text:
Thank goodness.
When I tell people I really hate competition, that's an understatement ...
I am so burnt out over the last 5 weeks, I literally haven't picked up a barbell since finishing 15.5.
I've taken this week off to rest nagging injuries, but more than anything, because I need it mentally. My whole life has become CrossFit. All of my friends are CrossFitters. My business associates are CrossFitters. My boyfriend is a CrossFitter. In my free-time, I'm doing CrossFit, or studying avenues to become a better CrossFit coach and CrossFit affiliate owner.
There is no "off" switch. I think about my business, coaching, or training literally all day long. And then I get home and want to go to bed, and I'm dreaming about the business, coaching, or training, all night long.
I'm not complaining. I love what I do and I wouldn't trade it for the world. I just have to find other hobbies and a better work/life balance. Why don't they teach that in college? It doesn't help that my boyfriend lives 4 states away, so I really don't have anything to help me take my mind off of work, or busy up my evenings and weekends. Instead, I just see free time as an opportunity to do something for the gym: cleaning, advertising, blogging, updating the website, planning, programming ...
And now we are moving!
So not only do we have the day to day operations to handle, which is really my responsibility, we now have a new space to create.
It's amazing. And exciting. To be a part of this. To be a part-owner of a small business.
When I was 16, I had to write a paper on two dream jobs.
They were
1. to become President of the United States.
2. to open my own small business. At the time, I was very much into writing and design, I wanted o be a graphic designer.
As I have grown and my hobbies have altered and shifted, I could never have dreamed of being in the position I am now, Head Coach and owner of a CrossFit affiliate at the ripe age of 27.
I take my dreams, and the people I work with, very seriously.
Which is probably why I don't have a life anymore outside of my work.
Which is probably why, after the Open was over, I just literally hit a wall and shut down. I'm still coaching and running the business side of the things, but no training for me. No putting on my lifters. No taping up. No looking up percentages. Or turning on the clock. Or trying to hit a new PR. Or fight through a tough set. No. Just no.
I didn't do too bad in the Open. I had a lot of haters who didn't think I would do well, after competing last year in Asia and making it to Regionals. The Northeast is a huge region with a lot of strong girls.
I know I want to get back under a barbell soon. I am just not pushing it. I am trying to listen to my heart and what it wants.
I remember how exciting CrossFit was, back when I first started it. I had a solid group of girls that I'd always WOD with. We were best friends and had each others backs. I know that I keep CrossFitting in the hopes that one day I will find that again. I'm not giving up yet.


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It's January! What fun things are you going to do this year? Our family is going to ski all the resorts in Utah. Ski Utah offers Passports for 5th and 6th graders to ski all the resorts in Utah. Since we have both a 5th and 6th grader this year, this is the year to do it! The rest of the family purchased Yeti Passes--one lift ticket to each of Utah's 15 resorts.
We plan to get a photo at each resort's sign. So far so good--we have skied 3 resorts so far. I am excited to document our adventure.
LW Skinny Type Font
Snowflake Brushes
Winter Wonderland Collection
Lori has this free file on her blog for today.
Pick up your favorites during the sale and enjoy the rest of the Blog Hop. Scroll down to enter a Giveaway!
Ashley Cook You are Here

subset: commoncrawl


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Stocks opened lower Tuesday but not as low as futures had indicated amid a rally in bank stocks.
The Dow eked out a gain Monday after Friday's carnage but veteran trader Art Cashin said it was likely the exception not the rule.
"I don't think yesterday means too much of anything. It's what the cocktail-napkin charters call an inside day," Cashin, head of floor trading at UBS, told CNBC.
Stocks came under pressure Tuesday after Federal Reserve Chairman Ben Bernanke said late Monday that high energy prices risk increasing inflation.
Bernanke warned that high energy prices pose a risk to overall prices but the central bank would "strongly resist" any tendency for an inflationary psychology to take hold. Many in the market took that as an indication the Fed could raise rates too cool prices.
Light, sweet crude was up more than $3 a barrel earlier, but came off those highs just before the market opened. As the bell rang, oil was up about $1.75 a barrel at just over $136 a barrel. On Monday, oil retreated after Friday's meteoric rise.
Financials rebounded after the Bank Index (BKX) hit a five-year low on Monday.
Washintgon Mutual was up 10 percent after sliding 17 percent on Monday to their lowest price in 16 years amid projections that the nation's largest savings and loan could see its write-downs hit $27 billion by 2011 due to the impact of mortgage-related holdings.
National City shares also jumped on news the Midwest bank chain has reached an agreement with regulators on its ability to manage capital, risk and liquidity.
"I think we put in a double bottom on the financial crisis," Cashin said, but added, "Later, we're going to roll over and make -– or break to -– a new bottom on the recession."
"Suddenly out of a calm sky, the sky is filled with hawks. They seem to be attacking the market," Cashin said, referencing the Hitchcock classic, "The Birds." "The hawks are everywhere and I can't find a telephone booth to hide in!" Cashin said.
Lehman Brothers , however, skidded more than 6 percent to a five-year low amid continued concerns about the firm's stability. A slew of brokerage firms downgraded their ratings on Lehman stock and lowered price and earnings targets.
Apple rebounded after taking a beating in the prior session amid profit-taking following the release of the new iPhone. Shares of Apple had jumped 50 percent in the last three months.
Citigroup raised Apple's price target to $287 from $248 with a "buy" rating, and Lehman raised it to $234 from $202, maintaining its overweight rating. Apple shares edged higher in premarket trading to $181.75.
Texas Instruments narrowed a quarterly earnings and revenue target range it issued in April because of caution among its chip customers and weak demand for high-end phones. But the stock edged higher in German trading.
In economic news, the trade gap expanded to $60.90 billion in April from a downwardly revised $56.49 billion in March as oil prices surged. Economists had expected the gauge to rise to $59.90 billion. Average prices for imported oil rose $6.96 a barrel, the second highest increase on record.
At the same time, a survey from the National Federation of Independent Businessshowed confidence in the U.S. economy among small business owners to be at its lowest rate since 1980.
This Week:
TUESDAY: Bernanke speaks
WEDNESDAY: Mortgage applications; crude inventories; Fed's beige book; Treasury budget; Fed's Kohn, Bullard speak
THURSDAY: Import/export prices; retail and food sales; jobless claims; business inventories; natural-gas inventories
FRIDAY: CPI, consumer sentiment
Send comments to firstname.lastname@example.com


text:
Bullz-Eye.com recently reviewed the 2011 Nissan Maxima. Find out what they had to say about this new ride!
Most of you have seen the Nissan Maxima commercial where the guy's wife announces that they're having a baby and he transforms their 370Z into a Maxima. Once you get to the end of this review you'll know how believable we found the commercial.
The 2011 Maxima has a clean and refined look – a mixture of a sports and luxury sedan. The chrome finish around the windows and smoked HID Xenon Headlights give the 2011 Maxima 3.5 SV a distinctive look. The model we tested also sported fog lights, dual chrome exhaust with rolled edges, 19″ aluminum light hyper-silver wheels, a dark chrome grille, and a rear spoiler. Basically, this Maxima looked refined and cocky, a truly modern take on a model known for its practical, real-world driving experience. The front end invokes the design of Nissan's high-end GTR sports car. That's a good thing, friends.
Posted in: Car Reviews, New Cars, Nissan
Tags: 2011 Nissan Maxima, 2011 Nissan Maxima car review, Nissan Maxima


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As you may recall from a previous post I was kind of joking about applying for the TV show The Bachelor. Well, after a couple (or more) glasses of wine I actually did it! And what seemed like a pie in the sky idea soon turned into a crazy whirlwind of craziness, involving flight offers, interviews, cameras and auditions where we were made to do all sorts of things that kind of just reminded me of team building exercises I complete for work…
Throughout the whole process I had this strange underlying sense of confidence, you know that feeling you get when you are kind of guaranteed something is going to happen? Second round of activities had been completed and it was announced that only ONE girl from the 20 in my group was going to be chosen to go to the next round, which obviously was me, otherwise I wouldn't be blogging about it. The next round was the final round and I was sat in front of the camera and was interviewed by a panel of people. I had zero nerves and spoke confidently about my experiences of losing Chris.. Of how no I haven't dated someone since.. How yes I feel like I am ready to date someone else.. How I was a blobby, ball of mess immediately after Chris died. The panel all smiled at each other. They all smiled at me. They kind of gave me the sense they were onto a winner (of course it was a winner. Tragedy, love, it's TV gold right?)
We were given psych tests to complete. I answered honestly. Had I been sad sometime this last week?.. Yes, somewhat I had been. Had I been lonely sometime this last week? Yes, of course. My partner was killed a year and a half ago. I'm always a little bit sad and lonely. Doesn't mean I'm depressed. It's a natural reaction to this sort of event. Surely it wouldn't affect my application.
I left the audition feeling confident. Then a couple of days later I started to become nervous. What if I actually got on? What were the possibilities? I could share my story about Chris. Perhaps changes in Workplace safety could be made. I could meet someone amazing. And if not those things, I could have an incredible experience.
Soon the stakes were even higher. I realised I didn't get a First Round offer from uni to get into Midwifery. Fuck. What if I don't get into uni AND didn't get onto the Bachelor?! I would have taken a year's leave without pay for nothing, and sitting and doing nothing is probably not the best for my mental health. I started to get anxious. I was wanting this Bachelor experience too much.. And I know when I want something too much, it doesn't happen.
Second round offers for Midwifery came out and I was accepted. Phew. I had a back up plan! But by now, my imagination had taken me too far, and I was too invested in the Bachelor experience.
I waited and waited for a phone call. Nothing. I ended up getting in contact with them.. Which we all know is a bad sign. They gave me the bad news. They said they debated over me and went backwards and forwards, but decided, finally that no I wasn't going to go on.
I hung up.
And truthfully?
I'm devastated.
Not that I didn't get on the show so much. More so that I still can't believe that Chris could die, and then nothing after that really happens.
Physics says, everything has an equal and opposite reaction.
But not death.
This show was going to be that for me. The equal and opposite reaction. It was going to change my life. Forever alter it. Just like Chris' death has.
But it didn't happen.
And I'm just here… Picking up the pieces… Living a boring life. With a giant hole in my heart.


