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March 26 -27th, 2010 NYC at Simple Studios
INVITE for Film Funding Conference.... Regular REGISTRATION Ends March 15th
Indie Filmmakers, and Aspiring Filmmakers!
Take part in this incredible event taking place in NYC where you can interact directly with established producers & investors who will share with you the steps you can take to get your project funded! The focus will be on equity investment, and how you can package your project to attract investor interest!
Workshops will be available which will you guide you through the process of what steps you will need to take to put together a viable Film Package, and how to go about presenting it to get your project noticed!
We will also be holding networking and pitch sessions where you will be able to get your ideas heard in front of an audience of your peers, and our Producers and Investors. One lucky filmmaker will be offered a Packaging Deal by our Film Company, Riwayat Films.
If you're already working on a film production, we invite you to take part in our Works In Progress session, where you will be able to show footage from your current production, and present your concept directly to investors.
Visit our website at http://www.iffpc.com
to view the growing list of Speakers, Presenters, and Events that are added to on a weekly basis! Don't miss out on this one of a kind event!! This could be exactly what you need to get your project green lighted!
B.K. Coposky
Riwayat Films
With Editor John Gilroy, A.C.E.
(NEW YORK – APRIL 30, 2010) 92YTribeca presents The Invisible Cut: How Editors Make Movie Magic with author and moderator Bobbie O'Steen in conversation with film editor John Gilroy, A.C.E. on THURSDAY, MAY 13, 2010, 7 PM at 92YTribeca, located at 200 Hudson Street, New York City, with screening of the award-winning film Michael Clayton. O'Steen and Gilroy will run footage and discuss his editing process on the 2007 drama starring George Clooney, Tilda Swinton, Tom Wilkinson and the late Sydney Pollack. This is the third in the series of events from Bobbie O'Steen about the art of film editing, where she conducts in-depth discussion with esteemed film editors and screens their award-winning movies. 92YTribeca box office opens one hour before. Advance tickets ($12) may be purchased at http://www.92YTribeca.org or by calling 212.601.1000.
The Invisible Cut: How Editors Make Movie Magic (Michael Wiese, 2009) is Bobbie O'Steen's latest book and her second about film editing in which she gets inside the editor's head and shows how the mysterious art of editing is actually done. The author uses the "out" and "in" frames of the actual cuts from classic scenes from landmark movies like The Graduate, Chinatown, Rear Window, French Connection and Body Heat as well as in-depth interviews to explain how the editor manipulates and seduces the audience to create the invisible cut.
The New York-based author first wrote about film with her late husband, Sam O'Steen, the legendary Oscar nominated film editor in Cut To The Chase: 45 Years of Editing America's Favorite Movies (2002), filled with candid stories from the cutting room and behind the scenes on some of the most influential movies in motion picture history. Sam O'Steen was one of Hollywood's most distinguished film editors who worked with directors Mike Nichols, Roman Polanski and many others during what is now referred to as the "Golden Age."
For his work on Michael Clayton, John Gilroy was nominated for an A.C.E. Eddie and BAFTA award. Gilroy has worked on numerous films including Duplicity, Pride and Glory, Miracle, Narc, and Tumbleweeds. After graduating from Dartmouth College, Gilroy came up through the editing ranks in the 1980s, working as an assistant editor on numerous features, including Francis Ford Coppola's Peggy Sue Got Married and Gardens of Stone.
Michelle Ngo
Wednesday, June 23, 2010, 6:30pm-8:30pm
Developing Your Production Company with Robin Moore
Commerce, sales, the bottom line...the language of business and of production companies. From LLC to getting work to what is your time worth? Enhance your production company's profitability and feed the starving artist.
The concept behind the upcoming workshop is to give filmmakers/producers a foundation that imparts a financial acumen in relation to having a company or being a sole proprietor. This workshop will be followed by the more advanced, Business/Financial Modeling for Filmmakers, at a later date. Topics of this workshop will include:
The 6 Business Driven Principles for Your Film
Adapt the Process
Balance Priorities
Collaborate across teams
Demonstrate Milestones
Elevate the level of abstraction
Focus on Quality
Instructor: Robin Moore
Robin Moore is a business analyst for film and media, who puts together investment packages for investors to secure funding for filmmakers. Companies Robin have worked for include Disney, WGBH, Lionsgate and Cablevision.
Location: Simple Studios
134 West 29th Street (b/t 6th & 7th Ave.)
2nd. Floor Room 205
Mopictive Members get discount with this code DYPC10
Cost of Workshop: $62 with discount
Workshop Size Limited....Reserve Your Space Quickly at this link:


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The Sun Ultra 45 and Ultra 25 workstation motherboards use a nonvolatile random access memory module (NVRAM) that stores parameters used for configuring system startup (FIGURE 10-1). The NVRAM module uses a SEEPROM chip.
The workstation system configuration parameters are stored in NVRAM. These NVRAM parameters contain values that determine the startup configuration of your workstation. You can modify or reset the parameter values by using commands from the ok prompt, or the eeprom command from a terminal window, or by using key commands.
This chapter contains information about the following topics:
When a Sun Ultra 45 or Ultra 25 workstation is put into run level state 0, the ok prompt is displayed. At the ok prompt, you can make changes to the NVRAM and conduct OpenBoot PROM tests (POST and OpenBoot Diagnostics). TABLE 10-1 lists methods for obtaining the ok prompt, listed from most preferred to least desirable.
Caution - The Stop-A key sequence causes a system abort which loses the system state and might corrupt file systems. Method 1 is the preferred procedure.
Operating system is functioning normally. You have superuser access.
Operating system is functioning normally. You do not have superuser access.
Operating system is not functioning normally. You can log in as superuser remotely.
When the Power LED flashes, press the Power button twice quickly.
Press the Stop and A keys simultaneously. The Stop-A key sequence causes a system abort that loses the system state and might corrupt file systems.
If you are obtaining the ok prompt to run OpenBoot PROM diagnostics, see OpenBoot PROM.
If you are obtaining the ok prompt to view or change NVRAM configurations, see Changing NVRAM Configuration Parameter Values.
The NVRAM configuration parameter values set the startup behavior of the Sun Ultra 45 or Ultra 25 workstation. Changes made to the variables typically survive power cycling and if not configured properly, might have an adverse affect. Use discretion when changing or resetting NVRAM configuration parameter values.
Use the commands listed in TABLE 10-2 to view and modify NVRAM configuration parameter values.
Displays the current value for the parameter.
If no parameter is provided, all parameters, their current value, and their default value are displayed.
Sets parameter to value. Values are typically textual or numeric. Changes made with the setenv command are permanent, but require a reset or power cycle to take affect.
Initiates a warm boot where most NVRAM configuration parameters are read by OpenBoot PROM. With power cycling or a cold boot, all NVRAM configuration parameters are read by the OpenBoot PROM.
You can display your system's current and default parameter values by typing printenv at the ok prompt. For example:
ok printenv
Variable Name Value Default Value
asr-policy normal normal
diag-passes 1 1
local-mac-address? true true
fcode-debug? false false
scsi-initiator-id 7 7
oem-logo No default
oem-logo? false false
oem-banner No default
oem-banner? false false
ansi-terminal? true true
screen-#columns 80 80
screen-#rows 34 34
ttyb-rts-dtr-off false false
ttyb-ignore-cd true true
ttya-rts-dtr-off false false
ttya-ignore-cd true true
ttyb-mode 9600,8,n,1,- 9600,8,n,1,-
ttya-mode 9600,8,n,1,- 9600,8,n,1,-
output-device screen screen
input-device keyboard keyboard
auto-boot-on-error? false false
error-reset-recovery sync sync
load-base 16384 16384
auto-boot? true true
boot-command boot boot
diag-device net net
boot-device disk net disk net
use-nvramrc? false false
security-mode none No default
security-password No default
security-#badlogins 0 No default
verbosity min min
diag-trigger none none
service-mode? false false
diag-script normal normal
diag-level max max
diag-switch? false false
To change a parameter value, use the setenv command. For example:
This example enables diagnostics.
Note - Parameters that end with a question mark (?) can only be set true or false.
Typing set-defaults resets all parameters to their default values. TABLE 10-3 lists the NVRAM configuration parameters, the default values, and a description.
Number of passes that diagnostics are to make before continuing to boot.
Value of true means to use the MAC address within the motherboard.
Value of true enables the terminal emulator to interpret ANSI escape sequences.
Communication parameters for ttyb: 9600 baud, 8 data bits, no parity, 1 stop bit, no handshaking.
Communication parameters for ttya: 9600 baud, 8 data bits, no parity, 1 stop bit, no handshaking
Device alias of the console output display. screen is aliased to the first graphics accelerator found in probe order.
Value of true enables the system to boot the Solaris OS without intervention.
Device alias of the hardware that has the boot file. Aliases may be separated by a space, and are checked in left to right order.
Value of false disables use of the information in the nvramrc space.
Storage space for special conditions and variables used for booting the system.
Value of false disables diagnostics under the OpenBoot PROM.
More information about the NVRAM configuration parameters is available from the eeprom man page.
You can restrict the set of operations that users can perform. When the security-mode parameter is set to either full or command, only users with the security-password may bypass the enforcement policy. TABLE 10-4 lists the different security modes and their conditions.
All commands except boot (without arguments) and go require the security-password.
Caution - You must set the security password before setting the security mode. Forgetting the password or configuring security mode before the password requires a call to customer support to make the system bootable.
To configure security mode:
1. Obtain the ok prompt.
See Obtaining the ok Prompt.
2. Set the security password with one of the following methods:
This is the only instance in which the security password is ever displayed.
3. Set the security mode to full or command:
4. Enable the security mode:
Upon reset, the ok prompt appears as a > symbol and the password is required. For example:
After supplying the correct password, the command is run. If an incorrect password is supplied, the user is required to wait for 10 seconds until authorization can be re-attempted. For example:
It is possible to display and change NVRAM configuration parameters from the Solaris OS by using the eeprom command. The eeprom command is executed by superuser in the form of:
If no parameter is specified, the eeprom command displays only the current NVRAM configuration parameter values, similar to the printenv command. For example:
# eeprom
test-args: data not available.
To enable diagnostics, use the eeprom command in this example:
The eeprom command requires a system reboot for the changes to take effect. For more information, refer to the eeprom man page.
This section describes how to use your USB keyboard to abort or reset NVRAM by using the Stop-A or Stop-N equivalent commands:
Before powering on the workstation, ensure that the keyboard and mouse are connected to the rear panel USB ports.
Note - The Stop-A and Stop-N key sequences are sometimes referred to as "OpenBoot Emergency Procedures."
Caution - Using the Stop-A key sequencewhile the Solaris OS is running causes a system halt. The system state is lost, file systems are not synchronized, and data might be lost or corrupted.
Use the Stop-A key sequence to abort an OpenBoot process. To issue the Stop-A key sequence for the Sun Ultra 45 or Ultra 25 workstation, press both the Stop and A keys (Stop-A) immediately after powering on the workstation. Hold both keys down until the workstation beeps.
Note - Using Stop-A does not enable the workstation to perform a core dump. The information from a core dump could be useful if the Solaris Operating System has crashed.
For older Sun systems, issuing the Stop-N key sequence upon startup resets workstation configuration variables. The Sun Ultra 45 and Ultra 25 workstations use a Sun Type-7 USB keyboard. It is not possible to issue a Stop-N key sequence with a USB keyboard. By the time the USB keyboard driver is loaded, the interval to use the Stop-N key sequence has expired. Instead, use the following procedure to reset your workstation configuration variables. This procedure puts the Sun Ultra 45 or Ultra 25 workstation into a Safe NVRAM mode.
1. Power on the workstation and wait until the front panel Power button LED begins to flash.
2. Quickly press the front panel Power button twice (similar to the way you would double-click a mouse).
Note - Once the Power button LED stops flashing and stays lit, pressing the Power button again powers off the system.
A screen similar to the following is displayed to indicate that you have successfully reset NVRAM contents to the default values and the system is in Safe NVRAM mode. If a screen similar to the following screen is not displayed, allow the system to boot, shut down the system, and repeat Steps 1 and 2.
Sun Ultra 45, Keyboard Present
OpenBoot 4.21.x, 1024 MB memory installed, Serial #53463596.
Ethernet address 0:3:ba:2f:ca:2c, Host ID: 832fca2c.
Safe NVRAM mode, the following nvram configuration variables have
been overridden:
'diag-switch?' is true
'use-nvramrc?' is false
'input-device', 'output-device' are defaulted
'ttya-mode', 'ttyb-mode' are defaulted
These changes are temporary and the original values will be restored
after the next hardware or software reset.
While the workstation is in the Safe NVRAM mode, some of the NVRAM configuration parameters are reset to their default values. The reset parameters include those parameters that are more likely to cause problems, such as TTYA settings. However, these default NVRAM settings are reset only for one power cycle and are not permanent. If you change configuration parameters while in Safe NVRAM mode, those changes are permanent and do survive a reset.
TABLE 10-5 lists the configuration parameters that are reset to default values, and describes those values.
TTYA port default settings. See Setting Up for POST.
TTYB port default settings. See Setting Up for POST.
When the ok prompt is displayed, typing set-defaults discards any customized NVRAM values and permanently restores the default values for all NVRAM configuration parameters. See TABLE 10-3 for NVRAM configuration parameter default values.
Use one of the following two methods to perform a workstation power cycle by shutting down and immediately restarting the workstation:
Copyright © 2006, Sun Microsystems, Inc. All Rights Reserved.

