from a week in the Adirondacks at Camp of the Woods in Speculator, NY. We had a great time with other family members (my sister's family and our daughter, Heather's family) sitting on the beach, playing in the water, sailing, making crafts, listening to special speaker, John Guest, and a presentation by author Eric Metaxas, as well as some great concerts.
Imagine my pleasure when I started opening the mail which had accumulated while we were gone and found this card from Melissa Shipman! Melissa is not my immediate upline (Aly Schilling is), but Aly's upline. This card was to congratulate me on the sales I made during the month of July. Amazing that I actually made the next level's group of top achievers.
To make this card, Melissa used Pumpkin Pie, Chocolate Chip, Daffodil Delight, Pear Pizzazz and Real Red card stock along with a strip of Greenhouse Gala Designer Series Paper. "Imagine the Possibilities" is from the Word Play stamp set (W120308, $41.95, or C120651, $28.95) and stamped with Chocolate Chip Classic Ink. I believe she used the new Scallop Squares Duo Bigz Die, which will be available from the Holiday Mini Catalog September 1, 2010.
The flower appears to be made from layers of punched out card stock: 2-3/8" Scallop Circle Extra-Large punch for Daffodil Delight (118874, $16.95); 1-3/4" Circle Extra-Large punch for Real Red (119850, $16.95); 1-3/8 Circle Large punch for Pumpkin Pie (119860, $15.95); and 1-3/4" x 7/8" Oval Large Punch for the two Pear Pizzazz leaves (119855, $15.95). The pieces were crumpled and then flattened out to give them texture and the ovals were scored down the length for the leaf effect. A Chocolate Chip flower brad (119730, $8.95 for 48 neutral flower brads) finishes it off.
I love it! Thank you, Melissa. And to think I didn't like Greenhouse Gala designer series paper at first...
Friday, August 13, 2010
Fifth Avenue Floral
This is another card we made at my July workshops. So quick and simple, yet stunning.
Just a neutral card stock (Very Vanilla or Naturals Ivory--this one is Very Vanilla) and one contrasting color (Cherry Cobbler). The stamp set is Fifth Avenue Floral with a greeting from the Teeny Tiny Wishes set. I know, it seems like I'm always using Teeny Tiny Wishes, but those greetings fit so nicely into corners or on punched out card stock. The Very Vintage Wallpaper Textured Impressions Embossing Folder added elegance when used on the Cherry Cobbler card stock. Some gold brads and Champagne Mist Shimmer Paint diluted with rubbing alcohol and sprayed over the image provided the finishing touches.
Vintage Wallpaper Textured Impressions Embossing Folder, 120175, $7.95
Fifth Avenue Floral Stamp Set, 113734, $24.95
Teeny Tiny Wishes Stamp Set, 115370, $36.95
Cherry Cobbler card stock, 119685, $6.95 for 24 sheets (8-1/2" x 11")
Very Vanilla card stock, 101650, $8.50 for 40 sheets (8-1/2" x 11")
OR Naturals Ivory card stock (a little heavier), 101849, $7.50 for 40 sheets (8-1/2" x 11")
Cherry Cobbler Classic ink pad, 119669, $5.95
Champagne Mist Shimmer Paint, 116806, $5.95
Gold Brads, 104337, $6.95 for 200
Monday, August 9, 2010
A Touch of Elegance
While I had the brayer out to design cards for my brayer class, I made this card and a scrap of the Presto Patterns Specialty designer series paper with it's hidden design that pops out when covered with ink. I tore the bottom of it, revealing the white paper layer.
Everything else on this card is stamped with images from the "Just Believe" stamp set (W 116948, $33.95; C 120453, $25.95). The verse and silhouetttes are stamped with Soft Suede Classic Ink while the circular piece is stamped with Wild Wasabi Classic Ink on Whisper White card stock. I punched the image with the 1-1/4-inch Circle Punch (119861, $15.95), layered it with a Soft Suede card stock punched with the 1-3/8-inch Circle Punch (119863, $15.95) and popped it with a couple Stampin' Dimensionals. The card itself is Whisper White card stock framing the Soft Suede card stock. No embellishments like brads or ribbons were needed on this card.
Friday, August 6, 2010
More Minus the Stamps
I'm finding the secret to making cards without the coordinating stamp set is the Big Shot, fancy punches, ribbon and scissors. You need some contrast and some dimension to make the cards stand out. Of course, Stampin' Up's perfectly matched colors really helps.
These cards are also made with the Greenhouse Gala Designer Series paper, a pack I didn't think I liked when looking at the picture in the catalog. Of course, I should have known that the thumbnail print couldn't do it justice.!
