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(302) 663-7811
(302) 663-7811
(443) 903-2368
(855) 702-0970
(717) 384-2455
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Snakes generally avoid people as much as we avoid them, but sometimes our paths cross. If snakes ever come to disturb peace in your Bethesda home, just give Mid-Atlantic Wildlife Control a call and we'll remove nuisance snakes safely and humanely. Whether they are interrupting your outdoor summer fun or turning your house into the "snakes on a plane" movie scene, consider them evicted!
We often get calls from Maryland residents who think they encountered a poisonous snake. In some cases, that turns out to be true, but many times snakes get misidentified. There are two venomous snake species common in Maryland: Northern Copperhead and Timber Rattlesnake. Neither is brightly-color as you would expect from a dangerous snake. Both, in-fact, are rather plain looking and can be easily mistaken for a different snake.
Here is a video showing both of Maryland's venomous snakes up close. For your own safety, never intentionally approach a snake like this—you will surely get bitten unless you are in a zoo. You will also notice how well Northern Copperhead blends in with foliage—this is something to keep in mind if you are into hiking in Maryland woods.
If you get bitten by either of these snakes, seek medical attention immediately. Although in most cases these bites cause only local tissue damage, in some instances they can be lethal, especially to children, elderly and people with a compromised immune system.
It's one thing seeing an occasional snake when you are mowing the grass or walking a dog. It's different when your pets get bitten by a snake or when you find one in your home. Snakes may gravitate to places that provide abundant food sources, which includes mice, bird eggs, larger insects, etc. If you live in the country, you probably have plenty of each, especially in summer. And if your home is not very well sealed, snakes may get inside and make themselves comfortable in close proximity to hot water pipes or other heat sources. Most snakes enter at ground level, but some are also good climbers and may enter from the roof and could even climb your siding.
If you keep seeing snakes in your home or on your property, get in touch with Mid-Atlantic Wildlife Control for help!
We realize that you want your animal intruder gone ASAP. Contact us with emergency wildlife issues.
Our technicians can identify all local pest wildlife species and choose the best removal method based on the animal's lifestyle.
We will repair the damage, seal entry points and offer you advice on keeping the wildlife away from your home for good.
Montgomery County Wildlife Removal: Olney (20832), Damascus (20872), Laytonsville (20882), Silver Spring (20910), Clarksburg (20871), Gaithersburg (20878), Germantown (20876), Bethesda (20816), Chevy Chase (20815), and more.
Howard County Wildlife Removal: Clarksville (21029), Columbia (21044), Cooksville (21723), Dorsey (21075), Elkridge (21075), Ellicott City (21043), Fulton (20759), Glenelg (21737), Glenwood (21738), Granite (21163), Hanover (21076), Highland (20777), Jessup (20794), Lisbon (21765), Marriottsville (21104), North Laurel (20723), West Friendship (21794), Woodbine (21797), Woodstock (21163), and more.
Carroll County Wildlife Removal: Eldersburg (21784), Finksburg (21048), Hampstead (21074), Manchester (21102), Marriottsville (21104), Taneytown (21787), Union Bridge (21791), Westminster (21157, 21158), Mount Airy (21771), New Windsor (21776), Sykesville (21784), Woodbine (21797), Taneytown (21787), and more.
Frederick County Wildlife Removal: Frederick (21701, 20702, 21703, 21709), New Market (21774) , Mount Airy (21771), Urbana (21704), Ijamsville (21754), Walkersville (21793), Libertytown (21762), Damascus (20872), and more.
Anne Arundel County Wildlife Removal: Annapolis (21401, 21403, 21409), Arnold (21012), Crofton (21114), Crownsville (21032), Gambrills (21054), Glen Burnie (21060, 21061), Hanover (21076), Jessup (20794), Pasadena (21122), Severn (21144), Severna Park (21146).
Baltimore County Wildlife Removal:Arbutus (21227), Catonsville (21228, 21250), Cockeysville (21030, 21031, 21065), Dundalk (21222), Edgemere (21219), Essex (21221), Garrison (21055), Lansdowne (21227), Lochearn (21207), Lutherville (21093), Middle River (21220), Milford Mill (21244), Overlea (21236), Owings Mills (21117), Parkville (21234), Park Heights (21215), Pikesville (21208), Randallstown (21133), Reisterstown (21136), Rosedale (21237), Timonium (21093), Towson (21204), White Marsh (21162), Woodlawn (21207), and more.
Harford County Wildlife Removal: Bel Air (21014, 21015), Aberdeen (21001), Abingdon (21009), Havre De Grace (21078), Pylesville (21132), Jarrettsville (21084) and more.
We service Maryland, Virginia, Washington, D.C., Pennsylvania, and Delaware in addition to the counties listed above.


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Find Top-Rated Petoskey Tanning Salons
There are 0 top-rated Tanning Salons in your area and 4 to avoid.
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Sun Kissed Salon & Spa
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Sarenity Apparel Tattoos & Piercing Ltd
Business Description: Sarenity Apparel, Tatto & Piercing is an independently operated & fully licensed tattoo parlor located in Michigans Blue Water Area. We offer some of the best body modification rates in town. We are located in the Birchwood Mall near Macy's.
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Lance Aaron/ Professional Online Portrait Artist
Business Description: Hey, I'm Lance! I became a professional online portrait artist in 2006 after my family was taken from me in a tornado losing my mother, father, brother, and son. Twenty-eight lives were taken as well as all their possessions, like mine. I drew from destroyed photos their families so they could have memorial portraits of them at the funerals and for the rest of time. Since then I have made a living traveling the country doing shows and drawing from photos you email me on line. There is NO GIFT more unique that brings more tears of joy to a loved one's eyes like one of these. Nothing. I've seen it time and time again. I make it affordable to anyone who's ever wanted one of these. Paintings with half the detail of these can cost upwards of $30,000 limiting something like this from hanging in living rooms for families to the rich only. Not anymore. Here's how it works.. Simply email me your favorite picture or pictures to email@example.com with a brief description of what you would like done. The bigger and clearer the picture the better the drawing. I will start an initial sketch right away and take pictures of it and show it to you. Please email them quickly if possible, because the holidays are coming and I get busy. Once the initial sketch is done. I usually take something down on it. It's a lot of work doing the initial sketch. This varies on the cost of the drawing which we will discuss right away. Drawings are usually 175 for 9x12's 225 for 11x14's 275 for 14x17's After this process is done I continue with your art piece sending you photos on line all the way through which many people find a lot of fun. I am also friends on Facebook with almost every person I've ever drawn for as well and would like to be your friend as well if you would like that. I post them on FB at your discretion. It makes me way more legit to people as well. The Prices vary with the art because of the size of the drawing as well as the number of faces. The number of faces DOES NOT double the cost. Usually an extra face is added depending on the size from anywhere between 25 and 50, but I do deals on these more than anything, so please call me about it at .(850) 691-3976
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Metro Studios
Business Description: We, as a group of tattoo-driven individuals, came together to create something of our own. A touch of something different, so to say. Located in the heart of Howell, Michigan, we dedicate ourselves to providing the best effort we have to offer as well as using high grade equipment for quality assurance. Your creation is our command.
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Business Description: Hello and welcome to my site i master in several different readings my readings leave no shadows and no stones unturned i am native American. I am part of family which is strongly gifted in psychic and gifts for over a 150 generations i have been in business for the last 31 years I have never failed a case with my combination of herbs and oils i will Stops Cheating and Lying Restores trust and faithfulness in your relationship and Makes your lover absolutely crazy about you stop divorce and remove all curses bad luck and negativity once and for all and block all evil from coming back in to your life so if you feel like everything you are trying is failing then call to day for a better tomorrows spells bring back lover spell stop divorce spell sex spell lust spell passion spell romance spell gay love spell lesbian love spell money spell brek up spell create your own spell tarot cards crystal staff reading aura reading psychic reading crystal reading chakraa reading and aura cleansing spiritual cleansing and more call now (214)753-3362.

subset: commoncrawl


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Enter a URL
What is MozRank?
MozRank is one of the most famous and reliable metrics if you wish to upgrade the authority of a website, blog or any internet web page. Many webmasters and other search engine optimization experts are the recomending MozRank as a point of reference for optimizing the search engines's appearance like google. Moz is the founder of this nice and useful rank algorithm, an organization that provides tools for SEO.
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Event media available
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Good taste, fresh ideas, a balance of groove and melodic sense makes trumpeter and composer Fabio Morgera appreciated around the world.During his career he has had the privilege ...Artist profile
Saul is a consummate musician, a person who is aware of the feelings of others and a person who is gentle in that sense. He is everything I ...Artist profile
No artist biography availableArtist profile
Bassist and composer Gregg August spans the classical, jazz, Latin jazz, and avant-garde scenes, making him one of the most versatile musicians on the scene today. In 2017, 2015 and 2013 ...Artist profile
Enoch Jamal "E.J." Strickland is the world-class, world-traveled drummer, composer, educator, and artist you've heard on over 60 albums in the last 10-plus years. The Miami native grew ...Artist profile