subset: commoncrawl


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Leave the site 11.10 but are very hungry (must be all the sleep we had) Dave doesnt want to stop so I stop giving him our stock of fruit pastilles and it works we stop for lunch, the cake shop is not very inspiring so we go to The Orangeries Hotel, now all the hotels and shops in France look like they are shut, Dave tried the door and yey they are open "restaurante" Dave says in his best French, we are ushered into a lovely little dining room with French people occupying all the other tables, luckily I changed my grubby jumper to a baseball t-shirt and Dave kept his 4 day old clothes on or we would have felt very out of place !!! OMG I bet they could tell we were Brits, they were all finely turned out neat and tidy, cravated and scarved to eat lunch, I thought the water glasses were tea light holders and you would have had a picture of our lunch but we were sitting on a table in the middle of the room and thought I may look even more chavvy photographing each course. Anyway the food was gorgeous Dave had Fois Gras and then hake and I had Salmon starter and then mushroom risotto, yum yum. Then its a nice full stomached drive to our next campsite. The owners were on holiday, so it was being looked after by a gentleman and his daughter, who had worked in RAF Sealand and had lived in Hawarden just down the road from where we used to live, had a good natter to him, took the dogs for a walk into the town and tucked in for the night. Gorgeous campsite wished we could have stayed longer.
Miles – 172 Tolls – 12.90 euros Campsite 13.00 euros
Marcillac-la-Croisille – Camping du Lac showers clean, tidy and modern, small uphill walk to the town, free wifi


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Job Information
Providence Health & Services LVN - Hospice Crisis Care LA and OC in Anaheim, California
Providence is calling a full time, day shift Crisis Care LVN to Providence TrinityCare Hospice based in Torrance, California.
This position will provide coverage for LA and Orange counties, 8:00am-4:30pm.
Please upload a current resume reflecting all professional nursing experience.
To learn more about TrinityCare Hospice please click on the video link: http://california.providence.org/trinitycare/
In this position you will:
Act as a contact for information and coordination of the initial Providence TrinityCare Hospice services from physicians, insurance companies, discharge planners and other outside referral sources
Provide access for new patients to Providence TrinityCare Hospice services
Required qualifications for this position include:
Graduate of an accredited Practical or Vocational Nursing program
Currently licensed as an LVN in the state of California
Possess and maintain current BLS certification
Minimum 1-year professional nursing experience
Must be a licensed driver with an automobile that is in good working order and insured in accordance with state and / or PH&S / TrinityCare Hospice requirements
Demonstrates good verbal and written communication and organizational skills
Demonstrates understanding of hospice philosophy and concept and understands the needs of the terminally ill
Preferred Qualifications:
Bilingual in Spanish / English strongly preferred
Community health / hospice / palliative care or medical / surgical experience
About the hospice you will serve.
Providence TrinityCare Hospice, established in 1977, is the oldest and largest nonprofit hospice in Southern California and the first to be licensed by the State of California. Caring for people in Los Angeles and Orange Counties with professional teams. Providence TrinityCare Hospice is Medicare Certified and CHAP (Community Health Accreditation Program) accredited. We also provide the only specialized pediatric hospice service in Los Angeles County.
As the only pediatric hospice in Los Angeles County, Providence TrinityKids Care understands the impact a seriously ill child can have on the life of a family. A specialized division of TrinityCare, TrinityKids Care helps children with life-limiting illnesses leave the hospital in order to spend as much time as possible at home with their families.
We offer a full comprehensive range of benefits - see our website for details
Our Mission
As expressions of God's healing love, witnessed through the ministry of Jesus, we are steadfast in serving all, especially those who are poor and vulnerable.
About Us
Providence Health & Services is a not-for-profit Catholic network of hospitals, care centers, health plans, physicians, clinics, home health care and services guided by a Mission of caring the Sisters of Providence began over 160 years ago. Providence is proud to be an Equal Opportunity Employer. Providence does not discriminate on the basis of race, color, gender, disability, veteran, military status, religion, age, creed, national origin, sexual identity or expression, sexual orientation, marital status, genetic information, or any other basis prohibited by local, state, or federal law.
Schedule: Full-time
Shift: Day
Job Category: LPN/LVN
Location: California-Torrance
Other Location(s): California-Tarzana, California-Santa Clarita, California-San Fernando, California-Huntington Beach, California-Irvine, California-Anaheim, California-Los Angeles, California-Orange, California-Pacific Palisades, California-San Gabriel, California-Mission Hills, California-Santa Monica, California-Cerritos
Req ID: 232961


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This prayer was found, in its entirety here. I did not write it; I am grateful that it spoke confirmation to my heart as I walk this path. May it bless you as it blessed me. Sabbath blessings and rest to you.
"….may Your will be done" (Matthew 26:42),
Loving Father, I surrender to You today with all my heart and soul. Please come into my heart in a deeper way. I say "Yes" to You today. I open all the secret places in my heart to you and say, "Come on in." Jesus, You are Lord of my whole life. I believe in You and receive You as my Lord and Savior. I hold nothing back. Holy Spirit, bring me deeper conversion to the person of Jesus Christ. I surrender all to you: my health, my family, my resources, occupation, skills, relationships, time management, successes and failures. I release it, and let it go. I surrender my understanding of how things out to be; my choices and my will. I surrender to You the promises I have kept and the promises I have failed to keep. I surrender my weaknesses and strengths to You. I surrender my emotions, my fears, my insecurities, my everything. I surrender _____________, ______________________, _______________________, _____________________. (Continue to surrender other areas as the Holy Spirit reveals them to you). Lord, I surrender my entire life to You, the past, the present and the future. In sickness and in health, in life and in death, I belong to You.
"Take, Lord, and receive all my liberty, my memory, my understanding, and my entire will, all that I have and possess. You have given all of me. To you, O Lord, and I return it. All is Yours. Dispose of it wholly according to Your will. Give me Your Love and Your grace, for this is sufficient for me."