The Real Red card stock on the side of the above card was embossed with the Perfect Polka Dots Textured Impressions Embossing Folder, wrapped with some old Baja Breeze Ribbon and adorned with words from the Teeny Tiny Wishes stamp set punched with the Modern Label punch. I cut the daisy-like flower from a scrap of the designer paper and mounted it with dimensionals overlapping the textured Real Red card stock.
This card just wouldn't lay straight in my scanner, but you can get the idea. The same Greenhouse Gala designer series paper mounted on Real Red and then adhered to the Baja Breeze card stock. The butterflies are embossed and cut with the Big Shot, as is the scalloped rectangle. Sincere Salutations provided the "Birthday Wishes" stamp.
Products you can order to duplicate these cards:
Greenhouse Gala Designer Series Paper, 117167, $9.95
Teeny Tiny Wishes stamp set, 115370, $36.95
Sincere Salutations stamp set, 115068, $23.95
Real Red Classic Ink Pad, 103133, $5.95
Modern Label punch, 119849, $16.95
Perfect Polka Dots Textured Impressions Embossing Folder, 117335, $7.95
Beautiful Wings Embosslits Die (butterflies), 118138, $11.95
Scallop Rectangle Clearlits Die, 118872, $7.50
Pear Pizzazz card stock, 119795, $6.95 for 24 sheets 8-1/2" x 11"
Real Red card stock, 102482, $6.95 for 24 sheets 8-1/2" x 11"
Baja Breeze card stock 111352, $6.95 for 24 sheets 8-1/2" x 11"
Whisper White card stock, 100730, $8.50 for 40 sheets 8-1/2" x 11"
Substitute the ribbon with 5/8" wide satin or grosgrain ribbon in Daffodil Delight, Chocolate Chip or Real Red, or 1/2" wide Stitched-Poly Ribbon in Pear Pizzazz, pages 190-191 in the 2010-2011 Idea Book and Catalog.
Wednesday, August 4, 2010
No Matching Stamp Set
Ever order Designer Series Paper and realize you don't have the coordinating stamp set? You can still make some impressive cards without those particular stamps. Here are three I created using the Greenhouse Gala Designer Series Paper (117167, $9.95, twelve 12x12 double-sided sheets).
This first one was made on a Pear Pizzazz card. I ran a piece of Daffodil Delight card stock through my Big Shot with the Square Lattice Textured Impressions Embossing Folder (119976, $7.95) and matched that with a piece of the designer paper. I cut the flowers from my paper and attached them to a piece of Pumpkin Pie card stock with a hole punched in the lefthand corner to run the ribbon through. I'm sorry to say that this Pumpkin Pie striped grosgrain ribbon is no longer available, but the current catalog carries several styles of Pumpkin Pie ribbon. The only stamping was "A Note of Thanks" from the Thank You Kindly stamp set (111700, $13.95) with Early Espresso Classic Ink.
Using the same designer paper on Pumpkin Pie card stock, I created this simple birthday card in no time. I added fake ribbon in Pear Pizzazz, Whisper White and Pumpkin Pie made with our new Dotted Scallop Ribbon Border punch. Once again, my wish is stamped with a stamp from the Teeny Tiny Wishes set (115370, $36.95), a set I use all the time! Three more punches provided the setting for the birthday wish--two oval punches (119855, $15.95; 119863, $15.95) and Scallop Oval (119856, $16.95).
Pizzazz, Daffodil Delight and Pumpkin Pie using the Square Lattice Textured Impressions Embossing Folder once again. This time I used the saying from the Watercolor Trio stamp set (W 117050, $22.95; C 120084, $16.95) in the mini catalog, which expires August 31, and punched it out with the Designer Label punch (119862, $15.95).
Monday, August 2, 2010
Two Cards, One Basic Design
Hosts and guests at my July workshops made two cards. This is one of them made two different ways (some made the Melon Mambo card while the others made the Daffodil Delight card). The "With All My Heart" stamp set (W 118134, $17.95; C 118623, $13.95) provided all the images I needed.
Actually, one of the cards on page 132 of the 2010-2011 Idea Book and Catalog was my inspiration for this design. The card above is the standard 4-1/4" x 5-1/2" size while the one below is 3"x6" (cut your card stock 6"x6", which would give you four cards from a 12"x12" piece of card stock).
I've used the same colors in both cards, although they are reversed: Melon Mambo, Daffodil Delight and Old Olive. I added Whisper White to the Melon Mambo card. The leaves are cut with the Big Shot using the Little Leaves Sizzlits die. The flower is stamped and then punched using the Fancy Flower Extra-Large punch (118073, $16.95). On the Melon Mambo card, we colored the "Friend" stamp with coordinating Stampin' Write Markers before stamping on Whisper White card stock and punching with the Scallop Oval Extra-Large punch (119856, $16.95). The center of the Melon Mambo flower is a Build-a-Brad (109128, $9.95 for 24). First we stamped the little flower on a scrap of Whisper White card stock, then punched it with the 1/2" Circle Small punch (119869, $5.95) and adhered it to the base of the Build-a-Brad before topping it with the adhesive acrylic bubble, included in the tin of Build-a-Brads. So simple, especially with the clear blocks. So much fun!