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I'm just loving the toddler poses. Here's a pack filled with some random toddler poses. My favorite of them all would have to be the last of the lil boy giving the girl a piggyback ride, TOO CUTE!!
Well I hope you enjoy these poses and take adorable pictures! ^_^
(Side Note: You will need to hold down the alt button when moving your sims so the poses come together more nicely. This is only needed for poses 4 and 5)
Pose List Compatible!!!
-->> Download <<--
To use theses poses you need cnomoney's Pose Player
Butterflysims 052 [retexture] by Paint-Stroke
Cazy Thelie [rexture] by Paint-Stroke
Cazy Thelie [rexture] by Paint-Stroke
The little boy's top and bottom are from The Sims Resource


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During the resort appointments held over the past few weeks in New York, it was clear that escapism was as much on the minds of the stylists, editors, and fashion enthusiasts spotted darting from studio to studio as it was on the minds of the designers who were creating the sunny, vacation-inspired clothes. The scene on the street, as captured by Vogue.com's man on the street Phil Oh, revealed an abundance of playful prints, wide-brimmed hats, sunglasses, and a relaxed approach to layering that felt perfectly in sync with the season.
See our slideshow above.


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General Website terms and conditions For party specific terms see below
Welcome to our website. If you continue to browse and use this website you are agreeing to comply with and be bound by the following terms and conditions, which together with our privacy policy govern Emporium Parties relationship with you.
The terms "Emporium Parties" or "Us" or "We" refers to the owner of the website whose registered office address is Emporium Parties Ltd, registered in England No. 07004206. The term "You" refers to the user or viewer of our website.
1. Website Usage
1.1 The content of the pages of this website is for your general information and use only. It is subject to change without notice.
1.2 Neither we nor any third parties provide any warranty or guarantee as to the accuracy, timeliness, performance, completeness or suitability of the information and materials found or offered on this website for any particular purpose. You acknowledge that such information and materials may contain inaccuracies or errors and we expressly exclude liability for any such inaccuracies or errors to the fullest extent permitted by law.
1.3 Your use of any information or materials on this website is entirely at your own risk, for which we shall not be liable. It shall be your own responsibility to ensure that any products, services or information available through this website meet your specific requirements.
1.4 This website contains material which is owned or licensed to us. This material includes, but is not limited to, the design, layout, look, appearance and graphics. Reproduction is prohibited other than in accorandance with the copyright notice which forms part of these terms and conditions.
1.5 Trademarks
All trademarks reproduced in this website, which are not the property of, or licensed to the operator, are acknowledge on the website.
1.6 Unauthorised Use
Unauthorised use of this website may give to a claim for damages and or be a criminal offence.
1.7 External Links
From time to time this website may also include links to other websites. These links are provided for your convenience to provide further information. They do not signify that we endorse the website or websites. We have no responsibility for the content of the linked website or websites.
You may not create a link to this website from another website or document with Emporium Parties prior written consent.
1.1 "Buyer" means the individual or organisation who buys or agrees to buy the Goods and or Services from the Supplier
1.2 "Consumer" shall have the meaning ascribed in Section 12 of the Unfair Contact Terms Act 1977
1.3 "Contract" means the contract between the Supplier and the Buyer for the sale and purchase of goods and or services incorporating these Terms and Conditions.
1.4 "Goods" means the articles that the Buyer agrees to buy from the Supplier.
1.5 "Services" means the services that the Buyer agrees to buy from the Supplier.
1.6 "Supplier" means Emporium Parties Ltd that owns and operates www.emporium-parties.co.uk or any other website that is owned or registered by Emporium Parties or any subsidary or franchise.
1.7 "Terms and Conditions" means the terms and conditions of set out in this agreement and any special terms and conditions agreed in writing by the supplier.
1.8 "Website" means www.emporium-parties.co.uk or any website that is owned or registered by Emporium Parties Ltd or any subsidary or franchise.
2.1 Nothing in these Terms and Conditions shall affect the Buyers statutory rights as a Consumer.
2.2 These Terms and Conditions shall apply to all contracts for the sale of goods and or services by the supplier to the buyer and shall prevail over any other documentation or communication from the buyer.
2.3 Acceptance of delivery of the goods shall be deemed conclusive evidence of the buyers accptance of these Terms and Conditions.
2.4 Any variation to these Terms and Condtions (including any special terms and conditions agreed between the parties) shall be inapplicable unless agreed in writing by the supplier.
2.5 Any special conditions applying to the provision of services are set out in the Schedule to this agreement.
2.6 Any complaints should be addressed to the supplier's address stated in clause 1.6
3.1 All orders for goods and or services shall be deemed to an offer by the buyer to purchase goods and or services pursuant to these terms and conditions and are subject to acceptance by the supplier. The supplier may choose not to accept and order for any reason.
3.2 Where the goods ordered by the buyer are not available from stock the buyer shall be notified and given the option to either wait until the goods are available from stick or cancel the order and receive a full refund within 28 days.
3.3 When making an order through the website, the technical steps the buyer needs to take to complete the order process are described in the order process section within the website.
4.1 The price of the goods and or services shall be that stipulated on the website. The prices is inclusive of VAT. Where applicable, the price prices excludes delivery charges.
4.2 The total purchase price, including VAT and delivery charges if any, will be displayed in the buyers shopping cart prior to confirming the order.
4.3 After the order is received the supplier shall confirm by email the details, description and price for the goods and or services together with information on the right to cancel if the buyer is a consumer.
4.4 Payment of the price plus VAT and delivery charges where applicable, must be made before goods and or services are dispatched.
4.5 Where applicable, if any payment is not paid on time or any payment is rejected or refused, the amount owing will be treated as overdue and the supplier will be entitled immediately to cease or suspend the provision of any service or further deliveries of goods until payment has been received.
4.6 Where applicable, the supplier shall be entitled to charge interest on overdue invoices fro mthe date when payment becomes due from day to day until the date of payment at a rate of 8.00 percent per annum above the base rate or other from time to time in force.
4.7 Currency accepted in UK pounds sterling GBP.
4.8 Our online payment system is provided by Barclaycard, which is safe and secure and uses Secure Server Software encryption to keep your transaction private and protected.
We accept major credit and cards:
- Visa
- MaterCard
- Switch
- Electron
- Solo
- Maestro
5.1 The supplier shall begin to perform the services order dispatched with 2 working days. Working days are Monday to Friday except fo national and public holidays.
5.2 The supplier shall perform the services with reasonable skill and care. However, where applicable, the supplier does not guarantee that the services will be uninterupted, secure or error free or that any data generated, stored, transmitted or used via or in connection with the services will be complete, accurate, secure, up to date, received or delivered correctly or at all. The supplier may have to suspend the services for repairm maintenance or improvement. If so, the supplier will restore them as quickly as is reasonably possible.
6.1 The supplier reserves the right to periodically update prices on the website, which cannot be guaranteed for any period of time. The supplier shall make every effort to ensure prices are correct the the point at which the buyer places an order.
6.2 The supplier reserves the right to withdraw any goods and or services from the website at any time.
6.3 The Supplier shall not be liable to anyone for withdrawing any Goods and/or Services from the Website or for refusing to process an order.
7.1 Where Goods and/or Services may only be purchased by persons of a certain age the Buyer will be asked when placing an order to declare that they are of the appropriate legal age to purchase the Goods and/or Services.
7.2 If the Supplier discovers that the Buyer is not legally entitled to order certain Goods and/or Services, the Supplier shall be entitled to cancel the order immediately, without notice.
8.1 Goods supplied within the UK will normally be delivered within 7 working days of acceptance of order by Royal Mail. Orders are dispatched using a combination of Royal Mail and Parcel Force services. Whilst Emporium Parties makes every effort to dispatch your order as quickly as possible, we regret that we cannot held responsible for late delivery of goods caused by the manufacturer, courier or any other third party.
8.2 Goods and or services are not supplied outside the UK unless special arrangements are made with the Supplier.
8.3 Where a specific delivery date has been agreed, and where this delivery date cannot be met, the Buyer will be notified and given the opportunity to agree a new delivery date or receive a full refund.
8.4 The Supplier shall use its reasonable endeavours to meet any date agreed for delivery. In any event time of delivery shall not be of the essence and the Supplier shall not be liable for any losses, costs, damages or expenses incurred by the Buyer or any third party arising directly or indirectly out of any failure to meet any estimated delivery date.
8.5 Delivery of the Goods shall be made to the Buyer's address specified in the order and the Buyer shall make all arrangements necessary to take delivery of the Goods whenever they are tendered for delivery.
8.6 Risk in the Goods shall pass to the Buyer upon delivery of the Goods, or where the Buyer fails to take delivery at the agreed time, at the time delivery was attempted.
8.7 Title in the Goods shall not pass to the Buyer until payment of the price has been made in full.
