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OneAssist recently helped Atharva get his phone back. This is his story
6 thoughts on "VIDEO: Spreading the smiles with #OneAssisted Customer"
I am Satyawan Singh. I requested many times to One Assist to cancel my membership.
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How I Work From Home And Stay Productive
By Ritika Tiwari / February 4, 2019 5:53 pm / Posted in Freelancing, Productivity
When people hear that I work from home most of the time, they assume that I probably work 3-4 hours a day and relax the rest of the time. But that couldn't be far from the truth. Sure, I get Read More

subset: commoncrawl


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14. Dezember 2017
Alle Jahre wieder, publiziert der zuständige Weinkritiker für Spanien - LUIS GUTIERREZ - bei ROBERT PARKER - seine Highlights des Jahres.
Im 2017 beginnt LUIS GUTIERREZ an erster Stelle mit dem Topwein der DOMINIO DEL AGUILA (RIBERA DEL DUERO DO) - CANTA LA PERDIZ 2013 - . Als herausragenster Wein des Jahres. Ein Bravo an die Adresse von JORGE MONZON!
Hier nun aber der Originalartikel von LUIS GUTTIEREZ:
"Yup! It's that time of year again—it's time to look back and see what has happened over the past 12 months. In 2017, I worked in Spain, Chile and Jura, but didn't visit Argentina–at least not for tasting—which will come in 2018. These are my most outstanding new releases of the year from each of my countries, in no particular order.
Spain is so diverse that you'll hardly ever see the same regions or vintages in my best-of-the-year. Some wines are released early, others quite late. The same year can be superb for one region and a disaster for others. Vintage generalizations are less and less important. We need to look at the details. Even within the same region, in a vintage like 2013 some will tell you it's been a year to forget, while others would tell you they have produced their best wines ever.
That could be the case of Ribera del Duero, where the Canta la Perdiz single-vineyard bottling from Dominio del Águila is the first commercial release from a south-facing old vineyard in the village of La Aguilera planted at two different times, one in the early 1900s, but the older vines must be 150 years old and are therefore ungrafted. As with all of these old vineyards, it has a mixture of grapes, always dominated by Tempranillo (close to 80% in this case), but with many other varieties, maybe 10-15% of Cariñena and then a little Bruñal, Bobal and Albillo. The south-facing vineyard exposure might work best in a cooler year like this 2013, but what's important and different here is the soil, with a type of limestone in layers (slate-like) easily penetrable by the roots, and the wines from there are not as austere as those from hard limestone rock. The wine is extremely elegant, perfumed and transparent, crystalline, precise and focused, refined and harmonious."


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Mrs. Lynn RichmondSBC Executive Committee


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Champions Leicester City's struggles in the Premier League continued as they were held to a draw by Southampton.
The home side almost went behind when Charlie Austin went close with two headers and hit the post with a shot.
Austin was also through on goal in the second half but an ambitious chip was saved by keeper Kasper Schmeichel.
Jamie Vardy had Leicester's best chance after a poor backpass but he was tackled by Oriol Romeu, who also blocked two follow-up shots.
The Foxes have now won only two of their opening seven leagues games, collecting eight points.
Two sides of Leicester
Leicester are now unbeaten in 19 Premier League home games since a defeat by Arsenal in September 2015 but that record would have been ended if Southampton's finishing had been more clinical.
The Foxes had gone into the game following another impressive win in the Champions League – 1-0 over Porto on Tuesday – but they failed to replicate that form, with the visitors having the better chances as the home side managed just one shot on target.
Vardy had the type of opening he relishes when he ran on to Virgil van Dijk's poor backpass but he tried to round keeper Fraser Forster and gave Romeu enough time to get back and tackle him.
The two shots in the aftermath from Islam Slimani and Vardy, who has failed to score in six games, were also blocked by the Southampton midfielder.