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Mythbusters-not busting any myths last night.
by admin
The Paley Center for Media had ANOTHER great panel last night, seriously more of you need to go to these, they are without a doubt to see your favorite actors from your favorite shows and ask them whatever you want but I was happy to bump into a couple fans of this very site last night so thanks for reading guys! But anyhow back to the panel…
Adam Savage and Jamie Hyneman, the stars of Discovery channels hit show Mythbusters stopped by the Paley Center for Media in Beverly Hills for An Evening with Discovery Channel's Mythbusters (which has to be the longest evening with title yet.)
I'm a huge fan of this show as are my nephews, but I have to admit I was nervous about interviewing the guys, well Jamie to be specific, not because he isn't a cool guy on the show it was just that he doesn't often have a lot to say. Thankfully my worries were unwarranted, both of the guys were very cool and very down to Earth. Enjoy the video:
After my little interview I ran inside to get a good seat for the panel, after showing us the Obama/solar ray episode the guys got up onstage and right into telling stories.
Jamie joked about not taking his hat off when filming with the President and they both were saying how they only got 13 minutes to film with Obama and filmed two endings depending how the myth turned out.
When asked where they get the cars they destroy from, Adam said they find them at the scrap yards moments from being compacted, buy them then accelerate the compaction.
Surprisingly to me they said that the budget for materials per episode is $5000-$10000, the materials range, depending on the episode, from $150 all the way up to the rocket car at $100,000 and that because of Jamie's Hollywood shop experience they usually find the cheapest way to do it.
The one question they both get all the time is how much of the work they actually do and again surprisingly to me, they do the majority of the work on the builds. They do have a couple guys that do the finishing work but the majority is done at M5 by Jamie and Adam. I have no idea how they have any free time between filming and building, their lives have to be 99% Mythbusters for most of the year. The other question they get a lot: is there a myth that they can't do for legal reasons and their answer was they would love to bust every myth but if its too dangerous they won't do it. The one Adam jokingly said he wanted to bust was the nuclear explosion fridge scene from Indiana Jones and the Kingdom of the Crystal Skull but they just don't do above ground testing anymore.
Thankfully Adam was asked how he got started and told about his first acting job he got doing a Charmin commercial,which gives me an excuse to post it here. He found out from his parents years later that he got paid $18,000 for the commercial which he "blew" pretending to go to NYU for a year.
and his "biggest" job on a Billy Joel music video as a drowning victim.
That was about it for Adam's acting career and moved into graphic design and prop building, he met Jamie working at Jamie's M5 shop which did props for movies and TV. Jamie's shop could build just about anything and between production jobs he designed toy prototypes. When he was approached to do the pilot for Mythbusters he called up Adam and figured they would make the pilots and be done with it, Jamie didn't know any more myths that could be done.
They said during the panel that they don't do any supernatural myths or "Oogie Boogie" myths because they can't prove the negative. For example, they can't search for Bigfoot then say he doesn't exist because all the proved was he wasn't there when they searched for him.
They told a lot more stories and answered fan questions from young and old alike in the audience. I have to say they really appreciate their young fans and made sure that the kids in the audience were the first to get autographs and ask questions at the reception after the panel.
The guys did say that they still have 4 years left on this contract,they still love doing it and that the show is still doing great for Discovery so there's no immediate end to Mythbusters in sight! Finally, a show I love that I don't have to worry about going anywhere! Oh and don't be surprised if you see them on The Simpsons in the near future….
go here for more info on The Paley Center
Recommended Posts
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November 03, 2017
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May 24, 2017
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Inevitably, in the days following David Bowie's death, questions were raised across the web as to where a new generation of musical eccentrics might be found in an increasingly saccharine mainstream pop landscape. Well, here's one.
Kiran Leonard | Rating: **** | Hug & Pint, Glasgow
Raised in Oldham, most well-known in cult circles for his 2012 album Bowler Hat Soup, and recently the creator of a 16-minute single in last month's Pink Fruit, Kiran Leonard sounds nothing like Bowie or anyone else, which is the point of being a maverick.
In the packed basement of the Hug & Pint, Leonard did strange and unlikely things with a typical four-piece band line-up. His music is possessed of drive and focus, but doesn't go where you expect it to; songs like Oakland Highball and the new Don't Make Friends with Good People ("it's sarcastic," reassured Leonard) rest upon discordant, seasick key changes, wailing violin interjections and Leonard's unique vocal, bearing a hint of Jeff Buckley's tone, but occasionally becoming an uncontainable yell.
There are occasional similarities to the considered rock voyages of Mogwai or Aereogramme, yet echoes of others don't mean Leonard can be placed alongside them. He flitted between delicate folksiness and angry rock, then settled on urgent, Television-like post-punk on Port-Aine and a ramshackle funk groove on Geraldo's Farm. Between songs, he tuned deliberately and at length, and conversation was possible; one guy crowdsourced directions to the toilets and another gasped, "my god Kiran, you're an absolute genius." The comedy "ba-doom-tish" added by Leonard's drummer belied the fact it's no joke.


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Bear Wild RTH
Brand: Bear
Bear Wild, an easy to draw & shoot S7 single-cam bow, a smooth, comfortable let-off for steady aim & accuracy. The Wild package shoots 310fps with 32.25" axle to axle, 7.25" brace height & Trophy Ridge premium accessories to take the guesswork out of optimising your bow. Wild brings decades of Bear's experience, a deep commitment to value & delivers a ton of performance at a great price
Bear Wild RTH
Bear Wild RTH Description
We only have 1 bow in 60lb RH in Shadow Black in a draw length range of 24" to 31".
One of Bear's single cam bows is the Wild.
This bow is the exception to the old adage, you get what you pay for.
The easy to draw and shoot single-cam offers smoothness with a comfortable let-off which enhances steady aim and increased accuracy.
The Wild shoots 310fps and features a smooth S7 Cam with rotating module, it measures 32.25" axle to axle and has a brace height of 7.25".
The Wild brings Bear technology, decades of bow building experience, a deep commitment to value and to deliver a ton of performance at a great price.
This bow weighs just 4 pounds and the peak draw weight is 50 to 60 pounds only and its draw length adjustment ranges from 24" to 31".
The Wild Ready-to-Hunt package is available in Shadow Black only. Bear Wild also comes as a bow in RealTree Xtra Green camo which is not a stocked item but can be special ordered. Please enquire.
Legendary Bear performance, paired with the perfect Trophy Ridge premium accessories that takes the guesswork out of optimising your bow. The package includes an installed D loop, peep sight, a Trophy Ridge 3 pin fibre optic sight, 5 arrow quiver, stabiliser with wrist sling and the most trusted arrow rest on the market, the Trophy Ridge Whisker Biscuit.
Specs at a glance
- IBO Speed 310fps
- Weight range 50-60lbs only. All bows are adjustable 10lbs down from the peak draw weight.
- Draw length range 24"-31"
- Brace height 7.25"
- Axle to Axle 32.25"
- Mass weight 4lbs
- Let-Off 80%
- S7 Cam with rotating module delivers efficiency at any draw length, high speeds, a comfortable feel, incredibly smooth, zero nock travel
- Limb Flared Quad for proven and lethal, well controlled power
- Zero tolerance limb pockets for high-precision, locked-in fit
- Bottom string suppressor deadens any noise and vibration at the shot
- Strings and cables - Bear Pre-Stretched Contra-Band HP BCY 452X strings and cables - eliminates string stretch and peep rotation
- Available in Right Hand only
- Available in standard hunting colour option of Shadow Black only
The Bear Wild comes fully loaded in a complete ready-to-hunt bow package
Trophy Ridge Whisker Biscuit arrow rest, black with brown fibres to cradle the arrow, providing complete arrow support so your arrow stays put even after knocking, shaking or dropping your bow. At the shot, they allow the arrow to pass through without fletching damage. Please note camo model is shown for illustration only.
Trophy Ridge 3 pin fibre optic sight black, 3 light-gathering pins, sight level, contrast glow ring, can be adjusted for right or left hand use.
String Peep Sight with 5 mm diameter hole, fits horizontally in bowstring.
Trophy Ridge 5 Arrow Bow Quiver black, holds either carbon or aluminium arrows. It features a lightweight durable moulded stem and a black hood. There is a second retainer bar and cut away hood to ease removal and installation of your arrows. Quiver holds arrows with fixed or mechanical broadheads inside a replaceable, sound dampening hood. Please note camo model is shown for illustration only.
Trophy Ridge Stabiliser with braided bow sling draws vibration out of the bow and absorbs it like a sponge.
D Loop installed.
The Wild bow package includes your accessories expertly installed and set up. This is a value for money action package that sizzles and is ready to hunt. If you bought all of these accessories separately, the accessories would not be installed on the bow, ready to shoot.
You can also add a release aid, scope, rangefinder, game camera, hard or soft bow case, 3D Animal, ShotBlocker or DeadStop target and arrows to suit, set up and ready to shoot.
We can also tailor a special bow package to suit your requirements for the Threat or for any bow - please enquire and we can help you select the accessories that are right for you.
In the finest Bear tradition, the Wild raises the bar again for performance that is well above price.
Bear Wild. Secrets this dirty are best kept quiet.
Take a close look at the Bear Wild today. It will really make you sit up and take notice of its performance and price.
We only have 1 bow in 60lb RH in Shadow Black in a draw length range of 24" to 31".
|Bow Cams:
|S7 Cam
|Flared Quad Limbs
|310 feet per sec.
|Axle to Axle:
|32.25 inches
|Brace Height:
|7.25 inches