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On 7 November 2016 from 5.30 till 7.30 pm a kick-off event will take place for Women on Board's "Women Intergenerational Digital Dialogue Program" organised by Women on Board in collaboration with the VBO/FEB.
The "Women Intergenerational Digital Dialogue (WIDD) program" aims to improve digital skills and competencies of the WoB members by reverse mentoring with young high potential women having knowledge about digital transformation. In return the young high potential women will be introduced to corporate governance and executive Management.
When : 7 November 2016
- 17:30 registration & welcome
- 18:00 Opening Speech by Trees Paelinck (General Manager Women on Board)
- 18:15 Keynote Speech by Michèle Sioen (Chairperson VBO/FEB & CEO Sioen Industries)
- 18:25 Speech by Isabel De Clercq on "knowledge Sharing and Social Collaboration. Powerful Weapons in the Fight against Fossilization."
- 18:45 Speech on Governance by Philippe Lambrechts (Secretary General & Board Member VBO/FEB)
- 19:00 The Women Intergenerational Digital Dialogue Program by Emmanuele Attout
- 19:15 reception
Location: FEB/VBO - rue Ravensteinstraat 4 - 1000 Brussels
If you are a member of Women on Board and you wish to attend the event, please register here.
Wolters Kluwer


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20% OFF! - Inspirational Frames 2
By LLL Creations
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Product Information
- Type: Embellishment Pack
- Designer: LLL Creations
- Size: 15 MB (approximate)
Design Elements
- Page Elements: 12
Coordinating Products
Design elements of this pack coordinate
with the following products:
Inspirational Frames 1 Pack
Designer Notes
All products by LLL Creations are for Personal Use Only. No commercial use allowed. MY TOU are available in the General Zip file. Thank you~


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:: Introduction to analogue synthesis - Envelope generatorA way to control signals within a synthesizer is by using a module called envelope generator (EG). When an envelope generator receives an "on" gate signal, it sends out a new signal that can be used to control another module on the synthesizer. Analogue synthesizers usually have two envelope generators; one that controls the voltage controlled filter (VCF) and another that controls the voltage controlled amplifier (VCA). In the first instance, the envelope modifies the timbre of a sound over time by controlling the cut-off frequency of the VCF; in the second instance, the envelope modifies the amplitude (volume) of the sound over time to create the natural dynamic movement of a sound. In the second chapter of this tutorial I covered the concept of ADSR envelope; in fact, most of the envelope generators work with the principle of ADSR (Attack - Decay - Sustain - Release).
In the two following pictures we can see the ADSR controls present in the control panels of the MiniMogue VA (left) and the FreeMoog (right) virtual synthesizers. In the first instance, the ADSR control for the filter is labelled as Filter Contour while the ADSR control for the amplifier is labelled as Loudness Contour. In the second instance the controls layout is quite similar, but it is interesting to note how Release is implemented only as an on/off feature.
Now it is time to divagate about triggers and gates, the components that control how the signal is sent from the keyboard to the envelope generators. When one press a note in the keyboard, a trigger sends a signal to the envelope generators, so these can start to shape the signal that the oscillators have started to generate. A gate is opened, that will keep the envelope acting as long as the note is pressed (sustained) in the keyboard, and when the note is released, a trigger closes the gate. So it is easy to understand that gate opening is related to Attack while gate closure is related to Release.
As a practical example of all of this, let's suppose that we have programmed some kind of pad sound in our synthesizer and have adjusted in a certain way the envelopes for amplitudes and frequencies. When we press a note in the keyboard, that pad would start to grow in amplitude, which would be responsibility of the ADSR of the VCA, while at the same time the sound would start to get brighter or any other way that would have been programmed, and this would be then responsibility of the ADSR of the VCF. While we keep pressing the note on the keyboard, the sound would remain sustained, and when we release it, the sound would either stop or fade away, depending on the Release time. So when a key is pressed, triggers will activate OSCs, VCF and VCA all together to generate the corresponding sound, that will remain alive while the key is pressed.
In a more technical approach, the process can be explained as this: when a note is pressed on the keyboard, a signal that informs about the corresponding pitch arrives to the oscillators bank; the combination of several oscillators create the corresponding waveform, which includes the desired pitch in its fundamental frequency, and also a spectrum of harmonics (the harmonics series) needed to have the possibility to extract many timbres from the waveform; then this raw waveform is directed into the filters bank, where part of the frequencies (harmonics) are removed or attenuated (subtracted) to approximate a certain timbre, being the filter ADSR envelope responsible of modifying the cut-off frequency (timbre) over time; in the last stage the waveform is sent to the amplificator, whose ADSR envelope will modify the amplitude of the sound over time. So in this way, a signal continuously flows from the oscillators to the amplifier of the synthesizer, during a certain time on which it will be modified according to the programmed parameters, generating so a complex waveform or sound over time. And that is called a musical note.