An effort that came from a clutch of bodies following a Christian Fuchs cross almost crept in at Forster's near post and Shinji Okazaki nodded just wide but, whether it was because of their Champions League exertions in midweek, the Foxes rarely carried the threat that won them the top-flight title last season.


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OVOLR! Records
OVOLR! Records
A Conversational Style of Living
A tale of two people, in two songs. One, a girl grown up amongst abuse and the death of a boyfriend, while trying to find the beauty in life, and 2) the story of Gary's battle with masculinity as someone who is both described by and repulsed by the stereo typicality of the male gender.
AvailabilityMp3 Streaming
- Her Eyes To The Stars
- I Had To Leave (to be here)


text: Holly Valance pulled out all the stops when she worked with designers Jacob Luppino and Anthony Pittorino to create her unique J'Aton Couture wedding gown. The dress was hand embroidered in fine silk and hand dyed in white to silver metallic and deep shades of grey. The full skirt resembling feathers represented Holly's love of organic textures and had an embroidered flowing vintage-style veil which doubled as a train.


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Today has the potential to be a fabulous day. Humans are fortunate. At most, every 24 hours we can imagine that today is going to be a better day. It allows each day to potentially be a fabulous day. Each morning that life is good we may say today has the potential to be a fabulous day. Imagine how different we would be if the earth did not revolve around the sun. It is clear that we would not be anything like human at all – in the way that we think at least. I'm not speaking of the formal, abstract thought; I mean the basic instincts that have been with us since long before we were human. How important night and day is for all terrestrial animals! It is surely one of the most primal binaries – long preexisting purely conceptual binaries and likely, I think, to have developed far earlier than sense of self. This is primal and is deeply encoded in our bodies and therefore minds.
It seems likely that on a world with no rotation, 'hope' would be more dire, something great and deep and cataclysmic. On earth, hope is easy because change is easy. Perhaps its no wonder that for many Critical Theorists and other politico-religiously-minded people, historical change is a concept that developed historically in association with the light-dark binary. The concept of change presupposed and transcended the light-dark binary. The space between light and dark is change: where they come together and dissipate into a momentary fusion of the two while at the same time shifting from one form to the next – in a regular procession, day after day, after day. Every generation of human that has ever existed has experienced and has been formed in reference to this binary and to the transitional period between it.
How many other concepts and physical attributes have deep roots in this experience – and are merely this year's growth on top of the roots? The menstrual cycle, easily. It seems far more reasonable to believe that the human female cycle is informed by the lunar cycle than to believe that it is not – both conceptually and physically. Including and beyond these examples of evolutionary instincts informed by the light/dark binary would be those developed in relation to the seasons. The experience of seasons shares the same source with the experience of night and day: the earth's cyclical relation to the sun. Note that 'cycle' presupposes enough stasis to presuppose the identity of at least two things. The promise of spring eases the cold winters of the north and the promise of fall makes South Georgia summers bearable. And today has the potential to be a fabulous day.


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David Tennant stuns The One Show viewers by revealing his eldest son dressed as handcuff wielding Christian Grey for World Book Day
The former Doctor Who star said he's unsure if his children have read Fifty Shades of Grey
DAVID Tennant left The One Show viewers choking on their dinner when he revealed his teenage son dressed as an S&M character for World Book Day on Thursday.
The 45-year-old Scottish actor is married to The Bill actress Georgia Moffett and together they have four children.
Appearing on The One Show on Thursday to promote his return to the West End in Don Juan In Soho, David left viewers stunned with a discussion about his eldest son's World Book Day costume - revealing he dressed as the lead character from X-rate novel series Fifty Shades of Grey.
"Two of my kids - Oliver and Wilfred if you're looking, hello - they were devastated because their school didn't do it," the former Doctor Who star began.
Related articles
"But then my eldest, who is 14, who you would think is beyond such things - his school did do it so he went dressed as Christian Grey," he continued.
The One Show hosts Matt Baker and Angela Scanlon reacted with stalled laughter as David continued saying: "Little inappropriate. Don't know how at school they were, I'll find out later!"