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Contact Kirkwood Guest House
Please use the online enquiry form below to contact Richard and Paula regarding bed and breakfast at Kirkwood Guest House in The Lake District. Alternatively please telephone 015394 43907.
GDPR Statement: By submitting this form you consent to us contacting you about your enquiry. We do not add your details to any mailing lists and do not pass your details to any third parties.
* =information obligatoire


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Hello ?? im whats about of your mind ?? i'm content writer of www.crearphpnuke.com published Coloring Page Disney Princess on February 19th, 2019 for your Coloring Pages designs picture as your inspiration. If you want to see the picture in full size, just click on the picture above and then click en. You can also download this Coloring Page Disney Princess picture by clicking the picture caption which is located under picture and then save on your device. We Also featured related photos to the Coloring Page Disney Princess as thumbnail below, so you can easily acces them as what you want. We hope you enjoy being here and feel free to contact our team at the contact page when you need any help or another such as, we will be happy to assist you.
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April 26, 2017
Article PDF
The Great Recession starting in 2007 hit many new housing developments hard – many having received all their discretionary entitlements (including tentative map approvals) did not proceed to construction, and remain on hold. After the recession hit, there arose a danger that a developer's previously approved subdivision map (tentative map) would expire before construction was started. As a result, the California Legislature took steps to automatically extend the life of approved tentative subdivision maps. The cumulative effect of these extensions led to an unprecedented subdivision map lifespan – the typical statutory life of tentative map subdivision approvals increased from two years to seven or more years. These extensions were generally automatic and had to be given. However, as of 2017, these automatic extensions are expiring for most projects.
Developers will now be asking County Surveyors for extensions once again, but where the full number of automatic extensions has run, the County can grant or deny at its discretion. Those developers who are not able to obtain discretionary extensions will need to record subdivision maps soon or face the possibility of seeking project approvals on old subdivisions all over again.
In San Francisco, the lead agency (Public Works Department) has indicated it would recognize the life of a tentative map as being extended by the state legislation until (for many subdivision maps) the anniversary of the project's tentative map approval date, when such date occurs in the year 2017. That effectively means that many subdivision approvals in San Francisco that were obtained more than two years ago are set to expire this year.
Of course a lead agency can grant discretionary extensions. Gov. Code Sec. 66452.6(e) allows the advisory body to extend maps for a period or periods not exceeding a total of six years. However, developers should be aware that local agencies are feeling increasing pressure from the state and local citizenry to construct and build residential housing that is affordable. Old subdivisions that are perceived to be dormant and stale may receive negative treatment by an agency being asked to grant a discretionary tentative map extension if they were approved without an affordable housing requirement (or with a lower level of affordable housing or a lower level of some other public benefit) than would be required for a residential development first approved today. If a developer was to be denied an extension, the developer would have to apply again for a tentative map approval, and would be subject to new laws in effect then, including laws that require on-site affordable housing for the first time, or at greater levels than previously required. We expect that agencies will be more receptive to extensions when a developer can demonstrate current and substantial progress to construct and build housing in the very near future. How to demonstrate that remains an issue.
Subdividers are advised to seek the advice of land use counsel well before the expiration of any tentative map. Because the Subdivision Map Act extensions were written at different times and have slight variations in wording, specific projects may be affected differently.
Paul Mabry, Esq. was a contributing author for this publication.
M. Brett Gladstone
Direct Phone
Email Attorney
PDF Bio


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This innovative technology simply offers a better way of helping Sign Makers solve the ever changing challenges they face on a day to day basis from mounting & laminating onto odd shapped substrates to weeding cut vinyl panels... Using the Rollover Flatbed Applicator will result in flawless perfection every time, regardless of media or substrate, and in only a fraction of the time and hassle that it would take in a traditional laminator. If you work with cut sheet media and substrates, there simply is no better way to finish them than with the Flatbed Applicator from Rollover.
Download a brochure on the Rollover Classic Applicator here:
or Download a brochure on the new, Rollover Flexi Applicator here:


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Seafood Stuffed Clams recipe by the BBQ Pit Boys that combines Rhode Island Littleneck Clams, Maine Lobster, Louisiana Shrimp, and Alaskan King Crab for a crowd pleasing barbecue side dish.
- Clam shells – 12 cleaned
- Shrimp – 4 Louisiana style
- Maine lobster claws – 2
- King crab legs – 2
- Rhode Island clams – 1- 2 lbs. (wash in water to remove sand)
- Onion – 1
- Garlic – 2 cloves
- Salt – to taste
- Chicken broth – 2, 14 oz. cans
- Baby clams – 1, 12 oz. can, whole clam meat
- Butter – 1 stick
- Seasoned stuffing mix – 8 cups or 1 lb.
- Extra virgin olive oil – 4 Tablespoons
1. Bring grill temperature up to 350 – 400 degrees Fahrenheit, with coals offset for indirect cooking.
For Steamed Crab, Clams, Lobster, Shrimp:
2. Wash clams to remove sand.
3. Place a cast iron skillet directly over the coals to heat.
4. Add ½ -1 cup of water to skillet. (You can use white wine or broth for steaming)
5. Place clams, king crab, lobster claws, and shrimp in pan. (Use your favorite or what's available in your area)
6. Cover with foil and steam for 8-10 minutes or until clams open.
7. When done steaming, remove pan from direct heat and place opposite coals.
8. Reserve broth from skillet.
Prepare Stuffing Mix:
9. Place another cast iron skillet over hot coals.
10. Heat 2-3 Tablespoons of extra virgin olive oil.
11. Mince 2 cloves of garlic and dice ¼ cup of onion. Add to skillet to lightly brown. Leave grill uncovered.
12. Add 2 Tablespoons of butter to pan, stir.
13. While garlic and onions are cooking, remove clam, crab, and lobster meat from shells. Be sure there aren't any shells mixed in with the meat.
14. Cut up shrimp and combine all meat together. Chop and set aside.
15. Take seasoned bread crumbs and place in a large bowl.
16. Mix in; 2 cans of chicken broth, broth used for steaming, 1 can of baby clams, steamed clam, crab, shrimp, and lobster meat.
17. Add in garlic and onions from skillet.
18. Combine thoroughly. Stuffing should be moist.
19. Maintain grill temperature of 350-400 degrees Fahrenheit.
20. Roll stuffing mixture into a ball.
21. Stuff mixture into clean clam shells.
22. Place stuffed clam shells opposite hot coals for indirect cooking.
23. Cover grill and cook 15-20 minutes. Cooking times may vary depending on grill temperature.
24. Transfer stuffed clams to a serving platter.
25. Place a 'pat' of butter on top of each stuffed clam.
26. Serve as a side dish or appetizer.
27. Sit back, relax, and enjoy!!


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Bandai Namco Entertainment Japan has released four new screenshots for their next Vita Digimon title in the region.
These new screens come courtesy of the game's official website (via Niche Gamer), and depict both protagonist gender choices alongside Digimon creatures MetalGarurumon, Palmon, Biyomon, Wargreymon, and Numemon.
Check them out;
Digimon World: Next Order is due out in Japan sometime in 2016.


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Workday's stock has been crashing since it reported earnings after the market closed on Tuesday.
It's down about 15% and as of close on Friday, still dropping.
Although Workday had a good quarter, beating Wall Street's estimates for both revenue and profit, it warned investors that its spectacular growth was slowing a bit.
One problem appears to be that its biggest competitor, Oracle, has found a way to hit it with serious pricing pressure.
Oracle is offering such steep discounts to customers when competing for deals against Workday, that Oracle is willing to go into the red on these deals, Jefferies analyst John DiFucci tells Business Insider.
Oracle can throw in discounts on some of its many, many other products so that a customer thinking about moving to Workday could get quite a nice little welcome basket if it signed with Oracle instead.
DiFucci explained to investors in a research note:
We believe Oracle (and to a lesser degree, SAP) has been behaving irrationally in the market for almost a year. ... Workday management noted that Oracle's behavior hasn't changed over the last year, and while it was likely aggressive prior to this, we believe it became even more aggressive doing almost anything to win deals from Workday.
DiFucci also asked Workday CEO Aneel Bhusri about it during the quarterly conference call and Bhusri said, "I'd say right now Oracle has their act together better than SAP. SAP seems to be in a bit of disarray."
Oracle CEO Mark Hurd explained that when it comes to Workday, particularly for US customers, there have been "some strong fights ... we now win more than half the deals in the United States."
There's a good reason Oracle feels it must win against Workday at all costs.
Unlike most of its other cloud competitors, including Salesforce, Workday doesn't use any of Oracle's technology to run its cloud, not even Oracle's world-class database (much less the high-end servers that Oracle sells to run its database).
Oracle co-founder and CTO Larry Ellison explained, "Every single cloud company of size, of the top 10, nine of them use our database in the cloud. Workday is the only one that doesn't. ... Workday kind of build their own little database."
And there's good reason that Workday has avoided all-things-Oracle like the plague. There's a long history of bad blood between Oracle and the founders of Workday.
"There are some high-level people at Oracle that want to TOTO Workday." - Jim Cramer
Workday was founded by David Duffield, the founder of PeopleSoft after he lost his company to Larry Ellison and Oracle years ago in one of the nastiest hostile take-overs in software history. (The battle got so heated that at one point Ellison even joked about shooting PeopleSoft's then-CEO Craig Conway.)
So, every customer that leaps to Workday is a double loss for Oracle, both in the sale of the cloud contract, and the sale of the infrastructure that runs Workday's cloud.
CNBC's Jim Cramer offered some insight. "There's a phrase that some at Oracle use called TOTO" Cramer told CNBC's David Faber, which means Turn Off The Oxygen. "And there are some high-level people at Oracle that want to TOTO Workday."
Oracle and WorkDay declined comment for this story.


text: Aug 20, 2013 Please Please. Please is a very powerful word. It is especially powerful when it said so sweetly by our little king. He has mastered the use of this word and seems to understand that it melts his mother and I. He uses it for many purposes: "please outside" when he wants to go out and play..."please" while trying to pry open the freezer door for ice cream..."please" with arms outstretched when he wants to be picked up. How can one refuse the cuteness? I know that we will have to be strong and say "no" in the future, but for now his requests seem reasonable and we melt to his sweetly spoken "please".