So until here I have explained enough to get a basic idea on how an analogue synthesizer works and therefore how can it be used to program possible sounds on it. To finish, it is imperative to understand what really are the basic components of an analogue synthesizer, in a very fundamental approach, to avoid wrong concepts that could have been acquired. So always remember that: oscillators are generators, they receive a signal (input), generate a new signal (waveform) based on the signal received, and then send the new signal (output); filters are modifiers, they receive a signal (input) and return a modified signal (output); and envelope generators are controllers, they do not receive signals, but they just modify signals by sending the corresponding parameters (output) to devices that create, or more usually, modify signals (filters and amplificators). In the next chapters I will divagate about additional knowledge on the physics that take place in sound synthesis.
:: Theory on sound synthesis - FiltersTo begin, let's see two additional types of filters that are not directly used for subtractive synthesis, but can add additonal features to music generation equipment.
- Comb filter: this filter has a number of band reject (notch) filters at certain distances (delays), and it is not intended to attenuate any part of the signal, but instead for adding a delayed version of the input signal to the output, basically a very short delay that can be controlled in lenght and feedback. The delays are so short that only the effect can be heared, rather than the delays themselves. The lenght of the delays is determined by the cut-off frequency while the feedback is controlled by the resonance - a concept which I will explain later -. What is now practical to know is that this kind of filter is used to create effects such as chorus or flange, effects that analogue synthesizers usually include in their output section.
- Parametric filter: this filter, also known as parametric equalizer, controls three parameters on the signal, which are frequency, bandwidth and gain. It allows to select a range of frequencies (bandwidth) to be attenuated or amplificated (gain), and the desired amount of attenuation or gain. The frequencies out of the selected bandwidth are not altered. Parametric filters are built to cover all the range of frequencies usually used in music production (0 Hz to 20 kHz) and their precision is determined by the number of bands that they have; each band can be considered as an individual filter. So this kind of filter is a grouping of several filters that allow for more complex filtering applications, and they could be used to create dynamic effects over time if an ADSR envelope could be attached to control the bandwidth parameters.
Now it is time to deal with the concept of resonance, which is also referred as emphasis or Q. If you look again at the pictures above, you will notice the knobs labelled as Emphasis that are present in the filter controls of the MiniMogue VA and FreeMoog synthesizers; and if you look at the pictures in the previous chapter, you could see a slider labelled as Resonance in the VCF of the Arppe2600 VA synthesizer. In that previous chapter about filters I explained about the slope which is caused by the relative slowness that analogue filters have when cutting off frecuencies. The range of frequencies where the slope climbs is called the transition band, and the boosting of that range of frequencies is what is called resonance, as the graphic below shows.
Resonance occurs when sound in the pass band near the cut-off frequency is sent back into the filter as it comes out, creating feedback. The amount of feedback affects the volume of these frequencies, as well as the timbre of the sound. Which practical use would one make of this hump on the slope? Altering the resonance of a filter along with the cut-off frequency can create incredible sounds, for example the effect of self-oscillation, that would generate an audible - and screaming - sine wave. Another undulating sound effects that are related to sine waves as well, such as shrieks, sirens or throbs, are possible, specially if a low frequency oscillator is assigned to the filter resonance. Another trick consists in using a high resonance to highlight the higher harmonics of a low frequency or bass sound, which adds presence to the sound, or the opposite, using a low resonance to highlight the lower harmonics of a high frequency or treble sound.
If you look again at the pictures above, you will see the knobs labelled as Contour Amount (MiniMogue VA) and Amount Of Contour (FreeMoog). Filter amount (contour amount) determines how much sensitive the filter cut-off will be to the control by the envelope generator, so the higher the amount, the more open the filter (the larger the range of frequencies the filter allows to pass through it). It is just the amount of modulation that the filter envelope generator does on the cut-off point.
To end this chapter, I will explain the distinction between passive filters an active filters. This knowledge is not really essential for the practical utilization of a synthesizer, but it would help to better understanding how a filter works.
- Passive filters derive their power from the input signal, so they have no power on their own until a signal passes through them. In this case, the amplitude response and phase response of a filter are crucial in determining the relationship of what enters into a filter and what leaves out of it, which is called the transfer function. The basic transfer functions were explained in the previous chapter about filters, and the concept of phase will be covered in the next chapter.