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Ulysses (1922)
James Joyce's epic novel, published in 1922, celebrates the events of one day in Dublin, June 16, 1904, in the lives of its three central characters: Leopold Bloom, his wife Molly Bloom, and Stephen Dedalus. The book is modeled on episodes in Homer's Odyssey, with Bloom corresponding to Odysseus, Molly to Penelope, and Stephen Dedalus to Telemachus. The Homeric analogies work not only on the level of characterization but also in the settings and occasionally even in minute details. Ulysses is among the foremost works of twentieth-century literature and represents a watershed in the history of the novel. Next to Finnegans Wake it is Joyce's most innovative creative achievement.
Joyce began writing Ulysses in late 1914 or early 1915, although his original idea for a story with that title dates back to 1906 and was conceived as another story for Dubliners. It was to feature a Mr. Hunter, a Dubliner who had actually rescued Joyce after he had been knocked down in the street. Joyce believed Hunter to be Jewish, which suited his artistic purpose, because it set him apart from the catholic-nationalist/Anglo-Irish literary debate of the day. However, that story "never got any forrader than the title" Joyce told his brother Stanislaus in a letter of 1907. Yet the idea stayed with Joyce, and by June 1915, it had taken a radically new shape as the outline of the novel and the first completed chapter show. Through the good offices of Ezra Pound,Ulysses began to appear serially in the American journal The Little Review from March 1918 through December 1920. It was also thanks to Pound that portions of Ulysses were published in Harriet Shaw Weaver's London periodical, The Egoist.
If during the eight-year gestation of Ulysses Joyce kept revising and expanding parts, Pound and The Little Review's editor made unauthorized deletions fearing legal problems. Even so, four issues of The Little Review were seized and burned by the United States Post Office. In February 1921, the co-editors of The Little Review were found guilty of publishing obscenity; they were fined and prohibited from issuing any further episodes of Ulysses.
Joyce had great difficulty finding a publisher and was close to giving up when Sylvia Beach offered to publish Ulysses under the imprint of her Paris bookstore, Shakespeare and Company, in 1921. She financed the project by enlisting subscribers, and Maurice Darrantiere, a printer in Dijon, agreed to print the work as it stood. He provided Joyce with multiple galley proofs which were used for revisions and expansions almost to the day of the novel's publication.
Ulysses is based on an elaborate framework. For the benefit of some early critics Joyce produced schemas outlining Homeric correspondences and "symbols"


text:
She collected recollections
From the past
As though they were
Trinkets from a shop
Where antiques—
Roughly used and rusting—
Lay waiting,
Lay trusting
Their time would come again.
Again yesterday came
But with a different name
So she sat with her
Stoic and measured
With a grip not to lose
For if she loosened her hold
They may drip away.
Away from the darkness
Of her previous losses
She looked toward the light
Lost her sight
At the brilliance it held
Shuttered with fear
Melted with doubt
Stifled her silent shout
With a thought.
The thought
A question
Singed with intention
Like the barrel of a gun
Prompting her
To run
Instead of stay—
But she stayed.
Stayed in the place
Where she planted the seeds
Grass to grow
To overthrow
The things it seemed
She could not let go
Like a patient
Patiently awaiting
Death that rides
On the back of loss
That stabs at the fear
Of drawing near
"Don't move from here"
She whispered out loud
And hoped the desire to move
Would evaporate
Like a cloud.
Clouds of then
Filled the present
A fog in this room
Invaded by the presence
Of shadows—
Not men—
Only places
They may have been
Had they stayed.
Staying threatened her breath
As the air turned white
The longing for safety
By this encroaching night
The fear of losing
Being lost from her sight
As a struggle to gain
Awoke to the fight.
Fighting for air
She stood to her feet
Considered her options:
Victory / Defeat—
Destruction seemed easy
To fail is so clean
Triumph unknown
Invites mystery:
Shrapnel of
The unforeseen.
Unforeseen was the way
Mighty was the day
When the roots that held
Were cut away
When her voice
Found the breath to say,
is where my future—
–copyright Jill Szoo Wilson
Photo Credit: This beautiful piece is by German artist Justine Otto. Titled: Fourth Corner, 130 x 180 cm, oil on linen, 2013. To view more of Justine's work, please visit her website and Facebook page: Justine's Website , Justine's Facebook Page .


text:
- Connect
- Volunteer
- Learn
2011 Yale Club of Washington, DC Annual Event
Thursday, April 7, 2011
6:30 reception and networking
7:30 program featuring Dana Milbank '90
Hogan Lovells LLP Washington, DC
Join us for the 2011 Yale Club of Washington, DC Annual Event - an exciting evening featuring Dana Milbank '90 on his book "Tears of a Clown: Glenn Beck and the Tea Bagging of America" (Doubleday, 2010), networking, and heavy hors d'oeuvres. We'll be downtown at Hogan Lovells LLP near Metro Center and privileged to hear and discuss Dana Milbank's latest political book.
Dana writes about political theater in the nation's capital. He joined The Washington Post as a political reporter in 2000, after two years as a senior editor of The New Republic and eight years with the Wall Street Journal. More info on Dana and his other books can be found here. Plus, previous Presidents of the Yale Club of Washington, DC will join us and we will present the 2011 Community Service Book Award.


text:
Independent Living for Seniors in St. Charles, IL
An Extraordinary Boutique Community
Welcome – and thank you for visiting the Carriage Oaks website! Take time to browse and learn about this extraordinary boutique community that truly embraces an active senior lifestyle! Nestled in a quaint neighborhood setting in beautiful St. Charles, we provide folks over fifty-five an attractive senior lifestyle option.


text:
First Of All I have to remind you that You don't have the permission to share this file on any other website . This an extremly exclusive item that can be purchased only from graphicriver .
>>>9 Metal Photoshop Styles to add a high quality and realistic metal look to your texts
>>>INSTRUCTIONS: To add the style pack, make double click in " Scratched Metal Photoshop Styles-3" file and go to the "styles panel" in Photoshop.>>>The styles work individually, with just one layer. So all you have to do is apply the styles that you want on your texts, logos or vector shapes. These individual styles are named with the names shown in the preview .