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Home Improvements for Spring / Summer
If this year is the year that you've decide to finally take the step and make those big home improvements you've always dreamed of, then now is the time to take action. If you want to be able to enjoy things like orangeries and conservatories throughout the summer months then spring is the perfect time […]Continue Reading
Amazing Front Driveways Make all The Difference
The driveway… regarded as one of the least important features of a property—yet it can transform your home from a five to a solid ten! It's the face of your house so that means it needs to look absolutely immaculate. Luckily for you, here at Rhino, immaculate comes as second nature…and it just so happens […]Continue Reading
Why is Lancashire Loving Imprinted Concrete Driveways?
Have you heard about Rhino's newest home alteration service? We're so excited to be rolling out our top quality imprinted concrete driveways across the North West. With dozens of satisfied customers receiving brand new, top-of-the-line driveways from Rhino, this new service has already made a name for itself! So, we bet you're wondering what an […]Continue Reading


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Surf Master 204
Garden City Beach - Ocean Front
- Complex: Surf Master by the Sea
- Type: Condominium
- Location: Ocean Front
- Property Type: Condominium
- Bedrooms: 2
- Bathrooms: 2 full
- Sleeps: 6
Bedding Types: 2 Queen, 1 Sofa Bed
2019 Notice: The homeowners of Surf Master 204 have completed more than $45,000 in renovations. These updates provide handicap accessible features to guests with disabilities or limited motion. Other changes include new furniture throughout as well as a well-stocked kitchen, sure to please anyone who stays. The virtual tour and photos detail the amazing updates. Renovations were completed April 1, 2019.
Surf Master 204 is a two-bedroom, two-bath oceanfront condo located 1.2 miles north of Garden City Pier. This condo features a fully-equipped kitchen complete with dishwasher and microwave, as well as an oceanfront balcony, washer, dryer, and central heat and air conditioning. Three color TVs (cable), DVD player, telephone, and Wi-Fi are also provided. Sleeping accommodations include two queen-sized beds, plus a sofa bed. Common area features two elevators in both towers, two oceanfront swimming pools and hot tubs, two parking passes, (some covered) seven-foot clearance. This unit is located in the north building. No smoking. No pets. Check-out maid service included. Linens included. Maximum occupancy: 6
Conveniently located close to some of the best area attractions, Garden City Beach is directly south of Surfside Beach and ends on a peninsula at the mouth of Murrells Inlet. One of the most renowned attractions in Garden City Beach is the Pier at Garden City. Other attractions include Marlin Quay Marina, Gulf Stream Cafe, Original Sam's Corner, and Sara J's Seafood Restaurant
Just south of Garden City Beach is Murrells Inlet, a seaside community that is considered to be the "Seafood Capital of South Carolina", but is also home to some of the nation's best golf courses. Once primarily a fishing village, the town is best known for the Murrells Inlet Marshwalk, a half-mile long boardwalk overlooking a pristine saltmarsh, and the many award-winning seafood and barbecue restaurants along Highway 17 Business in the central business district.
Brookgreen Gardens, a sculpture garden and wildlife preserve built on four former rice plantations, is located slightly south of Murrells Inlet. It features several themed gardens with American figurative sculptures placed in them, trails through several nature reserve ecosystems and the Lowcountry Zoo.
If you're looking for places to shop, Inlet Square Mall, The Market Common, Coastal Grand, Myrtle Beach Mall, Broadway at the Beach, Barefoot Landing, two Tanger shopping outlets, countless strip-malls, and many more shopping facilities are all within an easy drive from Garden City Beach. Looking for some entertainment, take in a show at Alabama Theater, Medieval Times, The Carolina Opry, Pirates Voyage, and Legends in Concert. And don't forget about Ripley's Aquarium, Alligator Adventure, Hard Rock Cafe, Jimmy Buffett's Margaritaville, and The Pavilion Nostalgia Park.
Other points of interest close by include the waterfront community of Georgetown, the third oldest city in South Carolina and second largest seaport in South Carolina, and historic Conway with its downtown Riverwalk area nestled on the banks of the Waccamaw River. Both towns include fine dining, shopping, and historic sites.
Surfside Beach, Garden City Beach and Murrells Inlet are all close to Waccamaw Hospital and several urgent care facilities.
Whatever your desire, whatever your need, the south strand offers a little something on everyone's to-do list. We have a variety of restaurants, retail stores, miniature golf, entertainment venues, charter fishing, water of course, nothing but relaxation.
Owner Summary
2019 Notice: The homeowners of Surf Master 204 have made $50,000 in renovations to the unit. These updates provide handicap accessible features to guests with disabilities or limited motion. Upon request, the homeowners will provide the following equipment to disabled guests at no additional charge:
- Padded, elevated toilet seat (Lumex Model #LX-6497)
- Padded, water-proof shower bench (Lumex Model #LX-7955KD)
Please direct equipment enquiries to the Garden City Realty staff.
Other property improvements include:
- New furniture and bedding throughout the entire condo
- Granite countertops in kitchen, guest bath and master bath
- Ceiling fans in living room, guest bedroom and master bedroom
- Kitchen peninsula with 3 barstools for casual dining
- Dining table with seating for 6
- New teak balcony furniture with outdoor dining for 6
- USB ports and charging outlets located throughout the condo
- New paint and crown molding in every room
- Enlarged and completely remodeled master bath
- Walk-in master bath shower with custom tile, handheld shower and overhead rain shower
- 36" wide master bedroom door
- 36" wide master bathroom pocket door
In addition to these upgrades, a well-stocked kitchen is sure to please any guest with a desire to prepare meals on site. New items include:
- Hamilton Beach 56-ounce blender
- Keurig single-cup coffee maker
- Mr. Coffee standard 12-cup coffee maker
- Cuisinart stainless steel cookware
All renovations were completed April 1, 2019. The virtual tour and slideshow images detail the amazing updates.
- Completely Renovation for 2019
- Our only truly "handicap accessible" condo in the building.
- Widened Doors for wheelchair accessibility
- New furniture throughout
- Three 50-inch Smart TVs
- One Flat-Screen TV in the Master Bathroom
- Luxury Vinyl Tile ( LVT )
- Three Ceiling Fans
- Stainless Steel Appliances
- Granite Countertops
- Keurig
- Wi-Fi Access
- Premium Teak Outdoor Furniture
- Bedroom 1: Queen
- Bedroom 2: Queen
- Living Area: Queen Sleeper Sofa
Guest ReviewsAvg. Rating:
We had a wonderful family trip with our children and grandchildren. Love staying at Surfmaster and our unit 204 was perfectly appointed. Cant wait till next year.
Services from rental manager
Property Condition
Clean and beautifully appointed. Completely accessible to wheelchair. Dishwasher didn't clean well; we hand-washed dishes. Best view ever. Nicest and most accommodating owner ever. Will return!
Services from rental manager
Property Condition
This location is perfect! The pictures of this condo are exact (lovely condo). The view is perfect overlooking the ocean! Garden City Realty truly accommodates their guests!!! JPeters restaurant has great food. I highly recommend this condo & Garden City Realty if you are looking for excellent customer service and the perfect location.
Services from rental manager
Property Condition


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General Troubleshooting Tips
Need to connect to different WiFi network
Last Updated -
Please follow these instructions for the pin reset:
1. Ensure that the bridge is plugged into an outlet such that you can access the Reset Hole on the left side of the Bridge.
2. If you have just moved the Bridge, ensure that it has been plugged in for at least 10 seconds.
3. Carefully insert the paper clip into the Reset Hole on the left side of your Bridge. You should feel a small spring-loaded button depress.
4 Hold the button down for a count of 15 seconds.
5. If you feel the paper clip slip off of the button, you will need to repeat steps 3 and 4
6. Remove the pin. Over the next 30 seconds the Bridge should restart.
7. Ensure that the Bridge LED's are as follows: 1 steady, 1 blinking. If so, your Bridge has been reset, otherwise repeat steps 3 and 4.
8. Go to the app and click on My Devices to set up your bridge.
If this does not get you up and running, please email us at Customer Care.


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Removal of Junk from a Move Out
Going through a move? You have to pack everything, schedule times and dates with movers, look at new properties, sort through all your stuff… So many things to think about; don't let leftover junk and trash be one of them. Once you get a chance to go through all of the items in your home, everything you decide you don't want to take with you, simply set them aside; or mark them so you know which items you don't want.
After the items have been identified. Give us a call and we can handle the removal. Simply let us know what time and date works best for you and we'll schedule the pick up. We always send two of our crew members to your address to load everything. Assisting our crew to load the junk is not necessary. They are trained in the proper lifting techniques and are happy to load all of the materials for you.
We're not just a junk removal company, we're an everything removal company. Not only will we take debris and trash, but we'll also remove unwanted furniture from your home including couches, sofas, televisions, and refrigerators. We can even haul chemicals and paint from your home. Typically, the new residents of your home will want the house empty of furniture and debris, so let us handle it so you can handle the other things with your move.