The hosts asked David if his son had read the books - which feature billionaire Christian Grey seducing a young woman through the use of intense sado masochistic love making.
"I don't know that he's actually read it. I sort of hope he hasn't," David confessed.
Co-guest Adrian Scarborough asked what the costume consisted of - prompting David to reply: "It was basically a suit with a pair of handcuffs and some dollar bills coming out of his top pocket."
Viewers of The One Show were amused and stunned by David's story and flooded Twitter with comments.
"Love that #DavidTennant 14 year old son went to #WorldBookDay dressed as #ChristianGrey… amazing!!" wrote one impressed fan.
"Loved the story about your eldest and the book day costume," wrote another.
"David Tennant's son went to school dressed as Christian Grey! I bet that got the PC brigade in a flap!" one viewer speculated on Twitter.
While another stunned viewer wrote: "Creased that David Tennant's son when to school as Christian Grey for World Book day hahahaha."
World Book Day saw children across the world dress as their favourite fictional characters on Thursday 2 March 2017.
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Based in the heart of Sheffield, this Grade II listed building oozes with history. From the Grand Staircase, to the grand piano, there are an abundance of great photo opportunities to be found here and if you're looking for great locations outdoors, then the Winter Gardens and Peace Gardens are only a 5 minute walk away.
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Silke Hohmann
A talk with Christian and Karen Boros
Silke Hohmann: Your first presentation of the collection in the bunker stayed in place for four years. How did it feel to replace the exhibition with a new version of the Boros Collection?
Christian Boros: For us, it's very important that we can allow ourselves this kind of time. Museums and other venues would never be able to operate in such a slow way, but we can. And that in itself is unusual.
Karen Boros: When the first presentation was taken down after four years, I was sad that I had to say goodbye to the works. Because even if the art belongs to us—who knows when we'll see it again? There aren't all that many opportunities to show a given work, and it can take quite a few years to include it in a new exhibition context. That was one of the reasons why we showed the first exhibition for such a long time. But then, when everything was empty again and we unpacked the works and had a look at them, we were incredibly happy.
SH: Were there other reasons that the one and a half years originally planned turned out to be four?
CB: Quite simply because we received so many requests from people who wanted to see the presentation.
SH: How do you go about planning the exhibitions?
CB: One key question is which of the works we absolutely want to see again. This goes for older works that we want to put to the test, so to speak, such as Thomas Ruff and Wolfgang Tillmans from the '90s, 25 years ago. But it also goes for works we acquired recently, for instance Michael Sailstorfer and Alicja Kwade, which we already purchased while they were being installed. There are old and new loves, and combining them has been a marvelous experiment for us.
SH: How does the "Boros Collection" work, actually? You collect as a couple. Do you always agree on your preferences?
CB: My answer is that there are three Boros Collections. Mine, my wife's, and our joint collection.
SH: So there's no dictate to agree?
KB: No, the family council does not decide with one vote.
CB: Why should I block something just because I don't really get it? I'm not drawn to Thea Djordjadze's work, for instance, but follow Thomas Zipp avidly, whose work we also don't agree on.
SH: So does that mean you drop the subject, or do you sometimes feel the need to convince each other?
KB: One another's interest and enthusiasm in an artist or a particular work is already reason enough to explore it. And so sometimes we change our minds or find some kind of access to the work.
CB: Wanting to understand never really ends, of course. No, in that sense it's never over. By the way, I had real difficulties in the beginning with the three artists I then went on to become most profoundly involved with as a collector.
SH: Who were they?
CB: Wolfgang Tillmans, Olafur Eliasson, and Elizabeth Peyton were hard to stomach for me at first! But then my excitement became all the more lasting.
SH: Did you find one another through art?
KB: Collecting played a role for Christian earlier than it did for me. I was always involved with art—I studied art history and worked in a gallery. I had a lot of contact with artists whom Christian had in his collection. Wolfgang Tillmans, Thomas Ruff, Elizabeth Peyton—right away, there were many points of intersection.