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I seriously can't believe that I'm 30, I remember even in high school saying/thinking that 30 was so old and now I'm here 30 old and fat blah blah. But thanks to my amazing husband I had a wonderful birthday(that I wanted to skip) so Dan took the whole day off and let me relax, I took a couple naps and ate yummy Chinese food for lunch and then I was off to get a massage and facial(2 hours) and then Dan said after we would go get some dinner, well after my awesome massage I checked my phone and had 7 missed calls and 5 texts so I call Dan and he was way worried because I was gone longer then expected so I rushed home expecting they would be in the car waiting for me to take off and I ran inside and much to my surprise it was a surprise party for me, I was shocked and I hate attention on me but I was Happy the house was decorated and the Dan had cafe Rio food it simply was perfect....as if that wasn't enough there was a knock at my door and as I turned the corner I FREAKED out!! it was my sister from Georgia, wow did I cry like a baby, I seriously couldn't be happier I have been missing her like crazy and this was exactly what I needed. I owe my husband so much he is the best to me and I love him so much and thank him for a WONDERFUL birthday. Thanks to all my family and friends that came to suprise me :)
Sunday, September 26, 2010
The Big 3-0!!! (Sep 22nd)
Posted by Miranda Whitney at 12:33 PM 2 comments
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Paul Henley
Opera & Concert Singer
Singing Teacher
Links and Contact
Although Paul has had an extensive and diverse career as a performer, he also has considerable experience as a teacher. He places much emphasis on technique, particularly breathing and breath control, these being the foundation of good vocal production. With his experience of a diversity of styles he is well placed to work in both the Classical/Operatic and Musical Theatre genres. In addition to his work as a private singing teacher, his appointments have included East 15 Acting School, Mountview Theatre School, Queen's Park School, Oswestry and Dauntsey's School.
"Paul is a very experienced bass-baritone and I know from working with him that he is a reliable and thorough trainer of young voices"
(Penelope Price Jones, Past Chair, Association of Teachers of Singing)
".....Paul has had many pupils who have made tremendous progress as singers, displaying remarkable improvement in technique, musicianship and general confidence as performers."
(Chris Thompson, former Head of Music, Dauntsey's School)
"I have been singing as an amateur for several years, and started lessons with Paul three months ago. Already my technique has improved and I have a much better understanding of my voice. My voice sounds better and I have much more confidence in my ability. I really enjoy my lessons - Paul is great fun and quickly puts you at your ease."
(Ami, Pupil - December 2014)
"I started singing lessons at the age of 54 having sung all throughout my life. I thought I could sing but I have been astounded by the amount I have learned from Paul and how my voice and ability have improved. I now have much greater confidence and it is thanks to Paul's coaching and encouragement. He is a great technician and a pleasure to work with."
(Grant, Pupil - February 2015)
"I started lessons with Paul about 12 months ago, having some experience of choral singing but with no formal voice training.....However, in a relatively short time and thanks to Paul's encouraging teaching and strong emphasis on developing good technique, my voice, abilty and confidence have improved enormously"
(Lynne, Pupil - March 2015)
"I am 49 years old. I have always had a good voice and I have sung all my life. After several
years of dithering I decided it was time to see if I could improve my technique, and try some formal lessons. Paul's profile speaks for itself, and I felt that he would be the best fit for my needs. I have been attending lessons for four months now. The difference it has made, in this short time has far exceeded my expectations. Not only has my voice improved in quality and richness; I'm even achieving notes that I thought were beyond my range. In addition, Paul has introduced me to a whole new world of music. He is witty and very easy to get along with. He's also an excellent teacher and his enthusiasm for music and voice is infectious. I would definitely recommend him to anyone who wants to improve their singing voice, young or old."
(Milo, Pupil - June 2016)
"I started singing lessons with Paul about three years ago. He has helped me to find my natural voice and given me an understanding of how to use it in a more sustainable way. A fundamental part of his teaching has been to learn about breathing and I have found that this has not just benefitted my singing, but also my general sense of well being. He has also helped me to appreciate music that I would not have considered before having lessons."
(David, Pupil - February 2017)


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Hampstead police were investigating yesterday the death o a woman who apparently fell out of a second-story window of her home in the Carroll County town Thursday.
Sgt. Russ Horne said the death of Gail Hunton, 48, was being treated as an accident.
The mother of three children was found lying in a grass and dirt yard outside her home by a neighbor at 1:40 p.m. Thursday. The ambulance crew tried to revive her. She was pronounced dead at Carroll County General Hospital.
Sergeant Horne said the medical examiner had not completed his investigation, but it appeared that the woman fell about 12 feet from the window between 10 a.m. and 12:30 p.m. The sergeant said Ms. Hunton's 18-year-old son, Duane Hunton, was the only person at home when she was found, but it was not clear if he was home when his mother fell, Sergeant Horne said.


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ps. If you were looking for wind spinners instead of wind chimes then you can check out this:
More Tuned Musical Wind Chimes Shopping Guides
Buy Woodstock Precision Wind Chimes Online
Premium outdoor wind chimes
Music of the Spheres Wind Chimes
Classic premium metal chimes tuned musical outdoor wind chimes
Bamboo Wind Chimes Shopping Guide
About the Author
- Appletreedeals on HubPages
Appletreedeals is the eCommerce identity of G.A. Anderson. . . See more of GA Andersons articles, reviews, and shopping guides.
Wind Chime Resources
- Make Wind Chimes
Build a Wind Chime, it's fast and easy! Wind chimes add a nice element to any home. I have mostly built my chimes from copper pipes or metal conduit and like the sound produced from these materials. I have listed many useful links below for building
- Davis Blanchard Wind Chimes-Wind Chime Design
Proper wind chime design for best tonality and action in the wind.
- An article on feng shui and its applications
An article on feng shui and its applications.
- Feng shui wind chimes
Feng shui wind chimes
- Wind Chimes and Water Fountains
Solar Wind chimes, bamboo windchimes, and musical outdoor wind chimes
- What are Wind Chimes?
Brief and Straightforward Guide: What are Wind Chimes?
- Wind chime - Wikipedia, the free encyclopedia
What is a musical wind chime, a bamboo wind chime, a solar wind chime, windchimes in general
- Wind Chimes by JW Stannard - Hand Tuned
Outdoor Wind Chimes by JW Stannard - Hand Tuned
- Feng shui and windchimes
Wind chimes are a popular Feng Shui tool, used for purification, protection and to enhance a room's energy.
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Was this review helpful? Drop me a note.
Great hub, and a nice touch adding the audio buttons so you can hear the wind chimes sounds
I agree with Kartika. I also have some of these wind chimes and yes they stay up year round as well.
Wind chimes make such a lovely gift and there are so many different styles now. I just saw one yesterday in the style of a giraffe. It was very cute.
I have these chimes and they are awesome! Love the music and I leave them up all winter!