9.1 The Buyer may cancel any order for Goods for any reason up to the point of dispatch and any payments made by the Buyer shall be refunded in full within 28 days. The Buyer may cancel any Contract for Services at any time before seven working days has passed from the day after the Contract was made and any payments made by the Buyer shall be refunded in full within 28 days. If, however, the Supplier starts to perform its side of the Contract with the agreement of the Buyer before the Buyer exercises this right to cancel, the right to cancel is lost.
9.1 The Buyer may cancel any order for Goods for any reason up to the point of dispatch and any payments made by the Buyer shall be refunded in full within 28 days. The Buyer may cancel any Contract for Services at any time before seven working days has passed from the day after the Contract was made and any payments made by the Buyer shall be refunded in full within 28 days. If, however, the Supplier starts to perform its side of the Contract with the agreement of the Buyer before the Buyer exercises this right to cancel, the right to cancel is lost.
9.2 The Buyer shall inspect the Goods immediately upon receipt and shall notify the Supplier by telephoning on 01303 647007 or email firstname.lastname@example.com or write within 7 working days of delivery if the Goods are damaged or do not comply with any of the Contract. If the Buyer fails to do so the Buyer shall be deemed to have accepted the Goods.
9.3 Where a claim of defect or damage is made, the Goods shall be returned by the Buyer to the Supplier within 28 days of delivery. The Buyer shall be entitled to a replacement or a full refund (including delivery costs) plus any return postal charges if the Goods are in fact defective.
9.4 If you are a consumer you have the right, in addition to your other rights, to cancel the Contract for Goods and receive a refund by informing the Supplier telephoning 01303 647007 within 7 working days of receipt of the Goods. The right to cancel does not apply to contracts for the supply of software, audio or visual recordings if these have been unsealed by the Consumer.
9.5 Goods must be returned by the Buyer at the Buyer's expense within 28 days of cancellation in the original packaging and should be adequately insured during the return journey. The Buyer will receive a refund of all monies paid for the Goods (including delivery charges, if any) except for return postal charges. If the Buyer fails to return the Goods following cancellation, the Supplier shall be entitled to deduct the cost of recovering the Goods from the Buyer.
9.6 Goods to be returned must clearly show the order number obtained from the Supplier on the package.
9.7 Where returned Goods are found to be damaged due to the Buyer's fault the Buyer will be liable for the cost of remedying such damage.
10.1 Except as may be implied by law where the Buyer is dealing as a Consumer, in the event of any breach of these Terms and Conditions by the Supplier the remedies of the Buyer shall be limited to damages which shall in no circumstances exceed the price of the Goods and/or Services and the Supplier shall under no circumstances be liable for any indirect, incidental or consequential loss or damage whatever.
10.2 Nothing in these Terms and Conditions shall exclude or limit the liability of the Supplier for death or personal injury resulting from the negligence of the Supplier or that of the Supplier's agents or employees.
No waiver by the Supplier (whether express or implied) in enforcing any of its rights under this contract shall prejudice its rights to do so in the future.
The Supplier shall not be liable for any delay or failure to perform any of its obligations if the delay or failure results from events or circumstances outside its reasonable control, including but not limited to, acts of God, strikes, lock outs, accidents, war, fire, failure of any communications, telecommunications or computer system, breakdown of plant or machinery or shortage or unavailability of raw materials from a natural source of supply, and the Supplier shall be entitled to a reasonable extension of its obligations.
If any term or provision of these Terms and Conditions is held invalid, illegal or unenforceable for any reason by any court of competent jurisdiction such provision shall be severed and the remainder of the provisions hereof shall continue in full force and effect as if these Terms and Conditions had been agreed with the invalid illegal or unenforceable provision eliminated.
The Supplier shall be entitled to alter these Terms and Conditions at any time but this right shall not affect the existing Terms and Conditions accepted by the Buyer upon making a purchase.
These Terms and Conditions shall be governed by and construed in accordance with the law of England and the parties hereby submit to the exclusive jurisdiction of the English courts.
General Party Terms and Conditions
ESCHEDULE PARTY TERMS AND CONDITIONS (Special Schedule)
Please read these terms and conditions carefully. By booking your party you are accepting these terms and conditions and are bound by them. To be read in conjunction with the terms and conditions above.
EMPORIUM PARTIES - Reserve the right to change, amend or cancel any party without prior notice.
DEPOSITS - A non refundable deposit payment of £40 is required at the time of booking. You have a 7 working day cooling off period from the date of booking to cancel your event for which you will receive a full refund of any deposit paid. If more than 7 days have passed, under exceptional circustances, we are able to transfer your deposit payment to an alternative date within 3 months of the original booking so long as we are notified in writing at 28 days before the party date. Upon verification of your deposit payment, confirmation will be sent to you in writing or email.
CANCELLATIONS - Cancellation of parties within 21 days of your party will incur a cancellation fee of 30% of the balance due. Cancellations of parties within 72hrs of your party will incur a charge of 50% of the balance due, Cancellations within 24hrs of your party will result in the full balance being payable.
ALLERGIES - Please notify our staff prior to the party if any guest(s) that will be attending have allergies to cosmetics, face paints and hair products. Emporium Parties accepts no responsibility for failure to notify us of any such allergies.
TRAVEL - We will endeavour to commence your party at the agreed time as stated on your booking form. Emporium Parties will accept no responsibility in the event we are unable to start your party on time for circumstances beyond our control. Such as but not limited to adverse weather conditions, unexpected traffic delays, accidents or unexpected vehicle breakdowns.
TRAVEL CHARGES - Travel charges maybe be charged on parties outside of our trading area. An out of area premium is chargeable on locations outside our trading area.
DISCOUNTS AND SPECIAL OFFERS - Discounts and or special offers are applicable to the package price only and can only be applied at time of booking.
BALANCE PAYMENT - Any balance due is payable on day of your party in cash directly to the party leader prior to the start of the party. If you prefer to pay by any other method, please refer to your booking form for details.
INCREASE IN NUMBERS ATTENDING - Should you upgrade your party package to include more guests, please contact us at least 48hrs prior to the party. If we feel it necessary we may need to increase the time and or price accordingly. Subject to availability.
PARTY START TIME - Please ensure that all your guests arrive prior to the start of your party.
ADULT ATTENDANCE - We do require at least one adult to be present for the duration of the party. The liability for the safety of all guests lies with the named person on your confirmed booking form who must be over 18 years of age.
GENERAL - In an exceptional circumstance, should we feel that a guest or guests is behaving in an unacceptable manner, we reserve the right to ask the named person to exclude such guests from the party.
PRICES - All prices are valid at the time of booking only.
PARTIES IN THE HOME - Emporium Parties reserve the right to assess the venue on arrival to ascertain the suitability and safety for our equipment and all guests attending. In some cases it may be necessary to omit part of the equipment due to lack of space for our equipment to be used safely.
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Terms & Conditions correct as of 07/11/2018 © Emporium Parties Ltd
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My daughter had an absolutely brilliant 7th birthday party. She chose a Princess and Superhero party to keep both the boys and girls happy. I could not fault anything, they arrived half an hour early to set up and were so friendly and helpful. There were non stop games for the duration of the party, which all the children loved and they helped with moments I had not expected like making sure all the children got their food. I have had so many parents tell me how amazing they thought the ladies were. Thank you for making her party absolutely perfect I really couldn't have asked for any more.;
Just want to pass on my thanks to Vicky and Chloe for the disco and games party they did on Saturday for my daughters 6th birthday party. The entertainment was great they kept the kids amused for the entire 2hr duration. Even the adults commented on how fab it was!! Would highly recommend and will definitely be using again!! Thanks again.
2nd year of using this company for our annual employees kids party. Yet again, another superb time had by all....including the adults :)


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Published on April 7th, 2015 in the Miami New Times. This exclusive original spawned stories in the Miami Herald, The Daily Mail, The Independent, Yahoo News, and elsewhere. It also became the Miami New Times' top three most read stories of 2015 and won a first place Florida Press Association award:
Just a few paces from busy Brickell Avenue, Ishmael Bermudez crouches behind his little clapboard house and drinks serenely from a hose lowered into the ancient bedrock. Skyscrapers drape his property in shadows. Across the street, a Metrorail train clamors to a stop at an elevated station. All around, construction cranes pirouette in the sky over the latest wave of megadeveloment.
At 65 years old, Ishmael is a spritely, spirited man with a long, black braid and a gift for understatement. Some people call him by his Native American name, Golden Eagle. Most people just call him Ishmael. Perpetually draped in dusty work clothes, he cuts a slight figure and speaks with a sing-song lilt. He's an amateur archaeologist, a preservationist, and among the longest-standing residents in this neighborhood of newcomers and runaway construction.
Now, as a new wave of foreign, cash-fueled property speculation cranks land values back into the stratosphere, he's also turned into a real estate developer's worst nightmare.
To read more, click here.