CB: I was your client.
KB: You bought a sculpture by Tobias Rehberger that was on view in the collection's first presentation.
CB: I had no idea how to install the work. And so Karen came over with the work and the tools. And while she was standing there on the ladder with the cordless screwdriver in her hand, I fell in love with her.
SH: You give special emphasis to Wolfgang Tillmans in the new exhibition. Why is that?
CB: Wolfgang Tillmans made a very deep impression on me. His work proved to be essential to so much in my life, also professionally. Even in terms of how I think about beauty— he taught me to perceive the beauty in normal life. This eventually led to a greater reception for works like those of Klara Lidén, even though she does something completely different. But her garbage cans that have found their way into art, for instance, are connected to Tillmans's aesthetic of the everyday, which taught us to see in a completely new way. In that sense, it's a very important subject for us, and we value him highly.
KB: I can still clearly remember the Cologne "Unfair" in 1992. The Buchholz Gallery presented Tillmans in their booth, and my first reaction was quite stark, because the work unleashed contradictory feelings in me: it was very good, that was something that couldn't be disputed, but at the time it didn't seem clear yet if it was really art. I had a lot of excellent discussions with friends on the subject. In a way, we developed our own criteria and honed them through this friction with Tillmans.
SH: What difficulties did you have with Tillmans's work initially?
CB: It was probably their incredible privacy. An intimacy that really hurt. I didn't want to get that close to strangers. The era of the supermodels had just dawned a few years earlier, and people became the object of general interest solely because of their flawless beauty. And then, all of a sudden there was this work that was so normal and unpretentious. It almost scared me.
SH: You're concentrating exclusively on the portraits and stills from the '90s. Why is that?
CB: I bought nearly 50 works from him over ten years' time, but I didn't buy later works, even the important ones. I'm interested in how he created images of people over a decade. Lutz & Alex sitting in the trees (1992), that's the human image of a decade. At the time, I never would have guessed that it would become such an iconic image.
KB: These pictures were packed away in storage for many, many years, and when we unpacked them we were really surprised how contemporary they still are. I don't think of the '90s at all when I see these photographs. They're still very contemporary; there's nothing anachronistic or nostalgic about them.
SH: The presentation comes across in part as a series of leitmotifs—his works are hanging on four of five floors.
CB: We could have handled this on one floor, but we liked the idea of spreading his works out over four floors. Basically, we arranged him vertically. Because that means that walking through the show entails a repeated encounter with a work by Tillmans.
SH: While visiting the show, I noticed that many of the newer works exert a physical force, as though they were trying to do something impossible. In a similar way to you, with the reconstruction of the bunker.
CB: Sure, and today it's no longer possible to think about new works for our collection as though the bunker didn't exist. It's always a part of the equation.
KB: Now we have to debate whether or not a particular work would be good for these rooms. Like with Ai Weiwei's tree—we had to really ask ourselves how it would look in a narrow, windowless space. The motif of the tree in itself as something that grows and has life energy stands in stark contrast to the bunker. This fascinated us.
CB: Because the works often acquire another kind of power in these windowless cells! After one and a half hours in this series of chambers, people are exhausted when they leave. These are extreme conditions—it's an encounter with the self, and perhaps even a type of torture. The tour is a kind of pilgrimage.
SH: And how do the artists themselves evaluate the effect the bunker has on their works?
CB: The artists make a huge contribution by deciding on the placement of the works and installing them themselves. We invite the artists to do this, we'd never do it ourselves. They are free to act according to their own preferences. In the case of Thomas Zipp, for instance, he always came around 10 p.m., when we were already tired, and he stayed until 3 a.m. Wolfgang Tillmans locked himself in and only requested tea.
KB: We thought it was going to be extremely difficult, because the bunker is subdivided into so many small rooms, 80 immovable cells—nobody would build a museum like that today. Yet that's exactly what turned out to be so positive.