- Active filters use active components such as amplifiers, placed between the transfer functions implemented on the filter, and designed to improve the performance and predictability of the filter, while avoiding the need for inductors, which are typically expensive compared to other components. An amplifier also prevents the load impedance of the following stage from affecting the characteristics of the filter, and can have complex poles and zeros without using a bulky or expensive inductor. The shape of the response, the quality factor and the tuned frequency can often be set with inexpensive variable resistors. In some active filter circuits, one parameter can be adjusted without affecting the others. Using active elements has some limitations: available active devices have limited bandwidth, so they are often impractical at high frequencies, while amplifiers consume power and inject noise into a system.
Most analogue synthesizers have active filters, and the diverse designs of amplificators are a reason whereby analogue synthesizers from different manufacturers have a distinctive sound.
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The Uttar Pradesh Police have let Bhartiya Janta Party (BJP) president Amit Shah off the hook in a 2014 case registered against him for allegedly giving hate speeches in the Muzaffarnagar district.
Shah in April 2014 had addressed a rally in Muzaffarnagar where he allegedly made inflammatory remarks while campaigning for the BJP. The speech led to the Election Commission (EC) banning him from campaigning in UP, which was later lifted.
Sub divisional magistrate of Minrapur/assistant returning officer Baburam, on the orders of the EC, had filed an FIR against Shah under Section 188 (disobedience to order duly promulgated by public servant) of the IPC and Section 123(3) of the Representation of People Act (relating to appeal by a candidate to vote on basis of religion, race, caste, community or language).
The UP Police, presenting its report in a local court in Muzaffarnagar on Tuesday, said there was no evidence against Shah in the case.
The report will now be presented to the judicial magistrate, who will take the final decision.
Shah, in the speech on 4 April, 2014, was accused of saying humiliation has to be avenged. He later explained that he meant that voting for the BJP would be the revenge.
According to Press Trust of India, Shah is also believed to have said: "If (Narendra) Modi wins, 'mulla' Mulayam's government will fall."
The BJP president, in his address at Barwar village, is also believed to have said the Samajwadi Party treats Muslims in the state as vote banks since people of other communities would not vote for them.


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Kiwanis Carefree signs contract to purchase new building
Kiwanis Carefree opened escrow and are in a period of due diligence for the purchase of a potential new Kiwanis Store – Marketplace. This will position the organization to substantially increase its donations and support for children's programs in our community.
The Kiwanis Board of Directors began work on March 23 when they first learned of the availability of the Turn West property (formerly Epicurean Palette) in Cave Creek. By April 1 a confidential non-binding Letter of Intent was provided to the seller.
During the month of April negotiations were ongoing. A purchase contract was signed and escrow was then opened without the stipulation of confidentiality.
A 30 day due diligence period began on May 1. During this period the following are or will be in process. Anticipated completion dates are in parentheses:
ALTA Survey (May 22)
Appraisal (May 19)
Building inspection (May 24)
Receipt of all paper work, leases, etc. (May 6)
Possession early if Due Diligence is OK (Maybe)
July 31 closing date
If the purchase closes at the end of the due diligence period they will be able to save $28,000 per year currently being spent on the Marketplace lease. There will also be $30,000 in annual rental income for three years.
Comparison of Sites
Old Site
• Land $486,000
• Build Costs $1,600,000?
• Land 1.1 Acres and 12,000 sq. ft. Building
• Total Est. $2,086,000
• Parking 35 cars
• Rental Expense $28,000 per year
• Occupy Jan 2016
• Have to use Mezzanine
• With Mezzanine: $193 per square foot at 10,806 sq. ft.
• Without Mezzanine: $213 per square foot at 9,786 sq. ft.
New Site
• Land 1.4 acres and 16,193 sq. ft. Building
• $1,900,000
• Parking 64 cars
• Rental Income $30,000 per year for 3 years
• Occupy July 2014
• Safety for Volunteers all ground floor
• With Mezzanine: $117 per square foot at 16,193 sq. ft.
* Without Mezzanine $128 per square foot at 14,863 sq. ft.
All items currently funded will continue to be funded. No programs in the current budget are being reduced. Marketplace revenues are already up 27 percent over the same period last year.
Carefree Kiwanis has funded scholarships in the amount of $1,350,000 and over the past five years, donated $860,787 to 501C3s and $627,470 to non 501C3s for a total of over $2.8 million given back to the community.


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Posted in
Priority:High Priority
Date:July 23, 2010
To:All SVRS Users
From:Nathaniel E. Robinson, Elections Division Administrator
|SVRS 2010 Partisan Primary Checklist I.doc
The 2010 Partisan Primary Election (in SVRS) is now ready for engagement.
- County clerks may now inherit the 2010 Partisan Primary Election and notify the self-providers in their county.