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The Best Products of 2011
Digital Cameras
|GOLD: Canon PowerShot Elph 310 HS
$259.99 direct %displayPrice% at %seller%
The Canon PowerShot Elph 310 HS squeezes 12 megapixels, an 8x zoom lens, and a large 3-inch LCD into a super-small body. Images from the camera are sharp, as is the 460k-dot LCD. Its HD video quality is also quite nice, as is its performance: it can continuously grab still images at better than two frames per second. The Elph isn't the least expensive camera on the block, but it's one you can use to record memories for years to come.—Jim Fisher
|SILVER: Panasonic Lumix DMC-S3
$129 direct %displayPrice% at %seller% If you're on a budget, the Lumix S3 is a good digital camera to consider. Its wide-angle lens can zoom from 28-112mm and it can record 720p HD video. The 14-megapixel S3 can shoot nice images through ISO 800, matching the performance of many more expensive cameras.—JF
|GOLD: Sony Alpha NEX-C3
$649.99 list with 18-55mm zoom lens %displayPrice% at %seller% The image quality and performance delivered by the 16-megapixel NEX-C3 was once exclusive to D-SLR cameras. Sony's packed a large sensor into a compact body, coupled it with fast autofocus, 720p HD video capture, see-in-the-dark low-light performance, and added a large tilting rear LCD. It's not pocketable with the included 18-55mm lens, but if you opt for the kit with the 16mm pancake prime the svelte camera is almost small enough. At $649 it's hard not to love this camera, especially when you compare it to much larger D-SLRs.—JF
|SILVER: Sony Alpha NEX-5N
$699.99 direct with 18-55mm kit lens %displayPrice% at %seller% Sony's NEX-5N is almost the same camera as the NEX-C3, with a few differences. Its 16-megapixel sensor is the same resolution, but is capable of 1080p video acquisition, and its body is magnesium rather than plastic. Its low-light performance isn't as good as that of the C3, which placed it a slight notch below the C3 in our book.—JF
|GOLD: Nikon D5100
$899.99 list with 18-55mm kit lens %displayPrice% at %seller% Nikon's D5100 was our favorite D-SLR of the year. The 16-megapixel camera's articulating LCD is packed with 921,000 dots for extremely crisp image review and live view. It shoots clean images through ISO 6400 and can capture photos at three frames per second. Most impressively, the camera can autofocus while recording 1080p HD video. At $899 the camera isn't the cheapest, but its image quality, optical finder, and Nikkor optics make it an excellent value.—JF
|SILVER: Sony Alpha DSLR-A580
$799.99 list body only %displayPrice% at %seller% The 16-megapixel A580 is packed with a 920k-dot articulating LCD, fast autofocus, and excellent image quality at ISO 6400. It can capture HD video, but is limited to 1080i60 recording without autofocus. It is priced at $799, but that is without a lens.—JF
Compact Superzoom
|GOLD: Nikon Coolpix S9100
$329.95 direct %displayPrice% at %seller% Gone are the days when you had to opt for a large camera in order to get a big zoom. The 18x Nikon Coolpix S9100 isn't that much larger than your average point-and-shoot thanks to a lens that retracts into the camera when it's powered off. The 12-megapixel camera has a super-sharp 921k-dot LCD and can record video in 1080p resolution. The S9100 shoots in very low light, grabbing sharp, clean images through ISO 3200. Even though it doesn't have GPS, the S9100 was our favorite superzoom of 2011.—JF
|SILVER: Canon PowerShot SX230 HS
$349.99 list %displayPrice% at %seller% If GPS is a necessity in a superzoom, look no further than the Canon PowerShot SX230 HS. It packs a 14x zoom lens, a 12-megapixel sensor, and a 460k-dot 3-inch LCD.—JF
|GOLD: Panasonic Lumix DMC-TS3
$399.95 direct %displayPrice% at %seller% If you're the type to take photos while climbing mountains, snorkeling, or engaging in any other extreme activity, a rugged camera is a necessity. The best we tested this year is the Panasonic Lumix DMC-TS3, which will work even after being dropped from 6.6 feet, submerged in 40 feet of water, and frozen to 14° F. In addition to a GPS, the camera features a baromater and an altimeter, tagging each photo with your location, altitude, and the atmospheric pressure. A 4.6x zoom lens lets you frame the action perfectly, and it can capture clean images through ISO 1600 for shooting in less-than-ideal light.—JF
|SILVER: Kodak Playsport Zx5 Video Camera
$179.95 list %displayPrice% at %seller% If you're more concerned with shooting video of your outdoor adventures, consider Kodak's rugged Playsport Zx5. The compact camcorder is rated to survive five-foot drops and can shoot when submerged in ten feet of water. It supports 1080p30 and 720p60 video capture, so you can record lots of detail and smooth motion.—JF
|GOLD: HP Webcam HD 5210
$99.99 list %displayPrice% at %seller% Webcams aren't the most glamorous accessory these days, but desktop PCs still need them. And webcams have certainly come a long way, as the HP Webcam HD 5210 proves. With full 1080p high-definition video recording, Skype HD-certification (at 720p) for online video chats, and clear audio, the Webcam HD 5210 certainly earns its keep. It's compatible with a variety of online services in addition to Skype. HP also throws in a comprehensive, if somewhat disorganized, collection of software for adding avatar-style effects, sharing photos and videos, and cutting your own home movies.—Jamie Lendino
|SILVER: Avaak VueZone System
$199.99 direct for one camera + base; $289.95 for two cameras + base %displayPrice% at %seller% The Avaak VueZone System is an impressive wireless IP webcam solution with motion detection. It can get expensive, but it's easy to set up and works with a comprehensive array of mobile apps.—JL


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Four ibuprofen down the hatch as my right foot throbs! Another job related injury! The names of the parties involved have been changed to protect the victims, wait a minute, I am the victim!
I teach a lovely lady we'll call "Bonnie" that owns a small riding facility at her home several miles from the barn in which I board my horses. With a show a couple of weeks away it's time to trailer the horses over to ride some tests while also getting them used to traveling off of the property. Horses arrive, check out the place, walk into washracks, everything is fine. Here's where things take a turn.
The horse Bonnie is going to ride tacks up without incident. My process does not go quite as smoothly. My ride, we'll call "Bernie" has a girthing issue, that I should have remembered, as I have tacked him up at his own house many times. This is where I erred, as Bernie is one of several horses I have known over the years that if girthed too quickly will buckle at the knees. This is exactly what happened. I didn't ratchet it up, however, there are certain horses that must be girthed very slowly to prevent such a reaction and care must be given every time.
I confidently put on the saddle, buckled the girth and walked out of the washrack to grab the bridle. When I turned around with bridle in hand Bernie's legs buckled and he collapsed on to the mats of the washrack. The fall frightened him, causing him to flip and thrash around in the crossties. Luckily the crossties have quick release connections and one of them gave way. After a couple of seconds that felt like hours, Bernie settled down and laid (lay, laid) down in the washrack, confused. He was still enough that I approached his head and unclipped the crossties on each side of his halter and backed up so he could get back up on his feet.
I got two steps back when he launched himself up off the ground with his hoof pointed like a ballerina's toe slamming straight down on top of my foot! Wham!!! My entire body got hot with adrenaline, followed by a cold, clammy sweat! Yes, Yes, Bernie was fine! However, my foot felt shattered. I was lucky to be wearing my riding boots at the time. I know this incident is not uncommon. We have all had hundreds of foot smashing, toe stepping incidents but it brings up a conversation I have every summer with students concerning barn footwear.
Invariably , every summer I will have a conversation with at least two or three different students who will show up at the barn for the day with flip-flops or sandals on. I always say "you probably need to wear something more substantial, you might get your toes cut off". The reply that follows usually sounds something like "I'm not going to get my horse out of the stall, I'm not even going to lead a horse".
This sounds fine, in theory. However, you never know what might happen that you may have to become involved in. If a horse gets loose and you have to help catch him, you are suddenly leading a horse. If a horse gets tangled in a wire and needs immediate help, or falls in a crosstie, or a hundred other emergency scenarios and you are needed to jump in and help out, it is not practical to be wearing footwear that will compromise your feet.
Even here in the hot and humid South, and even as cute as your sandals are, and even if you are wearing shorts, sturdy boots or shoes are your best choice if you are at the barn for any period of time. Dont fret, your Facebook pictures will look cuter with you with boots on than with you on crutches anyday!