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By Danny Peary
Back in the days before the NHL cleaned up it's act, the oft-told joke was, "I went to a fight last night and a hockey game broke out." I am reminded of this in regard to maverick Seattle filmmaker Tonjia Atomic because when I watch one of her horror movies, a comedy almost always breaks out. Her low- and zero-budget shorts and features have been embraced by the underground horror-movie crowd, yet I am not sure they are horror movies at all. Or can even be categorized. Her last feature, Plain Devil, is, despite its horror-movie title, a tame John Waters-like comedy. Her first feature, the often hilarious Walking to Linas is a comic parody of a documentary, featuring deadpan humor, zany improv. and an array of bizarre characters, including the egocentric leads Stasha (played by Atomic), and Ada. The totally improvised Claudia Qui is most definitely a horror movie…until the loony final sequence. Her next film is titled Raw Meat and it's about a skinless man out for revenge, yet I would be shocked if it doesn't have comedic elements and a few references to the foreign filmmakers Atomic adores. I thought I was the first to discover Atomic much like an art critic comes happens upon an outsider artist, but I was glad to learn that she already had a following after screening her movies at (mostly horror) festivals and making them available online–as is Plain Devil now–and she has even won awards. Yes, her curious movies have the flaws of all films made with micro-financing, but all have impressive moments (and laughs) and are made by someone who really loves movies. I think they deserve an audience. The following is an interview I recently did with the talented filmmaker, actress, and singer with the intriguing name, Tonjia Atomic.
Danny Peary: In Walking to Linas, Stasha's overweight Martha Grahame-idolizing dancer friend Ada says, "Seattle has an art scene…and I'm not part of it." I have the feeling that she is talking not only about your character, too, but partly about you, as someone on the fringes of Seattle's art community. Do people in Seattle's "art scene," know you?
Tonjia Atomic: That's an interesting topic. I wouldn't say that I'm known except in certain circles, more in an underground way. The local papers haven't written much about my films but I was mentioned in a couple of articles for being in a band called Huh-Uh. My films have gotten more attention for playing in festivals in Boston and other towns than in my hometown. Some people in Seattle's indie movie scene may remember me from when I volunteered at the Northwest Film Forum, which shows a lot of smaller films that don't have wide distribution. About ten years ago, I helped sell tickets and run the concession stand for the theater there. Years later I volunteered at its new, expanded space, and on Mondays I cleaned up the place, mopped the floors, things like that. So I got to know a lot of people who worked there over time. I haven't volunteered there for several years, but it has a pretty well known film festival called Local Sightings, and both Walking to Linas and Plain Devil played there recently, in different years. There's another popular local festival called Seattle TransMedia Independent Film Festival and Walking to Linas played there in 2013. I also did the voice of Jenna Jones in Jim Smith's stop-motion animation short, Porn Star: The Jenna Jones Story. It's a bit naughty and was made for Hump, a porn festival here in Seattle, but Hump turned it down and it got into STIFF instead. I haven't had anything play in Seattle International Film Festival, which is our biggest festival, but I worked in the box office a long time ago. Also I worked for Landmark Theatres, so people probably know me in that capacity as well.
DP: Are you ever recognized as Stasha, from the Stasha and Ada video shorts or the feature, Walking to Linas? Have people waved to you when they see you filming on the street?
TA: I've been recognized only once or twice. Although people who have seen Walking to Linas at festivals aren't quite if I am that character. Of course, Stasha is a totally fabricated character.
DP: She's one of your typically vain and pretentious heroines.
TA: And I'm down-to-earth. It's a deadpan mockumentary, so people aren't sure if it's real.
DP: I feel like I discovered you while taking a look at micro-budget horror film directors. The surprise was that making horror films is just a part of what you do. I was taken by your comedies, Walking to Linas and Plain Devil. Yet I think you're most known for being a horror-movie director, even though Raw Meat isn't out yet and I can't imagine many people have seen Claudia Qui.
TA: It's because of my shorts, mostly. Most festivals, reviewers, and film communities have trouble pinning down what I do–but since my films tend to have en edge to them–a weirdness and a dark quality–the horror community actually accepts them. I've made several shorts that have played at horror festivals and I have become involved in the organization Women in Horror.
DP: I know there was a "Women in Horror Month" earlier this year.
TA: Hannah Neurotica, a friend I met in a women's filmmaking group, started an online zine called Ax Wound, and I got involved in that for more support. Hannah is the one who started "Women in Horror Month" a couple of years ago. So now every February, women horror filmmakers and actors get together and create events. The word goes out online and basically all of us working in horror are supported and showcased. I had my short Awesome Ouija Board play a couple of years ago at one of the events in Philadelphia. And through "Women in Horror Month," I've met a lot of filmmakers, actors and actresses who are working in horror films.
DP: Was your 2014 short Closing In also part of that?
TA: No. Closing In was a short I made with a team for a 48-hour horror challenge. So it was made in a 48-hour period. I wrote and directed and edited it, and I wouldn't do that again because it's too many roles to have when you have such little time. It made it hard to get things done.
DP: Go back to your roots. When you were growing up, was your family into movies and theater?
TA: My dad was really into movies and is the one who exposed me to all kinds of B movies and horror movies. My mom wasn't a movie buff, but she loved true stories and epic dramas, stuff like that. So I got both sides of it. Also, I have a sister seven years older than me and when I was very young, probably 3 or 4, she would borrow my mom's tape recorder and record made-up radio shows. She's pretend to be a DJ or radio host, and create segments and other things, and I did that with her a couple of times.
DP: In a radio interview I listened to, you said you wrote a musical when you were about eight or nine.
TA: It was called Jungle Fever and was about loving to be in the jungle. I don't know what inspired it, but I taught a bunch of kids in my class to do dances and to sing along and we performed it for our teacher. Actually music is my first love, slightly ahead movies. I've spent a lot of time learning songs, practicing, and writing songs, and I've been a few bands like Huh-Uh, Duet To-It, and Filthy Issue, singing lead and playing guitar and keyboards. I have performed a lot and recorded some cds and made videos you can find online.
CD: Stasha does some faux opera, but you're a rock singer.
TA: Yeah, I guess so. I would say Blondie and David Bowie were big influences.
DP: Did you perform in shows at your schools?
TA: Not really, because honestly when I was younger I was always too shy. I did try out for a play, and there was a musical number so I got the part because of my voice. But that was the only time. I was too shy to let everything go and really audition.
DP: Were you going to movies all the time? You have references to foreign films in your films, but I doubt if your friends growing up were going with you to see Bergman and Truffaut movies.
TA: I did see a lot of foreign films. That was more when I was in high school. I was always the oddball. The other kids thought my jokes were dumb or strange, and I often found myself loving movies and other stuff that my friends thought was weird. I didn't really have anyone that I related to in that way. I had to find likeminded people.
DP: So you went to film school?
TA: I went to Seattle Central when it was in its heyday and was rated the number one community college in Time magazine. It was a really good time to be there because they had all these technical programs and I was in the Film and Video Production Program, which was a hands-on technical course that included some theory, too. That program doesn't exist any more, which is sad.
DP: In another interview you talked about its high attrition rate, how it started with lots of students and was whittled down to a dozen or fifteen dedicated students.
TA: If film wasn't your passion and you didn't really love it, you wouldn't find it worth giving up all your time. The school was open from 9 to 9, and we'd be there at 9 and work on projects until 9 at night and leave only because we were kicked out. It was a pretty intense course, and to get through you had to have a lot of drive to do a project and work on it until it was exactly how you wanted it to be. Anyone who actually graduated put in a lot of effort. I graduated when I was 23 or 24.
DP: Did the instructors there point to you as somebody who had potential?
TA: I would say yes, which is a reason I decided making movies was what I wanted to do. I really did well in the program, and received a grant based partially on an instructor's recommendation. I even got chosen to direct the class project, which was our own version of a scene from Matewan. I was very excited because John Sayles is a filmmaking hero of mine.
DP: Didn't you make your first film around this time?
TA: Yes, in 1999, I made a 21-minute film called Clever Elsa. That was my first short and it's the only time I shot on film. I shot it on 16mm, and I'm so grateful I had the opportunity to do that, because since then all the processing labs here have closed and it's nearly impossible to do anything like that without spending tons of money. Clever Elsa was just something I wanted to do and I took advantage of the opportunity I had because I was in school to make it. We could do anything we wanted for our final project, and most students did a short piece and used only school equipment. I was either the first or second student to make something on film, which our program didn't have resources for. I had few resources but I used the grant and did some fundraising and a lot of work outside of class to finance it. Basically I used fellow students and the school's studio, which gave me access to lights, for the indoor scenes, but everything else I did outside of the school–getting the camera, purchasing the film, paying for the processing, etcetera. It was certainly ambitious. It was a huge and important learning experience for me.
DP: Is Clever Elsa a horror movie?
TA: It could be classified as one. It's based on a Grimm fairytale, and it's in black and white and is kind of eerie. However, I felt like the original story is amusing, so I included humor. Like with my later "horror" films, I mixed serious and funny.
DP: Everyone has theories on horror. As you made more shorts and Claudia Qui and Raw Meat, did you develop theories on the timing of scares, or on how to build up a fright scene, or about things you don't see on the screen, or on the best way to unsettle a viewer?
TA: Honestly, I don't look at my films as horror films, so when I make them I'm not thinking about how to scare or unsettle viewers. I kind of fell into horror organically because my stuff is unusual and has a darkness or twist to it, but I'm not consciously trying to put a fright into anyone. I want to explore a topic or a theme or something about my characters. What I'm thinking about when I'm writing a piece is if one person does this, how would a second person honestly react. The back and forth between the characters is really what I'm looking at, and if something comes out of that that's unsettling or frightening, it's because it goes with the topic or the theme or whatever. But I don't consciously try to get scares, if that makes sense.
DP: For me, it's your deadpan humor that stands out, so I think it's odd that you might get pigeon-holed as somebody who just makes horror films. Will you be okay with that?
TA: Comedy is something I'm very interested in, and I think it comes naturally to me. So even if I am making a horror film, I'll include some comedy elements, like with Re-Animator and American Werewolf in London. I don't think I can help it.
DP: You seem to have taken a long break between Clever Elsa and your later shorts and features. What happened?
TA: Between 2000 and 2010 I did little videos here and there but nothing serious. One reason I wasn't putting out anything is that I was focusing on music and playing with a few bands during that time. Another reason was that it was very expensive to complete projects. People still had the idea of making movies on film but I really couldn't afford that. I didn't really have the resources to create anything until digital hit it big. I did have a project that I tried to make but completed only about half of it before I had problems with cast and crew dropping out. Since I've gotten back into filmmaking, finding the right people to work with has taken me quite a lot of time. If someone proves to be reliable, I try my best to hold on to them.
DP: I urge people to seek out your shorts, but let's talk about your features. Where did Walking to Linas come from?
TA: From the web series we made before the feature, The Prosaic Life of Stasha and Ada. There were six episodes, followed by the feature. Stasha and Ada appeared for the first time and met in the first episode, Performance Art.
DP: I laughed out loud at their conversation when they meet. Your character introduces herself as Stasha, saying her name is short for Anastasha. Then Aiden Karamanyan's character introduces herself as Adalynnarella, and Stasha asks, "Is that short for something?" I loved reaction. So was that close to your first meeting with Aiden?
TA (laughing): Not really. We worked together, and met through a job. I think it's funny that she has since legally changed her name and chose the name of her character, Ada. So we should call her Ada now, not Aiden as she is credited in my films. Ada's a very talented actress and I'm an actress, so we decided to do a couple of films together. She has a small part in Camille Qui, playing my character's girlfriend, and has a lead in Plain Devil as an immigrant who wants to fit in with my character's girl gang. She's not really involved in my films any more because she has gotten more into stage acting and writing. I won't be surprised if she becomes really well known in that capacity.
DP: Waiting for Linas is a mockmentary inspired by a documentary by Linas Phillips, which itself was inspired by a real journey by Werner Herzog?
TA: I guess this is where you can really see what my humor is like. I heard about Linas's Walking to Werner, and how he had decided to do a documentary based on Werner Herzog's famous journey [in 1974] in which he walked from Germany to his mentor, Lotte Eisner, who was in a hospital in France. It was a personal thing that he did to show solidarity. So Linas was inspired by Herzog's pilgrimage and decided to walk from Seattle to Herzog's house in L.A. So I thought that it would be funny if Stasha walked to Linas's house, to show her solidarity with him and inspire others in the future to walk to her house. Of course, Linas Phillips lives in Seattle too, so Stasha and Ada's big journey is about a mile or whatever. I got the idea before I had even seen Walking to Werner, which is a good movie.
DP: Linas Phillips makes a cameo appearance in the movie, though Stasha and Ada don't recognize him and continue on their journey. Is he a friend or did you actually seek him out to make an appearance in your movie?
TA: I met Linas before at the Northwest Film Forum, and we became acquainted because of filmmaking,
DP: Because Stasha can't climb down a long flight of stairs because she's wearing inappropriate high-heeled shoes the first time and they get lost on their subsequent attempt at finding Linas Phillips' house, I thought your movie was going to be a variation on Waiting for Godot, like Walking to Godot, with the two of you never reaching your destination. And now I see that a quote on your film's poster refers to Beckett's play. Was Godot in your mind when it was scripted? Or wasn't it scripted?
TA: The Stasha and Ada shorts were 100% scripted, but in Walking to Linas, the dialogue was all improvised. But unlike with my next film, Claudia Qui, which was also improvised, we were always sure where it was going. Ada and I decided on all the plot points beforehand. Basically, rather than it being like Waiting for Godot, I wanted to do the movie like a dream of mine. I thought it would never work if I actually filmed it as a documentary. In Walking to Werner, as Linas documents his journey and meets a lot of people along the way, there are some genuine, even heart-breaking, human moments in there, so when I finally saw it, I thought, "Oh, maybe I'm making a serious mistake doing this." Because I would be doing it to be funny and his movie is very serious. But I thought, "Ya know, I can do it if I make it kind of unreal." And one of the things I thought of was to create characters that could be placed in a world that isn't really real. That's how Stasha and Ada were born. Ada and I thought that if we made a few shorts with those two characters, we could develop them and really understand them better and build an unreal world for them.
DP: I don't know if you watched the Abbott and Costello television show from the early 1950s, which was a big influence on Seinfeld. The two of them would walk down the street and inevitably run into weird characters, just as Stasha and Ada do on their journey. What I find really interesting about your comedy duo is that they move through the real Seattle as if they are in a bubble, and the alternate universe just wherever they are. It follows them around.
TA: The characters are in their own world.
DP: One time in the web series, they are feuding and each have guys drooling over them and then they see each other and forget all about the guys and just walk off chatting and gossiping excitedly.
TA: They're a bit naïve and very self-centered.
DP: When it gets right down to it they love themselves most of all. They love each other but they also really don't because there's always some jealousy and annoyance with the other.
TA: That was something definitely we thought would be part of the humor. Make it so they think they're best friends. The really do rely on each other and have this strong connection, but we wanted there to be competitiveness and jealousy and have them flip on each other. That's where we thought the humor would really shine, so we kept that in mind the whole time.
DP: So was it hard to walk and talk with a camera in front of you and a boom over your head?
TA: It was to some extent, and I think that's why we had so many sound issues. We didn't have crazy-expensive equipment so we could roll things, and we had a small crew, and one time the cameraman, Joseph Cole, was backing up as we were walking forward and walked into a pole. So it was challenging. He did survive and would also be the cameraman on Plain Devil.
DP: The early scenes in the house in Walking to Linas remind me of early Andy Warhol. Particularly the apartment scenes in Trash with Joe Delasandro and Holly Woodlawn– only Stasha talks about shoes and herself rather than drugs and sex. It has an underground vibe.
TA: I have seen Andy Warhol's films, but I didn't consciously borrow from them. I think the reason there's a connection is that I wanted a naturalistic feel. I wanted it to seem real although the stuff we were talking about was absurd.
DP: There's a scene in Walking to Linas, when Stasha and Ada discover that Linas is in New York and decide to swim there. I thought they would change their minds and go home but instead they walk—you and Ada walk–fully clothed into a lake. Was that planned?
TA: Yes, from the beginning. We knew we were going to walk into the water. It was cold, too! I'd been in that lake before,we go swimming there every summer, although not in street clothes. I have swum in there when all the sticklebacks spawned and died–that was a bad surprise.
DP: I really laughed when Ada is insulted by Stasha and storms off, and Stasha gets her to return by singing a very stupid but complimentary siren song to her, in your opera voice, about what a great dancer she is. I think you improvised those silly lyrics and my guess it's like something you do while walking down the street sometimes.
TA: Yeah, I do that. After they run into a character from Ada's past, there's some jealousy and fighting and we had to figure out–how will they get back together? We thought it would be so funny if they came back together through their mutual love of their art. I didn't think to do that ahead of time. It was an unplanned moment. I just started singing to a flower and that just kind of happened.
DP: You didn't laugh then and keep a straight face throughout the film, but I think there is one time when you couldn't help but giggle for a second or two.
TA: We talked about whether or not to keep that in or not, and we decided to leave it in.
DP:. So how come there have been no more Stasha and Ada shorts or features?
TA: I think it's really because of the availability of the actors. We've talked about doing a couple more episodes for the web series, and we tried a few times, but unfortunately it's not meant to be.
DP: You decided to leave those characters behind and next do a horror movie, Claudia Qui. Is it true that you had no money or time to write a script, so the whole film is improvised?
TA: One of the reasons I decided to do this was because I knew Barbara Burgio and Don Ayers, who play Claudia and her husband Mark. I really love their music so I wanted to use the movie as the showcase for their music as well. I thought I could shoot this pretty economically and pretty fast, not thinking it would take me so much time to edit it and put it all together so it would be coherent.
DP: You mentioned the word "eerie" before and that's what I think the best scenes in Claudia Qui are. There's no violence in that movie at all. But where it succeeds, horror-wise, is when it's creepy, particularly the night scenes when Claudia walks about possessed. Were you going for that?
TA: Definitely. I think the horror is psychological and though it's multi-layered, most of all it's a relationship-type story, in a tragic way. To me, much of tragedy is Claudia pulling away from her devoted husband as she changes. It's kind of a sad story.
DP: Rather than putting your characters in physical danger, you have people who are in love pulling apart.
TA: For me, the danger was Claudia losing herself, and she does. And that I found tragic.
DP: Here's a quote I found of yours: "I like to be scared or creeped out in a safe setting." I think that's key to you. Did you try to scare yourself or creep yourself out, particularly in those night scenes?
TA: I guess so. A lot of it was intellectual, like, "What would Claudia be seeing in her dreams?" I was imagining that what she sees in her dreams is herself, but in another time and place. I was thinking about the duality and the separation from self. So a lot of it is not about a creep-out factor, but is an intellectual exploration of that idea. For me, the unsettling nature of the movie is the separation of her from herself.
DP: I really like the shot of two women in the mirror. It's the closest to a shock that you have in the movie.
TA: It was something that I wanted to do once, I have various shots of Claudia with the mirror, but this was different. I wanted to show the duality, how she was fractured from herself.
DP: I also like the scenes of Claudia walking around at night and that Paranormal Activity moment when she stands by the bed while Mark is sleeping.
TA: That was all done kind of in the moment. So if I had a strong idea and it went with another idea or fit into the scene we were doing, then I'd just film it.
DP: Your film is nothing like Picnic at Hanging Rock except for the eeriness factor. We never see anything bad happen to anybody, but there's something out there in those rocks that's taking over these girls and inhabiting them. They literally lose themselves, as does Claudia. Was that movie an influence on you?
TA: I do love that movie, so perhaps. I think everything I see influences me a little bit. With Claudia Qui, it's a little tricky, because I tried to let the movie make itself, depending how the actors played their scenes.
DP: I think Barbara Burgio and Dan Ayers are very natural and very much under control in their scenes together, and are very adept at improvising. How much direction did you give them?
TA: I agree they did a good job. They're an actual couple in real life, which is one of the reasons I got them to play the couple. I wrote notes for myself but I didn't write anything for them or any of the actors. I basically was like, "Okay, you guys, this is where I want the story to go in this scene."
DP: So I'd think you'd film it chronologically to help them understand the progression in their relationship as she withdraws more and more.
TA: You're right. We didn't film everything chronologically, but did as much as we could. The first scene in the movie was the first scene we filmed and the last scene was the last scene we filmed. I did Claudia Qui as an experiment and an exercise and didn't know how it was going to end up. And it was really, really hard to make. I mentioned the editing before–once we finished filming the editing took four or five months because that's when I had to create by putting all the footage together. I realized if I had scripted the film, I would have made it differently. So I don't know if I would do a film that same way again.
DP: Since everything was improvised, how many takes did you do?
TA: We would usually do a few takes. Because of how we made it, one of the things I realized when I was editing was that I needed to insert footage that wasn't the most interesting or seemed repetitive in order to move the story forward.
DP: You include flashbacks and dream imagery of Claudia as a fashionable woman who lived maybe a century ago. I believe you are showing us the woman that Claudia might be transforming into
TA: That is my intention. When Barbara dressed up in the older garb and walked by the water, she is supposed to be the other woman. And some of the imagery, her putting on the gloves and things like that, was supposed to be—in my mind—her putting on and taking on the other persona. These were the images in her mind or in her dreams.
DP: Late in the movie there is a slightly off-kilter party sequence, where Claudia has an art exhibit but she's really no longer Claudia. All of a sudden she is one of your very vain heroines.
TA: In this particular case, she has adopted the other woman's persona, and that vanity she shows is about Claudia's character feeling repressed. I think that part of her relationship with Mark is even-keeled, normal, average, every-day, but there is another part of herself that she repressed. Because of what she's been holding back, she allows the change in herself and for her own vanity to come out.
DP: If Mark didn't come across as a totally accommodating and supportive husband, I'd understand why she would want to break out and feel liberated. But as you said, the tragedy is that they are a really good, loving couple and she is still pulling away, either because she is really being possessed or because she undervalues what she has.
TA: I think there's a selfishness on her part.
DP: Did you intend to be in that movie playing Claudia's friend or was that a case of someone not showing up?
TA: It was mostly because of the need for extra actors. The need to have an actor who I knew would be available.
DP: Since Claudia Qui was so hard to make, how long was it before you started working on Plain Devil?
TA: I love filmmaking and always want to be working on something, so I started right after Claudia was done. I had Plain Devil in the back of my mind for a while and I was working preproduction on it.
DP: I have the feeling that Plain Devil was your dream project, your big epic. Is that how you thought of it?
TA: Of the movies I've made so far, it's kind of my masterpiece. It's my only film where I scripted everything myself from beginning to end.
DP: Did you close your eyes and picture it, or did you just have confidence that you'd pull it off?
TA: No, I imagined everything in my head before I did the shot list—and even before I wrote anything down as part of the script. If I know something's going to happen I can write it in the script even if I haven't visualized it yet–that's fine–but I have to visualize it before I can add it the shot list. Everything is visualized before we shoot.
DP: How long did Plain Devil take you?
TA: It took me a year to make, to get it right.
DP: Did you do some editing and then come back and do more filming?
TA: A little bit, but mostly it was just filming on weekends. It had a larger cast than anything I made before and often I wanted a lot of the actors together in certain shots. That took a lot of coordinating, because while most of them act professionally, they all had other jobs and I had to adapt to their schedules. So it was difficult.
DP: Aiden Karamanyan—now named Ada Karamanyan–plays Lil Gypsy and Barbara Burgio plays her mother in Plain Devil. You sort of have a repertory company, people who appear in most of your movies. I think you find everyone on the outside of the art scene.
TA: Most of the people I work with are well-known, but in a totally different way. Some are in puppet groups, doing shows around town and workshops. One company called Vox Fabuli that is mostly known for puppetry also makes videos and films, including Manos: The Hands of Felt, which is the puppet version of Manos: The Hands of Fate [which many people insist is the worst movie of all-time]. That came out recently and is getting reviewed here and there. I just edited a couple of videos that they made as well. My friend Rachel Jackson, who plays one of the gang members, Einstein Vagein, in Plain Devil is the puppeteer for Vox Fabuli.
DP: Are the people you cast all on the same comedic wavelength as you, or do you have to reel them in or explain things to them?
TA: I would say they're mostly on the same wavelength. And if not I usually can explain things. I think it was pretty good for Plain Devil; everybody was mostly where I was at.
DP: I see Plain Devil as tame John Waters. Were you parodying '50s gang pictures?
TA: Oh, totally. The whole inspiration for Plain Devil is the juvenile delinquent film. I wanted to be as if my character Bomber Hoshi and Einstein and Trashy [Danielle Daggerty] watched those movies all the time and wanted to emulate them in the modern day. It's very tame and very mild on purpose.
DP: They have no idea how to be bad. They even drink in moderation… Funny stuff! So the question is: Is everyone on the set laughing all the time or taking things seriously?
TA: My whole attitude is to take everything really seriously, so I would tell each of the actors, "Your character believes in what they're saying and believes in what they're doing, very seriously." Because I feel that if the actors commit to having their character deeply care about even the most ridiculous things, it comes across as stronger and funnier.
DP: Plain Devil also has deadpan humor, but do you think its tone and rhythm are the same as it is in Walking to Linas?
TA: I think somebody would be able to tell that the same person made both films, but I think the tone is a little different. I wanted Plain Devil to be a little more rock'n'rollish, and a little more absurd. Throughout the movie there is the juxtaposition between the Lil Gypsy's gypsy family and the girl gang she wants to join. And I wanted each to have a very different style and different feel.
DP: And different music. Although it's a supersilly film, did you want to get across a message about bonding, friendship, or any of that stuff? Or were you just saying, here's my movie?
TA: As with Walking to Linas my main goal with Plain Devil was just to be funny. And I'd throw it out if something was not meeting my goal of being funny, making people laugh or have some quirky reaction. In writing the story and coming up with the plot, themes do come out, but even though I think that's important to have, it's secondary to the humor. I do feel like it's important to have a story that involves the girls and the connection and the desire to accepted, all that stuff is important–but that's number two, and the jokes and comedy are number one.
DP: Your next film could be a big one, another horror movie.
TA: Raw Meat is a project I really have high hopes for. It is fully scripted, not 100% by me, but I am excited by that.
DP: What is the tone of that movie?
TA: It's going to be more serious. It has horror elements, and there's some gore. But it's definitely character-driven. It's about a killer.
DP: A skinless killer. Is it a revenge movie?
TA: Kind of. Basically he has been left by his fiancé, and he's not happy about that. He's very bitter, about the things that happened to him, and his trigger is seeing other couples in love.
DP: He is skinless, so does something happen to him early in the movie?
TA: Something has already happened to him by the time the movie begins. He has a backstory, but we don't see that in the film. If I have my way there will be a sequel and that might show what happened.
DP: And indie horror icon Bill Oberst Jr. is the lead?
TA: Right. I've known him for about three or four years. We met through friends, who I know through Women in Horror. Bill is a real supporter of indie horror, and has worked with a lot of people that I know. He's not just an actor, he's a fan, too, and I consider him a filmmaker too, because he goes above and beyond what most actors do. He doesn't just show up and work and leave.
DP: Are you at this point excited about your career, where it's going? Are you going to try to establish yourself as a horror movie person?
TA: I don't want to limit myself and do whatever I want, but I don't know how to balance those things. And I still have a day job. I feel like maybe my next step is to go to the next level and do larger projects and see how that goes.
DP: Are you a more confident filmmaker now or have you always been confident?
TA: Like I said, when I was in the class and doing really well, I always could make what I was conceptualizing. Because I could make movies that were close to what I conceived I felt like I was very successful. So I guess I had confidence in that way from the start. When I shot Clever Elsa in 1999 I didn't shoot coverage, I just shot every shot that I wanted, and then I put them together and it all worked. That might not have been the smartest approach ever, but I knew I could do it and it would be economical. I took a lot of chance but there were no issues. I just have a knack for that. That said, there's a lot I don't know and a lot of equipment that I haven't used. And a lot of things I haven't tried. So I feel like, yes, I have confidence in that I know what I'm doing, but also I feel like there's a lot of stuff I have to learn, that I've never done. So there are two things going on: I'm confident in my abilities to a certain extent, but I feel like I have a lot to learn.
DP: Do you want to stay in Seattle?
TA: Raw Meat was made in Seattle and I have another film planned for Seattle. After that I'm not sure.
DP: How can people find your films?
TA: At my website, tonjiaatomic.com, and I have some videos on Vimeo and some on VOD. You can find Stasha and Ada videos on YouTube at https://www.youtube.com/user/stashaandada/videos. And I'm excited that everyone can finally look for Plain Devil on-demand via Amazon.com at http://www.amazon.com/gp/product/B00ZEBDVRE/ref=atv_feed_catalog?tag=imdb-amazonvideo-20. Plain Devil is also available on dvd now via Amazon.com, at http://www.amazon.com/Plain-Devil/dp/B010GPVQJM/ref=sr_1_3?ie=UTF8&qid