- Once the election is inherited, contests and candidates for the 2010 Partisan Primary Election can be entered.
- Counties can now check Milestone #3 for the 2010 Partisan Primary Election, no later than August 6, 2010. Immediately notify Self-Providers that Milestone #3 has been completed at the county level.
- SVRS Election Checklist I, 2010 Partisan Primary Election is on website. Click on the link below.


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The residence LES NEVES is located on the top of the resort, in a lively area, near bars and nightclubs, in front of the shopping mall of Péclet (supermarket, restaurants, shops), 50 meters from the ski slopes.
This studio of 32 m2 is situated on the 1st floor with a south balcony. Toilets are separated from the showerroom, the kitchen is fitted out with oven and dishwasher.
You will find 4 bunk beds in the night corner and a pull out bed in the living room.
Complementary services upon reservation, subject to availability:
Wifi box 39 per week with 3 GO per day / end cleaning: from 50 to 100 according apartment size / bed linen: 13 per person and towel: 12 per person / pets allowed for free / car park: 80 per week / baby cot: 20 per week
Join us on Facebook :


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picture source
Katie is actually wearing a dress underneath this coat, but the coat that I chose is cute enough to wear alone as a dress, don't ya' think? I'm not that brave, but if I were, I would wear it with a pair of tights. This is a cute look on Katie, but isn't it just a tad bit cold in NYC? Just wondering. Anyway, back to wearing this trench alone as a dress- what do you think?
- Maria Trench $54.50, Delias
- patent round toe pumps $24, Fly Jane


text: Follow me on Bloglovin March 16Follow my blog with Bloglovin I'm still figuring this stuff out but so far, so good! Now I can keep track of all the blogs I follow in one place, and maybe make it easier for some new folks to find me. Awesome. xoxo YOU MIGHT LIKE:Ben's First Birthday


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Independent Venue Week aims to give a voice to the places that form the backbone of the UK's live music industry. CHRIS BROOM found out more.
Have you ever been in the crowd at Wembley, singing along with several thousand like-minded souls as Oasis belt out Rock 'n' Roll Star? Perhaps you were at Hyde Park last summer when The Strokes pulled off a triumphant show? Or even August bank holiday weekend at Victorious Festival when The Darkness put a collective smile on many people's faces?
These bands all have one thing in common – they didn't get to perform to these enormous crowds without first honing their craft by playing hundreds of gigs – and they all played at Southsea's own humble Wedgewood Rooms on their way to the top.
Later this month The Wedgewood Rooms is one of 120 venues across the UK that is taking part in the third annual Independent Venue Week.
The seven-day-long campaign, which takes place from January 25 to 31, runs nationally but with a local grassroots focus.
Starting out with just 15 venues in 2014, it aims to highlight their crucial role in the foodchain of the music business, as well as highlighting the threats many of them find themselves up against. It also aims to give these venues a collective voice and find a way to safeguard their future.
In London a report was published in October looking at the capital's grassroots music venues. It revealed that between 2007 and 2015, 'London lost 35 percent of its grassroots music venues,' a drop from 136 to 88.
'Iconic names like the Marquee Club, the Astoria, the 12 Bar Club and Madame Jojo's disappeared from the map.'
It's a picture that has been replicated elsewhere – renowned venues such as the Sheffield Boardwalk, the Princess Charlotte in Leicester and the Cockpit in Leeds have all closed in recent years, and our own The Cellars at Eastney closed last year. As The Cellars manager Steve Pitt made clear at the time, closing was purely a financial decision – as loved as it was by those who went there, there simply weren't enough people attending gigs to make it a viable business.
Many more, including The Joiners in Southampton, have found themselves facing difficult decisions about their futures.
Smaller independent venues are going through a bit of a kicking at the moment, and it doesn't do any harm to highlight that we are here and to highlight some of the issues that we haveWedgewood Rooms manager Geoff Priestley
The Wedgewood Rooms, which has been operating on Albert Road in its current guise for 23 years, took part for in IVW for the first time last year.
Wedge manager Geoff Priestley has been there for 18 years and says: 'Smaller independent venues are going through a bit of a kicking at the moment, and it doesn't do any harm to highlight that we are here and to highlight some of the issues that we have.
'It's not sex, drugs and rock'n'roll – we have to be a proper business.'
Since IVW began, The Music Venue Trust and The Music Venues Alliance have also been created, to give these live spaces a collective voice.
People's changing habits in the way they consume music has been a major problem.
With the rise of downloading and streaming, the music industry has shifted its focus more into the live arena and much has been made about many bands making more money from the live side than album sales.
But as Geoff explains, this has a greater benefit for more established acts: 'There's been a whole lot of stuff in the press about how many people go to live music – gigs and festivals – but at the moment people are going to see live music in larger venues because they know what they are going to get for their money.