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Deconstructing Demand for Cultural Facilities
Construction Zone by flickr user Matt Mansfield
When people talk about research being catalytic, they tend to downplay the chemical nature of the reaction: sparks will fly.
At the NEA, Chairman Rocco Landesman has relied heavily on research and evaluation to guide new policies and programs. Of these, the most notable is Our Town, which uses well-documented strategies to strengthen community livability through the arts.
But as the Chairman showed us last year, even when research is not used directly to launch new initiatives, it can provoke. In January 2011, observing the large disparity between the growth rate of not-for-profit arts organizations on the one hand, and lagging arts participation rates on the other, our boss ignited a public debate about the importance of supply and demand to the not-for-profit arts sector.
A new report released today manages to revive this debate while affording acute practical insights as well. Not only does it apply hard-boiled economics to study the complex dynamics of supply and demand (in this case, for arts and cultural buildings); it has policy dimensions for the concept of creative placemaking.
Set in Stone: Building America's New Generation of Arts Facilities, 1994-2008, was authored by a team of researchers for the Cultural Policy Center at the University of Chicago. (The lead author, Joanna Woronkowicz, currently works for the NEA's Office of Research & Analysis; see her March 2, 2012 post to this blog.) The study was backed by the Mellon, Kresge, and MacArthur Foundations---funders with a clear stake in answering research questions about the cultural building boom that occurred in the late 1990s and early 2000s, and about factors critical to the success of cultural infrastructure projects.
Escalating Project Costs
The first takeaway is that there was indeed a cultural building boom in the U.S., primarily between 1998 and 2001, as shown by building permit data from McGraw-Hill Construction. The boom was loudest in the Southern states, which also had seen the sharpest rise in population, education, and wealth, compared with other regions. (Some of this growth in building may be regarded as "catch-up," the authors write, noting that Southern states had the smallest number of cultural facilities at the outset of the study period.)
I'll return momentarily to the link between building demand and U.S. demographics. To quantify the boom: the total cost of cultural construction projects was about $16 billion over the study period. Of those buildings, one in four cost more than $21 million (also the mean cost per building in the study), and half of the remaining projects cost over $11 million. From 1999 to 2003, total spending on cultural buildings outpaced that for hospitals and kept on par with education infrastructure spending.
Performing arts centers made up the majority (54 percent) of the total cost of all cultural infrastructure over the study period, followed by museums (38 percent) and theaters (8 percent). By U.S. region, the South accounted for 32 percent of the cultural building costs of all regions combined, compared with 25 percent for the Midwest, 23 percent for the West, and 20 percent for the Northeast. On a local level, cultural infrastructure spending per capita was greatest for cities with populations below 500,000. For that matter, many small cities were first-time builders of cultural infrastructure, according to the report.
Building permit data offer plenty of hard numbers about costs incurred by cultural infrastructure projects, but they tell only half the story. The report authors chose a random representative sample of 56 cultural building projects that had started roughly between 1999 and 2003. From interviews and financial information, the authors were able to gauge the actual final costs of the buildings in comparison to values listed on the building permits, which often included only the starting construction costs.
The results? The average final costs of performing arts centers were 82 percent greater than their building permit values; average final costs for museums and theaters were 69 percent greater and 19 percent greater, respectively. These findings underscore a main theme of the Set in Stone report, that many cultural builders failed to anticipate the hidden costs (both for construction and upkeep) of their grand designs.
Further, as cultural buildings proliferate, they incur new costs downstream for renovations and additions. The report shows that for each additional cultural building a city had, it spent more per-capita per year on cultural building projects.
The Demographics of Cultural Demand
Much of the report resonates with the NEA's experience in studying supply and demand. In the last couple of decades, we've seen the number of arts and cultural organizations climb as a proportion of U.S. not-for-profit organizations, and we've also seen the number and percentage of arts degrees continue to rise.
Admittedly, these metrics are crude indicators of the overall supply of arts and cultural goods and services to a U.S. population. Yet they stand in contrast to overall rates of arts participation, as tracked by U.S. Census data. According to this measurement of what economists would call "revealed preference," American adults have been attending major categories of arts events at far lower rates than in the past. (These data triggered the supply-and-demand controversy that played itself out in this blog last year.)
So the University of Chicago study is to be welcomed for deepening this inquiry, this time for cultural buildings. Conducting multivariate analyses at the city level, the authors found that population change, education, and median household income all had positive effects on a city's per-capita investment in cultural infrastructure.
Education, closely correlated with income, turns out to be one of the best predictors for a city's likelihood to spend on cultural buildings---a finding that evokes the NEA's own research suggesting that education levels drive arts participation rates. (Interestingly, the youth factor---whether a large share of a city's population is between 21 and 35 years old---does not seem to play a role in determining a city's likelihood to build cultural facilities, despite literature citing the importance of this demographic to shaping a creative city.)
Lessons for Creative Placemaking
It's tempting, then, to imagine that as a city's population grows in size, education, and prosperity, it aspires toward monuments of its aesthetic and civic identity. But whose dreams are being fulfilled? Artists and arts organizations? Community leaders? The average community member?
Staying with the supply-and-demand motif, one would expect a consistent, positive relationship between the number of artists and arts organizations in a city, for example, and its per-capita spend on cultural facilities. But during the boom years, the presence of artists and arts organizations was inversely correlated to cultural building investment; the addition of artists or arts organizations to a city resulted in less per-capita spending on museums, theaters, and performing arts centers.
This finding becomes the report's harshest indictment: that the whole system could have been overbuilt. In surveys conducted by the study team, the desire to provide space for community arts groups emerged as a main reason for building performing arts centers and theaters. Then why, during the years when cultural building peaked, did the activity apparently not respond to increases in the cultural sector's demand for such facilities? To which factors, alternatively, did cultural facility investment respond?
For many researchers and practitioners alike, the most helpful unit of the report will be the four case studies: Art Institute of Chicago; AT&T Performing Arts Center (Dallas, Texas); Long Center for the Performing Arts (Austin, Texas); and Taubman Museum of Art (Roanoke, Virginia). Together with a chapter on "the feasibility of cultural building projects," they spell out key decision points that eased or thwarted a project's success.
The report cautiously states that no uniform criteria can guide the development of all cultural buildings of the future. Still, from noting the frequent clash between lofty missions and on-the-ground reality, one concludes that a community's artists, arts organizations, and arts participants should be brought in as a more integral part of the planning process for such facilities.