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Cleveland Cavaliers Flashback: Campy Russell
Campy Russell selected the University of Michigan to play his college ball at, after being highly touted as the best prep player in the nation at Pontiac Central High School. Russell was selected twice as the state of Michigan's Player of the Year and was named MVP in three prominent post-season high school all-star games. So needless to say, the young phenom had high expectations starting out with the Wolverines in 1972.
In those times, many schools did not believe in starting freshmen on the varsity team. But in 1972, Russell began his collegiate career, living up to the great promise he had shown by shattering all of the school's frosh team scoring and rebounding records. As a sophomore, Russell joined the varsity squad and was second in scoring, averaging 18.4 points, and first in rebounding at 9.6 RPG. His junior year, Russell was a consensus All-American and was named co-captain in leading Michigan to the Big Ten title. Russell averaged a Big Ten leading 23.7 points and was second in the conference with 11.3 RPG. Unfortunately, the Wolverines fell 72-70 to eventual champion Marquette in the Elite Eight regional final.
Following this hard loss in the NCAA Tournament, Russell was faced with a tough decision: whether to turn pro or to return for his senior year and graduate. Lured by the call of the NBA, Russell filed with the NBA as a hardship case, allowing him to be drafted. He was selected by the Cleveland Cavaliers with the eighth selection of the first round and signed a $1 million contract. Russell later stated that he regretted not staying in school, as Michigan basically had the same team returning and the prospects of a national championship were high. Russell quickly fit in with the Cavs, as he had spent summers playing ball with Austin Carr and Jim Brewer in New York City.
As was the practice in the seventies, the Cavs brought Russell along slowly his first season, averaging only 11 minutes, yet he made the most of them. Extrapolating his stats over 36 minutes of playing time, he would have averaged 20.2 points and 7.3 rebounds. The following 1975-76 season captured the hearts of fans for this young franchise and made them the talk of Ohio and basketball fans across the nation. This season would galvanize the Wine and Gold in the Cavs history books for eternity.
Russelll, along with Austin Carr, Jim Chones, Bobby "Bingo" Smith and Nate Thurmond, secured the Cavs first ever Central Division title, as well as their first trip to the playoffs. After starting the season out with a poor 6-11 record, the Cavs, behind the newly acquired Thurmond, went 43-22 the rest of the way, building an intensely intimate relationship with fans that flocked to the old Richfield Coliseum. With Russell coming off the bench giving them instant offense, the Cavs won numerous contests in the final minutes and often on the final shot of games. Coach Bill Fitch was named the coach of the year for the team's stunning performance.
The Cavs first opponent in the playoffs was the Washington Bullets, who they had just battled for the Central Division title, winning by just one game. So there was no love lost between these two teams. Russell provided the Cavs with a lift throughout the seven-game series that seesawed back and forth, averaging 14 points and six rebounds. An NBA playoff record 21,564 deafening fans packed the Coliseum on April 29, and the final game of the series turned out to be a classic in a classic series. After 16 lead changes and eight ties, the game came down to the final seconds. With the score tied at 85 in the final seconds, Jim Cleamons passed the ball to Dick Snyder, who drove past the intimidating Wes Unseld and threw a high runner off the glass, giving the Cavs the lead at 87-85. With time running out, Thurmond knocked the ball out of Elvin Hayes' hands and Phil Chenier's last-ditch attempt fell short. With Jim Chones breaking his foot, the Cavs hopes were dashed in a tough series against the Celtics, with Russell contributing the same 14/6 averages over the six-game series.
For the next four seasons, Russell would make significant contributions. In September of 1989, the Cavaliers, attempting to re-tool, traded their second leading scorer in Russell to the New York Knicks for forward Bill Robinzine. Robizine played in just eight games with Cleveland and was re-traded a month later along with a 1983 first-round draft pick (Derek Harper) and a 1986 first-rounder (Roy Tarpley) to the Dallas Mavericks in exchange for Richard Washington and Jerome Whitehead. Washington appeared in only 87 games for the Cavaliers and Whitehead just three.
Russell enjoyed two productive seasons for New York from 1980 to 1982, averaging 15.2 points and 3.7 rebounds, making the playoffs both seasons. In August of 1982, he unfortunately tore knee ligaments and cartilage, forcing him to sit out the next two seasons. Russell returned to the Cavs during the 1984-85 season to play three more games off the bench for the team before announcing his retirement. For his career, Russell averaged 15.8 points and 4.8 rebounds, while shooting 45.9 percent from the field and 77.2 percent from the line. Russell was named to the Cavs 30th Anniversary team in 2000. Today, Russell works in the Cavaliers' front office as Director of Alumni Relations and is part of the Wine and Gold game telecast crew.


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Victim Witness FAQ
I am a victim of a crime; how do I report it?
In the case of an emergency call 911. In non-emergency instances you may contact Dispatch at 377-6790, and they will direct you to the proper law enforcement agency to take your report.
How can I drop charges against someone, make additions to a police report, or correct errors on a report?
To make changes, corrections or additions to a police report, contact the officer who took the report. If that is impossible, you may contact the proper law enforcement agency to request a supplemental report be made. Rarely is a case dismissed even if the victim requests that all charges be dropped. The State is pressing charges against the defendant, not the victim.
What are the rights of victims in the criminal justice system?
To be treated fairly, to be involved in the court process, to have a timely disposition of the case, to be notified of hearings and the incarceration/release of the offender, to be involved in plea negotiations, to refuse interviews or contact with the defendant or their representative, to be involved in sentencing, and/or to have property returned.
What criminal offenses equip victims with rights?
Any charged felony or misdemeanor involving physical injury or threat of physical injury, sexual assault offenses, and juvenile offenses involving acts that would be considered felonies if committed by adults.
Who is a victim of a crime?
Any individual who suffers direct or threatened physical, financial or emotional harm as a result of a crime or juvenile offense. Rights apply to the immediate families of homicide victims, or victims that are unable to exercise these rights, such as children.
When do victims' rights begin?
When a criminal complaint or juvenile petition is filed by the prosecuting attorney. This is when a case is filed with the court (charged), NOT when a statement is given to an officer.
What is the difference between a "No Contact Order" and a "Protection Order"?
A No Contact Order is issued by the judge in a criminal case and orders the defendant to have no contact with the victim.
If you are a victim of domestic violence, stalking, malicious harassment, and/or telephone harassment, you can also personally petition the civil court for a Protection Order to keep you safe. For cases involving domestic violence, you must have had a domestic relationship with your offender (ie: spouse, former spouse, be related by blood or marriage, have a history of living together, have a child in common, married or not). In the cases of stalking or malicious and/or telephone harassment, victims do not have to have an established domestic relationship to ask for a protection order.
How do I get a Protection Order?
You may obtain a petition from the district court clerk, located at 200 W. Front St. in Boise, Idaho. This is FREE. Be specific on the form about violent acts or threats. The clerk will give the judge the form, and if the judge issues a temporary order, you will be given a hearing date within 14 days to appear again (the offender will also be there) to see if the judge will issue a 90 day order of protection. The judge can renew this for up to a year if you continue to need protection.
How do I drop a Protection Order?
To change or drop a Protection Order, you fill out another form with your requests and file it with a court clerk.
Can a No Contact Order be dropped?
Only a judge can drop or modify a No Contact Order. You must file a form at the Clerk of Courts Office on the first floor of the Ada County Courthouse (200 W. Front St. in Boise) asking for the No Contact Order to be dropped or modified. A motion hearing will then be scheduled with the judge, who will make a decision after hearing from you and the attorneys working on the criminal case.


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Sudeh Karimi is a professional Interior Architectural Designer with 15+ years experience in corporate workplace, medical, educational, and hospitality sectors.
Sudeh is creative, resourceful, passionate flexible with strong aesthetic sensibility in interior design. Sudeh possesses exposure to numerous international / national projects and experienced working in a multicultural setting. Sudeh is experienced making each project a success which results in increased revenue for the client.
Sudeh main goal is to improve the quality of spaces and to better the lives of people and their work environments.
Sudeh does this through design by creating a customized process to follow for any given project based on specific goals, priorities, budget and the needs of the stakeholders involved and sustainability of construction, environment and construction products.


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Astons are many things, but hard to look at isn't one of them. Still, the collaboration with Carrozzeria Zagato Milano on the V12 Zagato only increased the car's aching level of style.
However, in today's video, you can't see the beauty of the body, so you'll have to settle for simply hearing it. Of course, hearing it ain't all that bad, considering it is a race-tuned version of Aston Martin's V12.
Jump to 1:07 to get out of the pits, crank up your speakers, and enjoy 12 minutes with driver Peter Cate and his Aston Martin Zagato V12.