'The acts that we put on, some people will know exactly what's going on, but others don't want to take that risk.'
While ticket prices for mega acts like U2 and Coldplay have seen inflation-busting rises, ticket prices for small venues have remained largely stagnant for years.
Geoff says: 'It used to be that gigs would fund themselves – the ticket sales would cover the band and the other costs for the evening and the take at the bar would be the profit, but because the cost of touring has gone up, the cost of bands has gone up, and people are drinking less when they go out, so that doesn't work any more.'
Independent venues have also found themselves pinched in other ways, economically.
He explains: 'We have the same problem that any small business has, and that's rising costs.
'The chains, like the Academies and the O2s, they can drive costs down because they work on such a large scale – like dealing with a brewery for example. As an independent venue we get whatever we can haggle.'
And Geoff adds that the younger audience is less keen to come to smaller gigs.
'30-to-35 plus, the bulk of gig-goers in that age group, according to research, these are the people who would go to gigs and see the support band too, and if they liked the support band they would go see them too when they next came this way.
'Seeing live music is an integral part of how they find new music.'
But once you look at younger age groups the picture changes – they lean more on online tools and social media to discover new music.
Geoff believes that change is necessary in the way music venues are perceived – and that they should be on a par with other cultural assets.
'People's perception of theatres is that they are cultural places, and that's accepted. Now, to some people, live music venues are as culturally relevant, but that's not being recognised.
'And yet the theatres get grant support, tax breaks, council tax breaks, and so on.
'We don't get any of that, but to some people what we do is just as culturally relevant.'
Alongside the main room with its capacity of 400, there is also The Edge of the Wedge, which can operate as a standalone 100-cap venue.
Geoff says: 'I like The Edge because we try to encourage local bands to use the space and to get promoters to make some money for themselves.'
And Chris Smith has been taken on as digital marketing manager to boost The Wedge's online profile through a blog, playlists of upcoming bands and social media.
'People used to go to gigs because they knew their friends would be there, but even that's changed now,' says Chris, who also plays in upcoming indie band Veludo Planes. 'It's becoming a less mainstream pastime to go to gigs like this – people look online for their new music.
'I've been trying to reach out more to people and get them involved, but it is difficult.'
n For more information go to Independentvenueweek.com
'The Wedge has always been a staple part of the live scene'
For many local bands, playing on The Wedge's stage is seen as a rite of passage – it's a sign that you're doing something right, a step in the right direction.
One of the current crop of acts from the city that is starting to generate a buzz beyond Portsmouth are the psychedelic rock band Kassassin Street.
Last autumn the band undertook their first nationwide co-headlining tour, and it was no accident that they opted to finish tour with a sell-out homecoming show at The Wedge.
Frontman Rowan Bastable says: 'The Wedge has always been such a staple part of the live music scene around here, you only have to look at some of the bands who have played there and gone to play huge stadiums.
'It's so, so vital to the development of bands that there are venues like it. Without them I don't really know how bands would get started.'
Kassassin Street also became the last band to ever play at The Cellars in Eastney when it closed down in August last year.
'The Cellars was such an important part of our development as a band – it was small enough for us to sell a few tickets and feel like we'd achieved something for the first time.
'There is a worry about where the next generation of Portsmouth bands are going to have to play. I know there are pubs that can be used for live music, but it's not the same as playing at a proper music venue.'
And it's not just as a performer – Rowan is often in the audience at gigs. 'I've had some amazing nights at The Wedge. It always has this great atmosphere, there's something about it.
'There are only a few venues around the country that have got that and The Wedge is one of them.'
Wolf Alice are proud to support campaign
Each year, a different act is chosen as the ambassador for Independent Venue Week.
Following in the footsteps of Radiohead's Colin Greenwood and punk troubador Frank Turner, who originally hailed from Winchester, are the London indie rockers Wolf Alice.
The four-piece have been on the up-and-up for the past two years.
But last year things really took off for them – they played twice at Glastonbury and their debut album My Love is Cool was only kept off the top spot of the charts by Florence and the Machine.
This March they will be playing at The Pyramids Centre in Southsea – but they are no strangers to smaller venues in the city. They played an early gig at the since-closed Registry pub, and were at the Wedge in May 2014.
When it was announced they were taking on the role for this year's IVW, they said: 'We are proud to be ambassadors of this year's Independent Venue Week and ask for people's support so these kind of unique, intimate and sweaty shows continue for everyone to enjoy.
'Venues that we started off playing along with so many other bands have created some of our funnest memories to date.
'We'd love for that to continue for us and for other bands, please show your support.'
'It's still an honour to play The Wedge'
The finale of The Wedgewood Rooms' Independent Venue Week comes on Saturday, January 30 when it is part of the second Icebreaker Festival.