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To make calcium powder is one of the most important tasks in the powder making industry as well as the foundation of many other industries such as the cement industry, ore beneficiation industry and metallurgy industry etc.
The modern industry focuses much attention on the environmental protection of the industrial products including the calcium powder. If the ultrafine mills used to make calcium powder are not environmental friendly, they will cause great damage to the whole industry as well as the whole national economy. Against the current low carbon economy background, the society gets strict about the requirement of the ultrafine mills like ball mills. The domestic machinery enterprises succeed in making the new generation of grinding equipment which can produce green calcium powder that has a wide range of applications as follows:
1. The plastic industry uses the calcium powder to make new plastic products. The calcium carbonate plays a supporting role in the plastic products and has a good effect on the stability of the finished products. The application of the calcium powder will also improve the hardness, surface smoothness and flatness of the plastic products.
2. The calcium powder can also be used in the oil paint industry in order to make high quality emulsion paint.
3. The calcium powder plays a key role in the production line of the artificial marbles.
4. The paper making industry also needs the calcium powder to guarantee the strength and whiteness of the paper products with little cost.
5. The construction industry uses the calcium powder to make dry mixed mortar and concrete.
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text:
The Madison Area YMCA's Family Center will host its Winter Open House Week from Monday, Feb. 3 through Sunday, Feb. 9. Bring a friend and try a class.
Winter Open House Week features free trial memberships for the week. Please visit the Welcome Center or www.madisonymca.org for a list of fee-based classes for all ages that are available to try during Open House Week.
The free trial membership for the week includes unlimited use of the Fitness Center, open lap and family swimming, open gym and open play in Kids Central, the Y's indoor playground for children. Don't miss this free week of fitness, fun and a chance to discover the Madison Area Y with friends and family. For more information about membership or to view the full Open House Week schedule, visit the Y's website at madisonareaymca.org.