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International Youth Festival ATiYF - 5th Edition from July 10–20, 2020 "ARTIVISM"
Weiterlesen: Call for application at International Youth Festival ATiYF "Artivism" 2020
We are honored at Tiro Association for Arts to invite you to attend the opening of the 2nd version of Palestinian Cultural Day 2019 on Friday 27 September 2019 at 5:00 PM at the Lebanese National Theater in Tyre.
Looking for volunteer opportunities over the next few months? Look no further! We are looking for voice trainers, costume and product designers, and scenographers to support our activities in the theatre school, training and workshops and upcoming productions!
If you are interested and would like to apply, please send us your CV and brief cover letter to Diese E-Mail-Adresse ist vor Spambots geschützt! Zur Anzeige muss JavaScript eingeschaltet sein!
At The Freedom Theatre in Jenin refugee camp, the next Palestinian Intifada is brewing. A group of brave theatre actors risk their lives every day to fulfill a dream they are not willing to abandon; to show their play in New York.
The Journey of the Others
Directed by: Jaime Villarreal
Produced by: Benjamín Vicuña - Main Theme by: Roger Waters
Documentary- 2019 English & Arabic-English sub - 74 min
Screening in the presence of its director
The Freedom Theater & ALTO ANDES FILMS in cooperation with POUSTA & OPERA from Chile … invite you to attend the premiere this coming Wednesday 3rd April at Al-Kasaba Theatre and Cinematheque in Ramallah @ 7pm.
Tickets: 10 NIS / $3
April 4-11, 2018 - The Freedom Theatre, Jenin refugee camp
"My dream is that The Freedom Theatre will be the major force, cooperating with others in generating cultural resistance, carrying on it's shoulders universal values of freedom and justice." Juliano Mer Khamis
Our theatre festival kicks off in less than a week on April 4th April and everyone's invited! There are several exciting activities planned for the week long event including theatrical performances from theatres across the West Bank, an international theatre performance, a chance for talks and discussions, a tour of Jenin camp and much more.
Weiterlesen: Cultural Resistance Festival of Palestinian Theatre - 2019
In the early morning of Wednesday 27th of February, the Israeli Occupation forces arrested Zakaria Zubeidi one of the founders of the Freedom Theatre and one of the students of the Stone Theatre, that was destroyed during the second Intifada.
Zakaria co-founded The Freedom Theatre with Juliano Mer-Khamis who was murdered outside the theatre on the 4th of April 2011. Zakaria continued to support the theatre for over a decade since its establishment in 2006 as well as being a leader and pioneer of cultural resistance.
Based on the story written by Ghassan Kanafani.
The Freedom Theatre, in collaboration with Mustakbalna (Our Future), is thrilled to present
Us Too … Women of Palestine
An original production and urgent protest inspired by Aeschylus's play "The Suppliant Women" and performed by women from across Palestine involved with Interpeace's programme in Palestine, and hoping to pursue theatre school.
Dear Performing Arts Companies, Groups, Independent Companies, Dance Makers and Artists!
It is our pleasure to invite you to participate at Bethlehem International Performing Arts Festival 2020. We at the Diyar Theatre held the first edition of BIPAF in October 2018 in which we hosted 100 artists and 12 performances from 9 countries including Palestine, USA, Lithuania, Taiwan, Hungary, Spain, France, Germany and China. The festival was a great success, and we are now eager to our second edition of the festival in October 2020.
Weiterlesen: Bethlehem International Performing Arts Festival 2020
Greetings from Jenin Refugee Camp! After a busy autumn with shows in Europe, Cairo and Tunisia, we want to share an update on the activities over the last months and tell you more about our future plans.
Weiterlesen: News and updates from The Freedom Theatre, Jenin refugee camp.
Das inklusive Theater INAD zeigte auf Einladung des Arbeitskreises Kirche und Theater der Evangelischen Kirche in Deutschland und seines Vorsitzenden Klaus Hoffmann fünf Vorstellungen des "The Little Match Girl" nach Andersens Märchen "Das Mädchen mit den Schwefelhölzern". Die behinderten und auch nicht behinderten Spieler und Spielerinnen kommen aus Bethlehem und Beit Jala und sind Moslems und Christen. Das Theater spielt in Städten in der besetzten Westbank und in Flüchtlingscamps.
Weiterlesen: Inklusives Theater Palästinas auf Rundreise in Deutschland
Zum Abschluß der Rundreise durch Deutschland spielt das inklusive Theater INAD aus Palästina, am Dienstag, den 20.Nov.,18.00 Uhr im Ballhof 2 des Hannoverschen Schauspiels "The Little Match Girl" nach Andersens Märchen "Das Mädchen mit den Schwefelhölzern". Die behinderten und auch nicht behinderten Spieler und Spielerinnen kommen aus Bethlehem und Beit Jala und sind Moslems und Christen. Das Theater spielt in Städten im Westjordanland und in Flüchtlingscamps.
Weiterlesen: Inklusives Theater aus Palästina spielt im Ballhof 2 von Hannover
The Little Match Girl - Das kleine Mädchen mit den Schwefelhölzchen
Inklusives Theater aus Palästina
Dienstag, den 20. Nov. 2018, 18.00 Uhr im
Ballhof Zwei -Ballhofplatz - 30159 Hannover
Eintritt: 5 Euro, erm. 3,50 Euro
Return to Palestine was originally produced in 2016 as part of the project 'Interactive theatre as a tool for social change' implemented by The Freedom Theatre in partnership with Ashtar for Theatre Production and Training.
We're excited to announce the joint production of a skate play in Palestine with Eyes Up Here Productions LLC from the US and The Freedom Theatre.
Jenin, August 2018
Greetings from Jenin Refugee Camp! After a busy summer camp, we want to share an update on the activities over the last months and tell you more about our future plans.
With great rage and deep pain, ASHTAR Theatre condemns the brutal attack of the Israeli occupation on Al Mishal Theatre in Gaza which flattened the 6 floors building to the ground.
Al Mishal was the base of ASHTAR youth group in Gaza since 2008. It had been the stage to various productions of ASHTAR Theatre; The Gaza Monologues, Romeo and Juliet in Gaza, Hanin, The Flowers Garden, Hercules Children, and many more. The atrocities of the occupation had been escalating and it seems there is no bottom for their deterioration.
The Freedom Theatre presents once more
based on world famous Swedish children's book Pippi Longstocking
The Freedom Theatre, Jenin refugee camp, July 28th-30th Al Kasaba Theatre, Ramallah, August 1st Municipality Theatre, Jericho, August 2nd
Palästinensischer-Deutscher Dialog über Theater und Theaterpädagogik
Während des Weltkindertheaterfests in Lingen wird vom 23. bis 29. Juni eine Delegation des palästinensischen Erziehungsministeriums im Theaterpädagogischen Institut der Hochschule Osnabrück in Lingen über Theater in Schulen sprechen.
Das Ministerium will eine Akademie für die Aus- und Fortbildung von Lehrern in den kulturellen Fächern, Theater, Musik und Bildender Kunst, in Ramallah aufbauen.
Weiterlesen: Delegation aus dem Erziehungsministerium Palästinas beim Weltkindertheaterfest in Lingen
News and updates from The Freedom Theatre, Jenin refugee camp.
Greetings from Jenin Refugee Camp! After a lively festival week, which you will read more about in this newsletter, we want to share an update on the last months, as well as give you a look into our future plans.
ASHTAR Theatre has launched a new initiative to empower children. Please help ASHTAR Theatre to reach the goal, any amount will help. At least 40 people are needed to donate on line. So please go to the link below and donate what you can.
Theatre for 1000 deprived children in Palestine
Weiterlesen: Theatre for 1000 deprived children in Palestine