The festival celebrates the best in local music, and will see more than 90 acts, ranging from lo-fi acoustic to full-on metal via electronica and much more, perform on 10 stages.
As part of Pilot Promotions, Mike Hartley is helping organise the event, but the Pilot team have been busy putting on gigs by homegrown acts around Southsea for the past few years.
Mike first played at The Wedge during a battle of the bands competition with his band, Krud, about 15 years ago.
Since then he says he's lost count how many times he's played there with various bands over the years, most recently with his current group The Underground Pilots when they headlined a five-band bill last July.
But he adds: 'It's still a massive thing to play there – it's an honour to play at The Wedge.'
And as a promoter he thinks that small venues are key to maintaining a thriving local scene.
'There aren't enough places for new bands that are coming through to play in Portsmouth, so they end up playing in places that aren't really good for them.
'I think that's why it's important that we do what we do as Pilot Promotions – we try to give bands a proper stage to play on.
'It is sad that we don't have a variety of stages around the city for bands to play on. It's important that people respect The Wedge. If that goes, I don't even want to think about it.'
What's on at The Wedgewood Rooms during Independent Venue Week
n Monday, January 25: Giants & Create To Inspire, Disparity, Forever In Depths and more. Doors 7pm. Tickets £5
n Wednesday, January 27: Acres, plus special guests Housefires, Noyo Mathis and Seasons In Wreckage. Doors 7.30pm . Tickets £5.
n Thursday, January 28: Matthew E. White, plus special guests. Doors 8pm . Tickets £14
n Saturday, January 30: Icebreaker. Doors 1pm. Tickets £10.
n For more information go to wedgewood-rooms.co.uk


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|Home | About | Contact | Vitamins for Schizophrenia
I will be studying our courses' source book this weekend. I will also read the sources for our term paper and possibly begin my term paper this weekend. This coming week we hae a recovery forum with the Canadian Mental Health Association and the local Psychiatric Hospital and our self help group. I will be displaying a work for art at this forum. I also have a health and safety meeting that day in the morning and a volunteer meeting in the evening. Then on Thursday and Friday I have ASSIST suicide intervention training.Posted by petert at June 3, 2005 05:59 AM


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Ebola Victim's Nephew: "If He Were a Different Color He Probably Would Have Been Living Today" (Video)
Josephus Weeks, nephew of Ebola victim Thomas Eric Duncan who passed away Wednesday in Dallas, told CNN his uncle Thomas didn't have a chance "because he's black and poor."
"I feel he should have been treated better the first time around. He's the only person that has died from Ebola here in America. He's a black man. He's poor. Didn't have insurance. Came for a visit and went to the hospital. If he were a different name or color he probably would have been living today."
The AP reported:
Ebola victim, Thomas E. Duncan, said he'd recently traveled from West Africa, was in severe pain — rating it an eight on a scale of 10 — and had a fever that spiked to 103 degrees, enough to be flagged with an exclamation point in the hospital's record-keeping system.
Duncan, displaying symptoms that could indicate Ebola, underwent a battery of tests during his initial visit to the Dallas emergency room before eventually being sent home with a prescription for antibiotics, his medical records show.
The Liberian man would become the only person to die from the disease in the U.S…
…Duncan died Wednesday, almost two weeks after he first sought help. He was 45, according to the records. Relatives said he was 42. The discrepancy could not be immediately resolved.
Josephus Weeks, Duncan's nephew, said his uncle's care was "either incompetence or negligence."
Either way "there is a problem, and we need to find the answer to it," he said, adding that it was "conspicuous" that all the white Ebola patients in the U.S. survived "and the one black man died."
Only a fraction of the documents are related to the first visit. Most are related to Duncan's care after he was admitted to the hospital.
Dr. Amesh Adalja, an infectious-disease specialist at the University of Pittsburgh Medical Center who reviewed some of the records, said the care after Duncan's second ER visit was "impeccable."
Thomas Eric Duncan from Liberia passed away on Wednesday.
Duncan was put on dialysis Tuesday. His kidneys had shut down. He passed away on Wednesday morning in Dallas.
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Of all the announcements we expected from WWDC, a super-sleek new Mac Pro wasn't quite at the top of the list, but that's exactly what we got from Apple in San Francisco. The round design is a massive departure from previous Apple designs of any of its desktops, but the devotion to high-grade technology in the Pro hasn't changed.
The new Mac Pro runs on the Intel Xeon processor and is 2.5x faster than the last model. It can run up to three 4K displays and is only 1/8 the volume of the last Mac Pro, which is pretty incredible.
A nice touch is motion sensing that lights up the I/O on the back of the unit for plugging in Thunderbolt 2 devices and more. It's a stunning looking machine, but no release date has been announced as yet.