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Everywhere is freaks and hairies
Dykes and fairies, tell me where is sanity
Tax the rich, feed the poor
Till there are no rich no more
Id love to change the world
But I dont know what to do
So Ill leave it up to you
Population keeps on breeding
Nation bleeding, still more feeding economy
Life is funny, skies are sunny
Bees make honey, who needs money, monopoly
Id love to change the world
But I dont know what to do
So Ill leave it up to you
World pollution, theres no solution
Institution, electrocution
Just black and white, rich or poor
Them and us, stop the war
Id love to change the world
But I dont know what to do
So Ill leave it up to you
Someone who wonders about the unsolved and continouslly getting worse global problems (huge class differences between rich and poor, exploitation, war, environmental pollution, racial discriminations, war, etc. But he feels unable to do anything so he prefers to leave the burden of solution to next generations. But that's the main cause of their perpetuation: the irresponsibility of those who face these problems today to react effectively and the eternal postponement.
You can hear this song in youtube
23 July, 2008
"I'd Love To Change The World" by Ten Years After, album: A space in Time (1971)
Αναρτήθηκε από candiru - stratis aigaiopelagitis στις 10:12 AM
Ετικέτες 70s decade, hard rock, Ten Years After
1 comment:
- www.valladolid-3d.com said...
The dude is absolutely right, and there is no question.
- October 17, 2011 at 10:15 AM
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Visual Artists Ireland: The Representative Body for Professional Artists. It provides practical support to visual artists in all art forms throughout their careers. It provides services, facilities and resources for artists, operates an artistic programme and acts as an advocate for the interests of artists.
- PROVIDE services, facilities and resources to individual artists and the visual arts sector
- SUPPORT the activity of professional contemporary visual art practice
- REPRESENT and act as an advocate for individual artists, the visual arts sector and the arts in general
The Three Pillars of Visual Artists Ireland
- Advocacy, Advice, and Membership Services
- Professional Development;
- The Arts News Centre.
Programme Activities
Advocacy, Advice, and Membership Services
Primary Goal: The Advocacy, Advice and Membership services provide access to independent, accurate information that improves equality of opportunity and provide a pathway to professionalization of the visual arts. However, sometimes more is needed. Some people are at a disadvantage when claiming their entitlements or seeking advice that they need because of perceived inequalities, literacy or language difficulties. This means that our advocacy and advice supports them to assert their views and claim their entitlements and where necessary represents and negotiates on their behalf.
Who: The VAI Advocacy, Advice, & Membership Services are aimed towards professional visual artists at all stages of their career.
What: VAI Advocacy & Advice Services offers a confidential advice/helpdesk service for visual artists that covers the wide range of professional concerns being experienced by artists today. This advice includes: the creation and provisions of contracts; financial planning and taxation issues; non-payment for the provision of services; fraudulent practices by agents that effect individual visual artists; setting up of artist led initiatives and studio programmes; representation and creation of mediation panels; and the raising of awareness of consultations and policy creation that have a direct impact on visual artists.
This programme works in tandem with the VAI Professional Development Programme and VAI Information resources. It's content and focus is informed by: current professional practice; the input of VAI staff; VAI members; our primary UK partner Artquest, on-going needs analysis and evaluation; an advisory panel involving visual art professionals with a range of expertise; and dialogue with our international partners such as CARFAC, NAVA, Culture Action Europe and the IAA.
Our membership services are a critical feature for Visual Artists Ireland. These are what make it attractive for people to become members of Visual Artists Ireland. The organisation relies on our advertising sales and membership income to maintain the level of services for artists. These work in parallel to our funding by ACNI, the Arts Council of Ireland and smaller grants. Currently the range of membership services include:
- Membership Card (with IAA Option – Linking our card to the IAA means that members can gain free access to exhibitions, and in many cases can skip the long queues in some of the more popular venues such as The Louvre, Tate, MoMA etc)
- Discount Scheme (service providers offering specific rates for VAI members);
- Equipment Hire (Traditionally this was Dublin based although we do have a courier service to bring equipment to all parts of Ireland. With our rates set significantly lower than commercial rates, this has been an affordable service for members. In 2012 we reached an agreement with DAS so that our Northern Ireland members can avail of their equipment hire service, and self-funded the joint purchase of equipment so as to expand their already extensive offering);
- Insurance for Visual Artists (Although this is not a unique service for artists, we have researched other forms of insurance and have found that our offering is priced at a keen rate when compared to commercial prices. The coverage is far in excess of that offered for free by other organisations. We feel that this service is based on quality rather than as a marketing ploy);
- Legal Advice & Debt Collection (It is unfortunate that artists find themselves in difficult legal situations. These include contractual, non-payment and fraud. For this reason, and to support our main advice service we have agreed specific services that offer direct contact with barristers for advice, and also a debt collecting service with one of Ireland's leading law firms.);
- Studio Exchange (Through our partnership with Artquest, we can offer our members access to a service that allows them to advertise their willingness to do a studio swap with fellow artists from across the world);
- Address Book (Members can provide details about themselves and their areas of interest so that curators and other interested parties such as researchers and commissioners can find them. This service includes a contact service that allows them to receive messages without their personal details being given out). This information is further available through our Smart Phone App – ArtConnect (funded by Mayo Public Art Office);
- Awards – We now operate four self funded Awards:
- DAS Residency Award (for a VAI member to take advantage of a fully paid 3 month residency in DAS);
- The Valerie Earley Residency Award (In its first year, this award is dedicated to our late Membership Manager Valerie Earley who died in 2013. Valerie worked with VAI for over 17 years and we felt that this award would perpetuate the love that she showed for our members. The award offers a fully funded two week self catering residency in the Tyrone Guthrie Centre);
- The Directors Award (This award is aimed at graduates. Each year we visit every graduate show in Ireland and we select one artist who has shown excellence in terms of: dedication to practice; presentation; clear provision of support information, and readily accessible contact details);
- The Visual Artists Ireland Critical Writing Award (This award, funded by Dublin City Council, is aimed at those engaged in critical writing. The award offers a financial prize and the opportunity of being mentored by both VAI editorial staff and members of AICA Ireland).
Why: We support professional visual artists in their business, legal, and financial needs, assisting them to: develop on-going creative and financial opportunities; engage with best practice; and connection with professionals in other disciplines relevant to their work. We have these aligned with our key responsibility to support artists as well as provide them with access to affordable services. The aim is to empower artists to work in a professional manner. The key thinking in this area is Professional Artists working in a professional manner and being treated as professionals.
When: These services are provided 5 days a week and are available through our telephone service as well as by email and written correspondence. They are supported online with advice and datasheets on the broad range of topics that we cover.
Where: These are supported by a number of local area information sessions during the year that are part of the Professional Development Programme. The services are also supported through our online presence with tips, tools and templates available through our websites, and the highlighting of issues and programmes through our online (eBulletin, websites, Facebook, and Twitter) presences, as well as our newspaper (The Visual Artists News Sheet).
Professional Development
Primary Goal: We deliver learning, advice, networking opportunities, and information provision, supported by an Artists Resource Centre of on-going information, tips, techniques and templates for visual artists in key areas such career development, finances, legal, marketing, and peer critique.
Who: The VAI Professional Development Training (PDT) Programme is aimed towards professional visual artists at all stages of their career.
What: VAI PDT offers daylong workshops; talks; information sessions and seminars on a range of professional practice topics across three strands. These strands include:
- Practical skills & knowledge;
- Career pathways;
- Peer centred critique.
This programme works in tandem with the VAI Advocacy Programme and VAI Information resources. It's content and focus is informed by: current professional practice; the input of VAI staff; VAI members; on-going needs analysis and evaluation; and an advisory panel involving visual art professionals with a range of expertise.
Why: It aims to support continued skills and knowledge development for professional visual artists in response to their business needs, assisting them to: develop on-going creative and financial opportunities; engage with best practice; and connect with professionals in other disciplines relevant to their work.
When: Training is offered at a variety of regional locations with events programmed Feb – Jun and Sept-Nov each year. While the detailed programme is planned a year in advance we maintain some capacity to respond to requests from groups and organisations for training when needs and issues arise. An example of these is the Sectoral Meetings provided by ACNI, which VAI assists in resourcing.
Where: Training is delivered at partner venues.
The Arts News Centre.
Who: The Arts News Centre is a unique and core provision for both visual artists and visual arts organisations. As an information provider, VAI is the leading source of information, news, discussion, jobs, visual arts opportunities, and event & exhibition advertising. As well as being designed for visual artists at all stages of their career, VAI ANC is designed to be attractive to a broader audience as will be seen in the detail of design and distribution below.
What: The Arts News Centre is based on contemporary thinking regarding media in the context of: media convergence, the participating culture, and collective intelligence. We, like other media organisations, realize that because of the progress of technology various different types of media (e.g. Computer, Television, Radio and Newspaper) are combining into a single media. Television and computer technology are increasingly becoming the same thing. Websites have video on them and the Internet is an important part of the offer of most broadcasters. Computers and network technology has allowed television to offer "video on demand" services moving away from traditional "linear" or scheduled television. Equally the Internet has become important for newspaper publishers. Consequently, Visual Artists Ireland has concentrated in the creation of an information exchange strategy that combines the printed newspaper with a range of online outlets that reflect not only our information provision, but also support all of the key areas previously mentioned in this application.
Why: As we deal with a wide range of age groups, some more at home with print media, others who prefer to receive their content online either by computer or mobile technology, we have integrated our services so that the delivery mechanism can be seen as a tool, and that the real strategy lies in the information, support and interactions that we provide through our services.
Simply put, we as an organisation must be able to deliver across a wide range of platforms so that we can achieve the broadest reach for our support of visual artists, arts organisations and the visual arts sector in general. It makes us a special case with regards funding, as our online services are not simply a shop front, but are in fact core to our business.
The Arts News Centre comprises of the following:
- The Visual Artists Ireland News Sheet;
- Visual Artists Ireland Critique;
- eBulletins
- Visual Artists Ireland websites;
- Visual Artists Ireland on Social Media.
Visual Artists Ireland also has a policy of working with artists and artist run organisations on the development and delivery of collaborative projects. VAI also undertakes different strands of support mechanisms dealing with specific art disciplines & practices. These are aimed at providing on-going career development within these subjects, dealing with the specifics of skills and production.
We take on the key issues that concern professional artists generally in relation to their status, rights and income. This includes monitoring policies and undertaking research into issues that affect artist. We also represent the interests of individual artists on a case-by-case basis in relation to specific, one-off issues.
VAI works closely with:
- The Arts Council of Ireland;
- The Arts Council Northern Ireland;
and is an active member of:
- Culture Action Europe (CAE);
- The International Association of Art (IAA);
- The International Federation of Arts Councils and Culture Agencies (IFACCA).
VAI also enters into dialogue with IKT (International Association of Curators of Contemporary Art), and The International Association of Art Critics (AICA), as well as other national and international representative bodies in the interests of hybrid collaborations that further increase awareness of the varied needs and purposes of artists.
Unique and Distinct Attributes
Visual Artists Ireland is unique and distinct. We are acknowledged as a truly equitable organisation. We make the majority of our services available to our members and non-members. We operate in all corners of Ireland and have a close relationship not only with our individual artist members, but also with visual arts and multi-disciplinary organisations in all 32 counties of the island of Ireland.
Our remit is broad and our services are far reaching. As one radio interviewer summarised us… "there should be a Visual Artists Ireland for everybody who lives in Ireland."
We strive to drive forward best practices in the visual arts sector and initiate research that goes towards providing the visual arts with a researched and unified advocacy voice that is otherwise missing.
Our Services, Facilities and Resources our Discount Scheme, Help-Desk and info~pool are unique within the sector. Given the scale, quality and relevance to the sector of our Visual Artists News Sheet and e-bulletin these too are seen as key and necessary provisions.