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|Project by TwoboardsOnecupped
|posted 10-03-2016 01:30 PM
|750 views
|0 times favorited
|6 comments
My first "real" woodworking project. The stainless steel top was rescued from a mall food court, the 2×4's were donated from a shipping container and the shelf slats were scavenged from a friends old bed. All in all, this project cost me $4 (box of screws) and 4 hours out of my Sunday morning.
I know it's pretty rough, but this was my first legitimate project. Any and all criticism is welcomed, as I know there are probably a ton of things that could have been done differently/better.
-- I remember the first time I got wood...
6 comments so far
#1 posted 10-03-2016 04:02 PM
Looks sturdy. You might want to paint the wood to keep it from turning gray and to cover the print on the 2X4.
I wish I could stumble on a ss top for the same purpose.
-- Chris K
#2 posted 10-03-2016 11:37 PM
Excellent salvage job !
-- "My mission in life - make everyone smile !"
#3 posted 10-04-2016 02:04 AM
Nice job !
#4 posted 10-04-2016 06:49 PM
That's pretty awesome for four dollars.
-- Mat
#5 posted 10-04-2016 06:49 PM
To be fair, its pretty awesome regardless. haha!
-- Mat
#6 posted 10-04-2016 08:36 PM
I love projects which work around salvaged materials. Well done.
-- Cad a dheanfaimid feasta gan adhmad.......?
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text:
From: Paul S. Dixon (email@example.com)
Date: Sun Oct 12 1997 - 20:41:04 EDT
When Jesus was asked:
1) SU OUN EI hO hIOS TOU QEOU (Lk 22:70),
2) SU EI hO BASILEUS TWN IOUDAIWN (Lk 23:3),
He responded respectively,
1) hUMEIS LEGETE hOTI EGW EIMI, and
(Compare Mt 26:64, SU EIPAS and Mt 27:11, SU LEGEIS, respectively).
Is this a standard Greek way of saying "yes"? The NASV has "Yes, I am"
(Lk 22:70), "It is as you say" (Lk 23:3), "you have said it yourself" (Mt
26:64), and "It is as you say" (Mt 27:11).
Am wondering if there is possibly more to it than the English
translations seem to indicate. Is this a way Christ has of intentionally
veiling some of His glory to His nonbelieving accusers? If He intended
to simply answer "yes," then why didn't He say something like, EGW EIMI,
or EIMI? Is there not a simpler way of saying "yes" in Greek?
Paul Dixon
This archive was generated by hypermail 2.1.4 : Sat Apr 20 2002 - 15:38:33 EDT