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I am closing down the ol' blogaroo for our "Theories of Failure" class. It's been a pleasure working with everybody!
Prof. Epstein
I am closing down the ol' blogaroo for our "Theories of Failure" class. It's been a pleasure working with everybody!
Prof. Epstein
Murphy was a character who lived for his own principles, until he lived for those of Celia then shortly thereafter he died. Cecelia represented the physical expectations of society and the moral contortions those expectations impose.
While Murphy lived for his own principles his physical representation was of poverty, which may be construed as failure, but his psyche was liberated, which may be construed as success except that he was dissatisfied. Once he compromised his principles he burned to death. Yet, had he not compromised his principles then his heart-throb, Celia, would constantly nag him. Life would be miserable because of nagging, or there would be the threat of constant dissatisfaction and death by depravation. It was a circular conundrum.
The author of Murphy, Samuel Beckett, shows readers continually, like the continual occurrences of circular motions in the book, that systems are set up and then they fail. In the beginning of the book Murphy had spent six months in a mew watching the sun go round and round, but the place had been condemned. He is tied in his rocking chair and rocking, a semi-circular motion, and distracted by a cuckoo-clock echoing "quid pro quo! Quid pro quo ! . ." or the reminder that life was a mercenary exchange. The cuckoo-clock "detained him in the world to which they belonged, but not he, as he fondly hoped" (Beckett 2). He gets the rocking chair to its "maximum rock" (Beckett 6) but then the phone rings, and worried that his landlady will complain he unties himself. Afterward he reties himself. From this beginning Beckett sets the premise that life is systems of exchanges and that choices must be made. By the end of the book Murphy's exchanges and choices have failed.
Beckett implies that people are caught in the middle of universal cycles. In the beginning of chapter five, when Celia and Murphy have just moved into a new room, the floor and walls are described as tangible, but "the ceiling was lost in the shadows" (Beckett 64). In the very next page Celia wanted to "make a man of Murphy!" (Beckett 65) but Murphy's definition of being a man was not succumbing to the forces of society, to be lost in the shadows. Which brings the story back or pushes it forward, in the circular conundrum.
Other characters in the book, Neary, Wiley and Miss Counihan have a perverse fascination with Murphy. "'Our medians,' said Wylie, 'or whatever the hell they are, meet in Murphy'" (Beckett 213).
Is their fascination because they were solidly concerned with but unable to explain their own existences? There was also Cooper, who never sat or took off his hat, as a metaphor for physical existence. For Cooper it was matter over mind. His task was to find Murphy. Cooper traced and circled in on, but never really did find Murphy alive. But, once Murphy went to his fiery death then Cooper did sit and go bareheaded. In fact he purposely sat on his hat. Cooper was a microcosm of systems and failures.
To show how solidly concerned with matter over mind Neary, Wiley and Miss Counihan were, in the end, after these three with the help of Celia, had identified the burnt remains of Murphy, Neary took out his check book to pay-off the matter. This totally brings the life of Murphy into the circle of the tangible and mercenary. To capitalize on the futility of that vicious circle is what happens to Murphy's ashes.
Murphy had written that he wanted his "body, mind and soul . . . burnt and placed in a paper bag and brought to the Abbey Theater" (Beckett 269). The Abbey Theater was co-founded by William Butler Yeats whose poems and other writings were much composed around two main topics, mysticism and reform politics. Murphy's ideal of life would tend toward mysticism, not literally but that he endeavored to live without regard to the physical world; and toward reform politics, because he so much resisted the oppression that working for money can manifest.
To complete the cycle of Murphy's life, Cooper is to take the ashes to the Abbey Theater. On the way he stops to get drunk, gets in an argument, flings the packet into the face of his offender where "It bounced, burst off the wall onto the floor . . . ; and before another dayspring greyened the earth had been swept away with the sand, the beer, the butts, the glass, the matches, the spits the vomit" (Beckett 275).
So, according to the life of Murphy, the sun and life go round and round, and it makes no difference if one lives for their own theories or the theories of society, all fail.
I find this essay interesting concerning the effects and importance of boredom, and am with Priest for many sections, of the essential conceit that a society of ceaseless media must be based on a foundation of boredom; and of boredom's ability to "bore a hole in us" (37). But in the middle Priest loses me. I don't know that the experience of boredom is ontologically different now than it was in Cage's time, and the neo-liberalism in particular has dramatically altered how a subject (a person) experiences boredom. It seems in Priest view, that neo-liberalism has severed boredom's connection to the sublime, and now is only ever capable of delivering us to a thing called stuplime, a word coined by Ngai (36). The concept of the stuplime is interesting, and I wish I had read in full the Ngai's essay discussing it, because I get the feeling that the stuplime is being misapplied here. Boredom is anti-capitalist, and has been since Cage's time. Filling space with minimal cognitive or physical activity rebukes the factory floor model of the west handed down from the industrial revolution. Beyond the initial experiencing of the void of the moment, "the sense of senselessness" boredom returns us to the body, as sensation begins to enlarge, stupliminty, may be one more step towards the pay-off promised by Cage. Maybe Boredom hasn't changed in an intrinsic way in sixty years, and Priest just isn't waiting long enough.
It seems that Priest wants to problematize difference. Instead of understanding them as discrete modes, or entryways into boredom, Priest wants us to view boredom in a lineage, as having been mutated over the years by our cultural choices. The section "A less promising boredom" is the biggest offender for me. On page 76, as Priest takes the way artists use boredom as a symptom of depression, as a way to simulate boredom for an audience. In his examination of the work of Christine Ross, Priest begins to confuse depression for boredom. While boredom can be an entry point (or exit point) to depression, depression is not "reaching for nothing in particular" or "a sense of senselessness." From the way, Priest discusses Ross' work, she seems to understand the difference. On "how slow time in art suggests the way depression interrupts the hermeneutic impulse of perception and revalorizes the domain of sensory appreciation" (76). My problem is the way he concludes the boredom-depression connection, "In this view, boredom no longer forms a dialectical relationship with intensity that Higgins took its contrast with excitement to mean. Where boredom once served 'as a means of bringing emphasis to what it interrupts,' it now functions in this 'culture of individualized independence'" (77). What I don't quite understand is not that artist are finding new ways of accessing boredom, which would seem like the type of thing art should be doing, but why this other older type of boredom is no longer available. It's not like the tyranny of individuality is new.
There were other parts of the essay where Priest seemed to be disagreeing with his own text. I was fascinated by the part on 82 where the piano player Barone describes playing the piece Piano Installations. Barone describes the actual playing of the piece to be so endlessly repetitive that it began to simulate being on "magic mushrooms" and that "nothing made sense" and that his own body was "utterly foreign" (85). And yet, Priest tells us, "The expressions of sublime transduction are clearly absent from his description" (85). Really? Playing this piece of music can induce a psychedelic hallucination, but isn't sublime? How sublime does the sublime have to be for Priest?
So, I was surprised then, in the final section of the chapter, when Priest quickly takes a lot of what he said back. "Obviously, boredom today is not wholly distinct from the boredom of the 1960s and 1970s; the formal and conceptual similarities, as well as the discursive figures that are used by artists to describe and justify the boring things they do, are more than apparent" (96). I'm with Priest here, and many of the other assertions of this sections, including the necessity of the death of the avant-garde in order to preserve the avant-garde, but, considering that last statement above, I wonder if all of those middle sections were necessary.
Claudia Rankine uses the television screen in Don't Let Me Be Lonely as a device to show how perversely informed/involved our society is with current events. Written as an aftermath of 9/11, it seems as though Rankine is commenting on how involved the public is with the events in the news. The people seem to be absorbed completely by the events on the television screen, as if they were living the images that flash upon the screen. One example of this absorption is television screen with the picture of Princess Diana's front yard after her death. The picture of thousands of mementos left on the front lawn, with the house blocked off by a gate shows how we feel as though we are apart of the events taking place in the news, but we are actually just voyeurs. We passively participate in these events happening around the world, sitting behind the tv screen, feeling as though we are apart of these events that unfold on the television screen.
Rankine writes "Was Princess Diana ever really alive? I mean, alive to anyone outside of her friends and family—truly?"(39) trying to rationalize with the waves of emotions millions of people felt after Princess Diana's death. Did these people all around the world ever truly know Princess Diana, or were they simply mourning this false idol? I am not saying that Princess Diana a false idol, I mean that these millions of people that were mourning her death did not actually know Diana, not the Princess, but Diana the woman. There were images of people crying in the street like their grandmother had just died, yet they had never met this woman in their entire life. By asking the question if Princess Diana was ever really alive, Rankine is asking if she was real to those who mourned her death. Did she ever sit and have tea, go to their child's birthday party or send Christmas cards to these people who were so devastated by Princess Diana's death? With the example of Princess Diana, Rankine is saying that we, as consumers of these images on the television screen are becoming totally absorbed. We feel as though these people we see on the screen are apart of our lives, which I think Rankine is saying is unhealthy.
Rankine seems to be focusing on what happened after 9/11. It seems as though the bubble that protected the United States had burst. The images that would appear on the television screen now occupy space on the page without the border of the tv screen. All of a sudden we are not protected by the screen, allowing us to participate, without actually participating. 9/11 burst this bubble, causing people to suddenly realize that the news they see on the television can happen to them too. They are no longer protected behind the television screen. The attacks on 9/11 signified a shift in the American population. Rankine notes this by saying,"It strikes me that what the attack on the World Trade Center stole from us is our willingness to be complex. Or what the attack on the World Trade Center revealed to us is that we were never complex"(91) as immediately after 9/11 it seemed as though that moment in time we retreated back to simple beings. The "them vs us" mentality drew out ugly responses from many Americans right after the terrorist attack. Solidarity drew us together, uniting us against a common enemy, for that time in our history.
The question if we were ever complex causes us as readers, who most of us witnessed 9/11, to take a step back and reflect. Once we saw that bad things could happen to us, our bubble burst, causing us to no longer look at the world as this complex place. We no longer felt that we were able to build and maintain relationships with those outside of the US, cutting ourselves off from the rest of the world. Here, I sort of understand what Rankine is saying, as I feel she is trying to say that we are no longer protected by our television screens, suggesting that we were never really complex in the first place.
The discussion of time gets irresolute and I've often come to the terms that the ongoing filter of the world is in the process of deferral. The consolidation of capitalism and American culture are products of it. These entities were both in play in the style of Don't Let Me Be Lonely. The negative space, television, and footnotes hinted at the dynamo of American culture and its environment.
The negative space is ironically an active and co-creative space. The blocks of text echo with blocks of space, and comes to create the same feeling of left-behindness inherent in language discussed by Dr. Epstein earlier in the course. The television is static and the irony is unsettling in the fact that we as viewers are ok with both the permanence and indifference of television. Disney, fantasy, and internet subculture can all be deemed illusion and American society is ok with that. The sacred and validated has been removed because of the speed and universality of voice, opinion, and change. This, to me, is indicative that the let-behindness isn't limited to only language but has managed to evolve and spread to culture. The footnotes are the detritus of the things we didn't have to experience. The result and fact of life were predicted to become irrelevant by Rankine and in the end were prophetic.
The two words that I cannot get out of my head from this course are "deliberate lure." It's how Olsen describes Helga. The words are commodifying an individual for a third and independent party's purpose. The words and culture have been consolidated in America to meet deferrel and its momentum. It manages to promote a peripheral lack of confidence. But I immediately lose care. The aesthetic and repetition of the words "deliberate lure" itself inundates culture and its forced diffidence. That has to be only my bias in preferring form over meaning.
Capture the Tag Slacker:
In the blog post "Slacker and Violent Media", Madison asserts: "while there may not be much happening in the film, there is a lot happening on the periphery of what is being shown". This decentralizing of content in Slacker is but one way in which the structure of the film can be discussed in terms of Adornian fragmentation and queer passivity/nonproductivity.
Stephanie, in her post "Thoughts on Slacker" notes how Linklater's pseudo-scientific "alternate realities" monologue at the beginning of the film might be read to echo Halberstam's "detours", i.e. alternative methods of solving theoretical problems within an "undisciplined zone of knowledge production" (Halberstam 15). To supplement Stephanie's point, I would add Halberstam's citation of Foucault, which highlights how hegemonic ways of knowing and relating are a constructed phenomenon: "The social worlds we inhabit…are not inevitable…in the process of producing this reality, many other realities, fields of knowledge and ways of being have been discarded and…"disqualified" [Foucault]' (Halberstam, 9). In his rambling speech about reading in dreams and missed opportunities for bus station romance, Linklater also mentions how each choice a person makes theoretically denies countless other realities. We can stretch this a bit and consider Foucault's concept of the construction of history in hegemonic discourse as a series of chances, either taken or ignored, that give way to one reality only in the suppression of others. In this context, the conspiracy theories that crop up repeatedly in Slacker can be understood as a paranoid response to literal or figurative violence inherent in the production of a single historical reality.
More generally, the anti-narrative structure and lack of character development can be usefully considered from the angle of Foucault and Halberstam. "We [don't] get to see any of the characters develop" Stephanie states, "so, by society's standards, they are all unproductive". In allowing characters to disappear, the structure of the film also facilitates a characterization of them as failures. The characters are denied profit-based success not because they don't have jobs (although it seems almost certain that most of them don't) but because Linklater has manipulated what we see and, as a result, how we interpret his characters' (non)productivity. As Stephanie astutely notes, this fragmentation of form can be read against Adorno's "false totality". I want to elaborate on this idea, for it is this fragmentary formal constraint that offers us a disruption beyond that of mere characterization. If fragmentation betrays the truthful counterpart to a totality that, in its generalization, hides holes and disqualified realities, then, by denying the hierarchical structure of narrative, the fragmentary condition of Slacker reveals such realities by its commitment to pursuing the secondary, tertiary, quaternary, etc. characters that standard narrative disqualifies in its orderly pursuit of central character(s), climactic event, resolution or other such formal mainstays. "Never looping back to main characters in the way other vignette movies do" Angelica states in her entry "Transaction and Meaning in Slacker", "the film…[resists] traditional movie storytelling." She goes on to say that this resistance mimics the resistance to capitalism many of the characters demonstrate, which I think is a fair assessment. For considerations of length, however, I will only say that the content of resistance is as complex as the form (free weapons giveaway, anyone?).
Formally, Angelica is concerned with a device that she has deemed the "switch off"—a kind of passing of the baton that the camera follows. This is precisely how the film gives us the ability to encounter so many characters in such a short time, while still maintaining a structural through-line and providing what Stephanie calls a "wandering or lingering" quality that cultivates the feeling of nonproductivity. Angelica sees this transference of attention as a "transaction" between individuals that, although it may involve goods, "isn't mediated by goods at all". I agree that the switch off is a human interaction, but I think it is most certainly mediated by goods. It is the qualities of these goods that make the switch off different. Firstly, they are often free (although sometimes they are not, ex. the latte, the soda, the diner coffee—mostly beverages, it seems) or stolen. Cigarettes, entry stamps, cameras and books are passed without charge from one person to another and incite the switch off. Secondly, the goods are arguably only valuable in the Slacker economy—the tape of the student hostage-taker, "oblique strategy" cards, the old man's cassette—and sometimes not even in there (the Madonna pap smear). The transactions themselves often involve bartering, charity, or the aforementioned law-breaking: when the old anarchist tells the would-be burglar to "look around, take anything [he] like[s]", or the guys steal the car parts from the pick n' pull. What makes the economy of Slacker go 'round may not be typical goods or exchange transactions, but both are still present.
Madisonduarte's observation that there is much happening on the periphery of the film is important, I think, because in a standard narrative we wouldn't be asked to concern ourselves with it. Slacker draws out peripheries from peripheries from peripheries, and, as a result, is peripheral itself in both in its non-normative form, subversive content and cast of ephemeral "ultimate losers". As such, the film lends itself to a queer reading that encounters these decentralizing, disruptive elements as a rejection of standardization, normative historical methods and adherence with the global exchange economy.
I would like to look at how the role of aesthetics in Quicksand relates to the "irritation" noted by Sianne Ngai in Ugly Feelings and informs Helga's racial consciousness.
Helga relies on the semiotic capabilities of beauty in order to string together a rational narrative of her life from the outside in, despite the inconsistency and tumult of her psyche. It is evident from the beginning, when Helga "smiles inwardly" at the message her small hats and elegant shoes send to the prim-minded employees of Naxos, who find them "positively indecent"(52). Early on, too, we learn that her entire life Helga has "loved and longed" for beautiful and pleasing "things" (41). It is in this desire for material beauty that we can find Helga's method of anestheticizing the pervasive irritation that motivates her throughout the novel.
When the signifiers of her appearance are co-opted by the Dahls Helga enjoys it—at first. Helga invests her emotional capital in the "business" of her manufacture as an exotic aesthetic product, "[giving] herself up wholly to the fascinating business of being seen, gaped at, desired" (104). It is important to remember that Helga consents to this "aestheticization" in the beginning and that it is "intensely pleasant to her" (104). The eventual pleasure Helga finds in her beautiful appearance dissolves the initial "perturbation" (103) or irritation Helga experiences at being a "peacock" (103). In this moment Helga rejects any racial obligation to feel ashamed of her marketability in Copenhagen as an exotic and beautiful object. Her willingness to "try on" the identity the Dahls fashion for her, to try to locate her subjectivity through the eyes of her aunt, uncle and Copenhagen society, echoes the impulsiveness with which she relocates herself geographically. Helga's attempt to locate or identify herself from the outside-in can be viewed as an attempt to arrest the queer condition of her ontological flux and non-binary racial consciousness. By cultivating her own objectification Helga obtains the ontological glue, so to speak, that temporarily alleviates her riven condition.
In Copenhagen Helga purposefully seeks to claim her blackness through the gaze of the Danish. "Intentionally" she speaks the "slow, faltering Danish" she thinks makes her more attractive for its indication of foreignness, and is gratified by the attention she receives (104). In the same turn Helga criticizes black Americans as hypocritical, denouncing that they "didn't want to be like themselves", and desired instead to "be like their white overlords" and "were ashamed to be Negroes, but not ashamed to beg to be something else. Something inferior" (104). In adopting her aestheticized and fetishized identity Helga cultivates a counterintuitive racial pride in opposition to both whiteness and blackness. In her above critique we can read Helga's earlier criticisms of racial uplift, here characterized as the white washing of an essential quality of blackness. That this critique emerges from Helga's being recast as a fetish object—a luxury item with the power to promote social buoyancy—is problematic, to say the least. Helga's attempt to locate or identify herself from the outside-in can be viewed as an attempt to arrest the queer condition of her ontological flux and non-binary racial consciousness.
If Helga's racial consciousness only manifests from the outside-in, as mediated by her beautiful environment, possessions, or appearance, then it follows that this identification exists only in that it is refracted through the eyes of another. In accordance with this triangulated aesthetic gaze, instances of beauty in the novel become representative of a symbolic observer that has the power to confer upon Helga a particular kind of social capital. Aesthetically objectified and "appraised" (81), Helga is contracted into a value (product) and thereby unified into a singular subject (paradoxically) by another's objectifying gaze.
To be beautiful and to have beautiful things is a way to surrender to the gaze of another and so solicit the unified value that evades her internally. The pursuit and attainment of beauty alleviates temporarily the irritation Helga cannot seem to escape. In Helga's characteristic attraction to beauty we can read her desire to anestheticize the irritation that stems from her incongruity with an ever-nagging racial binary. Even the "miraculously beautiful" (149) community she experiences in Alabama is refracted through the fervently religious eyes of Reverend Pleasant Green, her marriage to whom was tonic to the irritative rupture that occurred after her final meeting with Dr. Anderson. Helga chose, chased and conquered the Reverend as a way to still herself, to arrest her roaming consciousness and identity in favor of the numb bliss of religiosity and domesticity. Of course, at the end of the novel, in the bed after childbirth, Helga returns to her nomadic state, if only psychologically, and by the last sentence teeters on the edge of self-obliteration.