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Casting Information
This is information for people new to the moviemaking process.
The pace is slow. Before a scene is shot, the scene and props have to be arranged, the action planned out, the camera moves planned, and the lights set up. It may take an hour to set up lights for one scene. Often a "master shot" is done of the whole scene and that is repeated as many times as necessary until there is a good take (which means the acting was good, the lines correct, no dogs barked in the middle, and the camera and sound people didn't make any mistakes). If anything was not right, that means another take. When the master shot is completed, the same scene may be filmed again for close-ups and other angles (other angles may require new lighting). So, it's a slow process. It takes 14-16 days to shoot a 20 minute film. And because there are so many things that can go wrong, it's important to minimize problems. There will be a lot of people around (we may have a crew of 5 or more plus the director and production people). This may be distracting, so it's important to learn your lines well enough so you won't be distracted by the commotion.
If you are chosen for the film, you'll be expected to:
¬Have all release forms signed before you step on set.
¬Be on set, Be on time.
¬Come with proper clothing (you'll be told ahead of time what to bring).
Make sure
that everything fits together, that socks and shoes go with what you're
wearing. The camera sees details!
¬Come with make-up or let us know and we will do your make-up. (Come a
half hour earlier if you need us to do your make-up)
¬Know your lines well. There may be some rehearsals before filming.
¬Don't bring extra people, especially children, to the filming.
Pay attention to continuity. We'll sometimes shoot scenes on different days that in the film take place on the same day. This means you need to look exactly the same – same socks, same jewelry, same hairstyle, as well as obvious clothes. Don't get a haircut in the middle of a film, or even right before unless you check with us first.
We'll be shooting the film at various locations around town. Some people will work only 1-2 days; some will work 14-15. We work long days, generally 6-8 hours, although you may not be in all the scenes on a given day. We'll have an exact schedule later. We hope to not go overtime, but you should be prepared to stay later on the days you work.
We will let you know if you have been selected for a part. If you do not hear from us, it means you haven't been selected for this film. But that doesn't necessarily mean we didn't like you or your acting. Each film calls for a distinctly different kind of person or talent – and if you don't fit into this film you may fit for another. We'll keep you information for future reference.
If you have any questions about this, please ask us.


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Welcome to my channel – Trailer Introduction Vlog//001
Creator, Metal Fabricator, Hot Rodder, Father, Son, Welder, Fire Fighter, Moto rider, Husband, Inspiring Film maker, Entrepreneur, Educator, Advocate….I am a man of many titles but this channel is the story of my climb. Come behind the scenes of my custom hotrod shop New England Speed & Custom. Learn what it takes to build a business around your passion and how to build some bad ass rides!. www.nespeedshop.com
Please watch: "Visiting OSHA, & Inside the NASCAR Hall of Fame Vlog//004"


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A curated source for everything entrepreneurial in your community.
Startup Week: Celebrating entrepreneurs is communities across the globe.
Start building your future in just 54 hours. Learn, Network, Startup.
Learn More
What on earth is a Startup Weekend?
This post originally appeared on blog.up.co
Startup Weekend is a weekend in which you create a business from scratch. On Friday night a horde of people turn up to the venue ready for and all out weekend of fun and hard work. This horde is made up of developers, designers, and, the rather amorphous category, "non-technical" which includes people from a huge range of backgrounds. During themed events, there is a fourth category "insert theme here" specialist. So in last year's education themed event, "Education" specialists, and in this year's health themed event this will be "Health" specialists.
The energy in the room when everyone arrives is palatable. After some introductions and getting warmed up, people will be invited to join a queue if they want to pitch an idea. The format is simple. You have one minute to get across who you are, what your idea is and, who you need on your team. At the 60 second mark you will be subjected to the legendary Dave Moskovitz slow clap of death. Stop talking now.
After you've pitched you put the name of your idea on a poster and stick it onto the wall. When everyone is done, participants roam around the room putting stickers on their favourite ideas and scoping out the team that they want to join – and if you pitched an idea you are also trying to convince people to join your team. If you can't convince people, see the writing on the wall (or the lack of stickers on the poster) and move on. Don't be the person who sulks because their idea didn't get picked.
Think about what you want from the weekend when choosing your team. For Paul Steven Conygham, who attended Startup Weekend Wellington April 2015, he wanted to learn about how to start a business, but having a business at the end of the weekend wasn't a priority. He wanted a team with a fresh idea and the right vibe. He didn't want a group that knew exactly what it was doing and had it too planned out.
So he joined a team called Neighbourhood Kai, whose original aim was to connect people in communities growing backyard produce. He liked the people and he liked that they were open to evolving the idea.
For others, having a business at the end is what they want. They want to meet co-founders and ideally choose an idea that has real potential to go on after the weekend.
Some people want order and discipline, others want a more laid back approach. Talk to the people in the teams, especially the person's idea it is and see how they fit with what you want. You'll be spending a lot of time with these people over the next 40 odd hours. Make sure you are compatible.
Amazingly the team forming process just works. Pretty quickly everyone finds a team and the ideas that have not been chosen are pulled off the wall. And then the race is on. Each team has to test their idea with potential customers, build a minimal viable product and develop a kick-ass 10 minute pitch that will wow the judges on Sunday night.
You'll hear two words a lot over the weekend, validate and pivot. This is because Startup Weekends are based on Lean Startup principles, a methodology created by Silicon Valley entrepreneur Eric Ries. Eric is hot on testing ideas (validation) and adapting as you learn (pivoting).
You should validate every aspect of your idea. Validate the problem, validate the solution, validate that people will pay, validate how much they will pay, validate how you'll get your product to the buyers. Everything.
As Paul puts it, before you validate you "Think you've counted all the variables, but there's other shit you haven't even considered." For him, one of his most valuable insights was from a slightly drunk girl on Courtenay Place at 10.30 on Saturday night – validation can happen anywhere and from anyone.
The point of validation is not to simply prove your idea is right. The point is that you learn from the information that you're getting from your customers. Paul's team had to pivot away from their original idea when they discovered people didn't grow enough produce to be able to share with their neighbours. But people did want to connect better with their communities, so they had to find another model.
Neighbourhood Kai evolved into an entirely different concept. Instead of homegrown food, they made opportunities for people to meet and share skills over food. To test this idea they used another central principle of the Lean Startup methodology – the Minimal Viable Product (MVP). They held the first ever Neighbourhood Kai event at a nearby bar.
The people that attended this event were other Startup attendees, and they loved it. Paul describes it as another kind of speed dating where you get a badge on which you write your skills, which helps break the ice.
Over the weekend a band of roving mentors drop in on the teams and find out where they're up to and provide advice on how to overcome difficulties. They also provide opportunities for teams to practice their pitches, which by Sunday is the major focus.
By early evening, the team's pitchers are looking decidedly grey or full of nervous energy. Before you know it, it's your team's turn and you're standing in front of a hundred odd people, including some really intimidating (no matter how nice they sound in the introductions) judges. You have 10 minutes to sell your idea, summing up all the work that you've done and all the potential you see for your idea.
The judges will then ask questions. Then it's over. There's no more you can do. You might then start paying attention to the other ideas that are being pitched and marvel at how much awesomeness has been created since Friday.
Then dinner and finally what everyone has been waiting for the results. What do you win, if you do win, glory. Seriously, there are some prizes, but that's not the point. In fact winning is not really the point. The point of the whole thing is what a small group of suitably motivated people can do over the weekend.
Paul's team did not win, but Paul felt like he got everything he wanted and more out of the weekend. He feels like he now knows how to approach an idea and what first steps he needs to take, and he's started to make progress on some of his own ideas. One of the most important learnings for him was around the need to get your ideas out there.
Interested? The next Startup Weekend in Wellington is health-themed on 6-8 November.
More details and tickets here >>
Thanks to Hannah Sutton for writing this post.