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Marine TV Antenna Interference
by Frank Lanier
Chesapeake Bay Magazine
The United States Coast Guard is warning that boaters watching those GILLIGAN'S ISLAND re-runs while underway could experience a similar three hour cruise. Some active marine television antennas are causing problems with onboard Global Positioning Systems (GPS) receivers, with symptoms ranging from inaccurate position information to total loss of GPS receiver signal acquisition and tracking ability.
Not worried because you don't have a TV onboard? Think again – reports of interference occurring on vessels up to 2000 feet away from boats with active TV antennas have been recorded. If you're experiencing signal degradation or recurring outages with your GPS receiver and have an active TV antenna installed, the Coast Guard recommends a simple on-off test of the antenna. If GPS receiver performance improves with the antenna turned off it may be the cause of interference, at which point you should contact the antenna manufacturer and tell them what's happening.
The Federal Communications Commission has identified the following antennas as potential sources of GPS interference:
1. Tandy MINI STATE Electronic Amplified UHF/VHF TV Antenna - Models 5MS740, 5MS750, and 5MS921.
2. Radio Shack's Long Range Amplified Omni Directional TV Antenna - Model 15-1624.
3. Shakespeare's SeaWatch - Models 2040/Code Date 02A00, and 2050/Code Date 03A00 (code dates are found on the antenna power supply).
The problem most likely includes other antennas and mariners identifying other models generating GPS interference should notify the Coast Guard Navigation Information Service at email@example.com or (703) 313-5900.
GPS is a satellite-based radionavigation system that allows users to determine their position, velocity and time worldwide, 24 hours a day in any weather.


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Touchy- yet out of touch- monarchists
Monday, 28 July 2008
As one who refused to take up Australian citizenship until there was an option to pledge allegiance to the people of Australia instead of the queen (sorry, no capital 'Q' here), I am supremely ambivalent about the constitutional monarchy we have in Australia.
To me, it is a back door way for retaining the exclusionary 'Australia's heritage' arguments for the diehard old school (mainly, it seems) Anglicans who see themselves as arbiters of what is and is not 'Australian'. They are a vocal and extremely influential minority though, and are going to have to be dragged into the 21st century kicking and screaming.
Face it, the monarchy is irrelevant in Australia; apart from a few archaic constitutional conventions, it exists but in name. But it does have a symbolic significance and should be turfed out if for no other reason than to acknowledge the lack of its relevance to our lives.
It's a sign of the times that we see the monarchy being mocked in the public domain these days. Here is a billboard advertisement for a South Australian brewery:
The monarchist rump (now that's a useful term!) is actually expending energy to protest about this sort of stuff. A link to this story is here.
Someone should tell them to get a life or move and live it in Old Blighty.


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To access the build stage, go to "Campaigns > Manage campaigns", and select the build icon next to your campaign.
The menu on the left-hand side of the page will display all of the options available to you. A full explanation of each action component is provided in detailed tutorials available on our Client Supportal.
If you have duplicated an action, a majority of the components listed on the left-hand side can remain unchanged (there is no need to create the full set of new components every time you create a new action, unless you need to add a specific feature). However, there are a number of components that will be unique for each of the new actions, so they need to be created as new components. To do that, click on each of the folders listed below, duplicate a template element, and edit the component (make sure you are making your changes on the new component, not the one you duplicated it from) and select it for your action:
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1501 5775 Hampton Place, Vancouver Listing #: R2271058
One of Vancouver's 1st Class Concrete apt on UBC endowment Lands surrounded by Pacific Spirit Park. The "Chatham" at Hampton Place, 1,560 sq-ft of beautiful, spacious & bright 2 bdrms + den (can be 3rd bdrm) unit. Large covered balcony w/ forest, ocean & mountain views. Amenities include: indoor swimming pool, whirlpool/hot tub, sauna/steam room, exercise room, club house, bike storage, guest suites, guest parking and live in building manager all for your enjoyment. Unit includes 2 underground parking and 1 storage locker. Steps away from Wesbrook Village, beaches, and top-rated school such as, U-Hill Secondary & Norma Rose point Elementary. This is a must see! Book your private showings now!
Taxes (2017): $2,219.21
- Exercise Centre
- Guest Suite
- Pool; Indoor
- Recreation Center
- Sauna/Steam Room
- Swirlpool/Hot Tub
- ClthWsh
- Dryr
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Product Summary
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