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We hope you've all been loving this month's Book Club read, The Unexpected Everything by Morgan Matson! In our last post, we told you to finish the book today because we'll be having our live chat later today all about the story. We loved getting to know the characters in this book, and by the end of it we felt like Andie was a good friend of ours. Did you start to feel that way too? And we became so invested in her relationship with Clark. We can't wait to discuss more of this story with you!
Our live chat will take place on Twitter today at 4pm PST/7pm EST. Our LaurenConrad.com team will be taking over Lauren's Twitter account and asking all of you questions about the book, as well as answering as many of your questions as we can, too. So starting now, you can tweet us with any of your burning discussion questions, and we will answer them later today! And remember, when you tweet out a question, be sure to use the hashtag #LCbookclub in order for us to see them.
If you've joined one of our book club live chats before, you know by now that we highly recommend getting together with girlfriends, pouring out a few glasses of wine and getting the #LCbookclub discussion going. We always have fun chatting about the story together here in our LaurenConrad.com offices. So join us, won't you?
Will you be joining our book club live chat discussion for The Unexpected Everything?
Leave your RSVP below. We can't wait to chat with you later today!
XO Team LC
P.S. For anyone who was late to the party but still wants to add this book to your summer reading list, the e-book is currently only $10.99. Download your copy here.
UPDATE: Thanks to everyone who joined our live chat today! If you missed it, you can catch the transcript by clicking the link below!
This month's book club is proudly brought to you by…


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Volkswagen is adding the special model CrossPolo "Urban Black" to its Polo range. This stunning design model is offered as a single CrossPolo in elegant white. A total of 6454 Polo units were registered in Germany, which doesn't have an impact on its 14.6% market share. The new Cross Polo "Urban Black" is the latest addition to the compact range's successful pilot program.
The Polo has also received the "Car of the Year Award." The new CrossPolo "Urban Black" comes in a radiant exterior paint in "Oryxweiß Permutteffekt" as well as with a set of 17-inch alloy wheels type "Budapest" offered in painted black or white.
It features several black roof rails, tinted rear side windows and a dark rear window. The interior of this vehicle has a black roof lining and pillar trim black too. Its sports seats are in black and gray and use both cloth and Alcantara.
The "Urban Cross Polo White" features the "Silver One" paint in panels on the radio, climate control panel and air vents. The steering wheel also has a chrome trim. The new model has an elegant appearance with silver-gray stitching on the 3-spoke leather steering wheel, a handbrake lever and the textile foot mats.
The Cross Polo "Urban Black" is available with any of four petrol and three common rail TDI, which deliver between 51 kW / 70 PS and 77 kW / 105 hp. Offered as options are five-or six-speed manual transmission and the 7-speed DSG transmission.
The new special model offers air conditioning, cruise control and the radio-CD system RCD 210 shipped as standard equipment. The 1.2 liter petrol engine (51 kW / 70 hp) with five -speed manual transmission is priced from 18,975 euros.


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