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1. No, all your T/SQL will work just the same.
2. It'll work just fine.
3. Yes you can restore a database between x64 and x32.
As long as you aren't using SQL Mail, or DTS then you should be fine. If you are using SSIS then you'll need to be careful with your SSIS packages, and there is some difference in how SQL setups up it's procedure cache between x32 and x64.
Register Hereor login if you are already a member


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Imphal, Oct 20 (IANS) Manipur Chief Minister N. Biren Singh and opposition leader Okram Ibobi Singh have stressed the need to protect women from sex-related crimes after more than 50 men and women were taken into custody for "indecent" dancing under the influence of alcohol at a restaurant here.
A joint team of police, students and women vigilantes on Thursday night raided the Puzzle restaurant, around one km away from the office of the Chief Minister and opposition leader.
Manipur has been a dry state since 1991.
Police said that more than 50 men and women have been taken into custody. Some women and men managed to escape.
Manjit Sarangthem, president of All Manipur Students' Union and convener of the students' wing of Joint Committee on Inner Line Permit system, said, "With the cooperation of the people in general and women vigilantes in particular the restaurant is closed down for ever."
He said, "There was a music concert in the restaurant which charged Rs 300 each as entry fee. Our volunteers found that some married men and women were dancing indecently. Some of them were in highly objectionable situation in the darkened rooms. There were evidences of drinking inside the rooms."
Chief Minister Biren Singh said, "Law will take its own course. The government is giving a free hand to police and others in due discharge of their duties."
Both Biren and Ibobi underlined the need to check crimes against women. "Let there be no tears on the faces of our mothers and sisters," Ibobi said.
Biren said, "The government is all for the protection of the intrepid women who have carved a proud niche in the history of the country."
Sarangthem said, "We shall never tolerate the imitation of western culture in Manipur in this manner."
Post Source: Ians feed


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Unfortunately, edtech investments are expected to fall short of the anticipated $1.5 billion mark in 2015, but since 2016, education technology is on the up-and-up and are expected to reach a whopping $1.4 billion by the end of 2017.
Overall, 2017 has been promising for edtech startups, and learning startups such as Nearpod had a pretty good year.Nearpod alone achieved $21 million in fundraising which helped to catapult its success. Gamification platforms such as Classcraft have done particularly well.
The main market for edtech products are often administrative, and support staff and teachers have a lot of pull. They are typically looking for products that will solve problems, are tested and proven to be effective teaching tools, and are easily adopted into the setting where students will be taught. ClassDojo is a perfect example of what teachers are looking for, and it is an effective communication platform.
ClassDojo is a very effective tool for teachers since it is easily integrated into the classroom and it also solves many of the challenges that teachers are faced with on a daily basis. ClassDojo enables open communication between teachers, parents, and students and is now used in about 90 percent of school districts in the U.S.
ClassDojo enables students to add pictures and videos to their portfolios so they can share them on any computer, iPad, or Chromebook. The app allows teachers to encourage their students and to get parents involved with their children and the classroom.
With ClassDojo it is easy to translate messages into over 30 different languages. The app also lets parents join with any device and Quiet hours can even be set so as not to disrupt learning time.
ClassDojo was founded in 2011 and has faced its fair share of competition, but it is now used in 85,000 schools in the United States. It is widely used because it is effective, easy to use, and practical. Its primary purpose is education-centered, and it is not too much unlike Facebook or Snapchat. At the moment it is primarily used for messaging and for keeping the lines of communication open.


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text: This article is a hands-on tutorial for building a small boot sector. The first section provides the theory behind what happens at the time the computer is switched on. It also explains our plan. The second section tells all the things you should have on hand before proceeding further, and the third section deals with the programs.


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Leicester's iconic Grand Hotel set to be sold to Tico and Tiesco joint venture
Leicester's iconic Grand Hotel is set to be sold to a Thai hotel chain in a joint venture.
Fico Holding (UK), part of the Fico group of companies led by the wealthy Srichawla family, has joined forces with Thai Industrial & Engineering Service Public Company (Tiesco) to form a 50/50 joint venture to buy The Grand, which is part of Jupiter Hotel Group.
Based on a preliminary agreement, Jupiter Hotel Group is expected to be sold for about £160 million.
Jupiter Hotel Group, which is owned jointly by RBS's restructuring arm West Register and Patron Capital, a venture capital firm, owns 26 hotels in the UK, including The Grand.
The Grand, along with the other hotels in the Jupiter chain, is operated under the Mercure brand in a franchise agreement with Accor, the brand's French owner.
Tradsin Chongussayakul, managing director of Tiesco, said that the deal represented "a diversification to the investment in hospitality business overseas…from previously focusing in Thailand only".
In a potential stumbling block to the deal, Tiesco needs to obtain shareholder approval for the takeover at a special meeting on October 5.
Fico Holding (UK) was established this year. It is part of the Thai-based Fico group of companies, which has invested in 50 companies across a variety of sectors, including hospitality.
Read more: http://www.leicestermercury.co.uk/Leicester-s-iconic-Grand-Hotel-set-sold-Tico/story-27729730-detail/story.html#ixzz3kkxGVAvx
Follow us: @Leicester_Merc on Twitter | leicestermercury on Facebook


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The sudden, unexpected and unexplained death of an apparently healthy infant in its first four months of life (at most one year) is one of the most tragic human experiences for parents. Forty years of medical research on Sudden Infant Death Syndrome (SIDS) have yielded neither the cause of the phenomenon nor a means of predicting or preventing it, only several questionable "risk factors."
An intuitive consensus inquiry by the Center for Applied Intuition provided a clear explanation of SIDS and a prescription for how it may best be handled by the parents, and perhaps learned from. A dozen expert intuitives affirmed that even a infant is sufficiently conscious to be able to foresee its coming life and make a personal decision whether to continue living or not—its own kind of suicide. Partial corroboration of this finding can be found in little known discoveries that establish clearly that perinatal infants possess an active awareness capable of sensation, memory and some degree of "thought." As its consciousness withdraws from its body it succumbs to whatever physical condition is weakest, which may not be detectable. Modern medicine possesses no means for testing this non-physical explanation in its own terms, and it therefore disregards it.
SIDS is therefore a natural occurrence, not a physical disorder or an infectious disease. The usual grief, guilt and confusion of the parents, while certainly understandable, arises from a misconception of the life process itself. These symptoms may be dispelled by a more complete understanding of how and why life and death occurs in human life. The child, truly a gift of life to the parents and on temporary "loan" to them, has the same free will as they do to come and go when it chooses. Their infant is not be regarded as a "possession" to be owned or an object of emotional dependency. Their love for it need be no less from this revised perspective, but it applies to the child's consciousness more than its body, which can indeed be lost to them.
The child's life, just as each parent's life, is independent and ongoing. It makes its own fundamental life choices, and it does not begin at birth nor end at death. Herein lies the principal meaning and the lesson to be learned from an infant death. Read further.


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Transferring to a Halifax ISA.
In a nutshell
ISA transfers let you change to a different ISA even if you've already paid into your existing one in this tax year. Otherwise you can only pay into one ISA of it's kind every tax year.
You can transfer from your existing stocks and shares or cash ISA into a new Halifax cash or Investment ISA. We've made it as simple as we possibly can.


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Talented staff is the lifeblood of any organisation. At Archant, we invest in our people with learning and development for all, to help our staff, whether commercial, content, marketing or operational, reach their full potential.
When you join us, you have direct access to dedicated in-house learning and development specialists who will lead your learning journey based on your development needs and passions.
Watch our video to discover what a typical development session is like…
The digital revolution has changed all our lives. Archant people are excited about the amazing opportunities digital brings, providing audiences with new, relevant and immerse environments in which to enjoy content – and giving advertisers a complete tool of targeted products to deliver outstanding return on investment.
You'll get a sense of our commitment to digital transformation from your very first day and will soon be enjoying a blend of online and classroom learning led by a dedicated team who make digital engaging, accessible and fun.
© Archant Ltd 2013