SH: Why?
CB: With a collection of works as diverse as ours, it wouldn't be a good idea to just show them all together somehow. The particular qualities of the space help prevent the result from becoming a mere conglomeration. We view the presentation as a collection of small one-person shows. In this way, you can see works by Tomás Saraceno and Thomas Scheibitz one after another without them interfering with or battling one another.
SH: The young artist duo Awst & Walther were the first to make two works especially for your space—how did this come about?
CB: We're planning to do this more often in the future: to ask artists to work site-specifically for us. We discovered Manon Awst and Benjamin Walther in a gallery exhibition at Martin Kwade, the brother of the artist Alicja Kwade. We liked their attitude so much that we invited them. Both works toy with the given situation in a strict, yet playful way. Long metal pipes lead through several rooms, while on the other hand a bronze arrow is stuck into a wall, as though someone had shot it from outside through the hole in the bunker wall.
KB: The hole, by the way, was already there, the result of a trial drill through two meters of cement wall. People feel drawn to this hole. Inside the bunker, one needs, I believe, to think about the outside every once in a while.
SH: You yourselves live in a penthouse built on the roof of the bunker, above the exhibition. How do you live with the art and the visitors, and how has this changed your lives?
CB: When we put up the first exhibition, we really couldn't predict how great the public interest would eventually become. In the beginning, we were only open on Saturday afternoon, and we employed two people. Since that time, we've had 130,000 visitors, some of whom wait four months to be admitted. Which is no ill will on our part; the fire dept. only allows twelve visitors at a time. That's why the visit is organized in the form of a tour. 80 rooms—that only works with a tour, with someone who provides assistance. Now, we give around 55 tours per week.
KB: In other words, we're never alone. You can hear that we have guests downstairs through the air vents, through our door. Yesterday, at 9:30 in the evening, Thomas Zipp's bell rang because we're open until 10 p.m. We not only live with the art, we also live with the guests.
SH: And besides the guests?
CB: There are different smells on every floor, which also follow us around on a daily basis. We smell the rubber from the friction in Sailstorfer's work Zeit ist keine Autobahn, Frankfurt (2008), we smell the popcorn, and also the tree hanging upside down and its leaves and branches, which scrape slowly against the floor due to the continuous turning.
KB: Also, each floor has its own very special sound ambience: Alicja Kwade's clock, which ticks, or the fluorescent lamps that make a noise when they switch on. The art and the guests are practically our roommates.
SH: Does it bother you when visitors are mainly interested in the spectacular building, a Second World War bunker, and not the art?
KB: Not at all. We're happy over the fact that political figures, for example the Israeli ambassador today, come here because they're interested in how an example of building history is dealt with today. If they leave with even a little enthusiasm for contemporary art, all the better.
CB: I still remember when Lech Kaczyński, the Polish president, was here. Now, due to the special history of the building, we're on the agenda of many state leaders. You can't really fail to notice that it's a Nazi bunker. Foreign guests want to see how a new generation deals with the fascist legacy. No one can or would want to deny the origin of the building.
SH: You made the decision to leave the various different traces of usage from the past as is.
CB: It makes the bunker into a vessel of history. There are legible traces of how the bunker has been used: traces of a prison, a techno club, a darkroom. That's always there. The art we exhibit has to be able to withstand that.
SH: Do some of the artists have second thoughts?
CB: Thomas Ruff was a little worried when I said: hey, how about hanging the black pictures in the old darkrooms. Because there were darkrooms on the first floor at some point, the walls were painted black, and you can still see that pretty well. Then there's this horizontal line, and beneath it was the techno floor, with a lot of graffiti. Thomas had never shown his work on such rough walls. And despite this, it came out resembling a memorial chapel.
It was Karen's idea to show these works on these very walls, like windows to an imaginary outside, into the night.
KB: Thomas Scheibitz also struggled with the former darkroom. The rough walls, partly black, posed a challenge to his works. He finally decided to give them a smoother background, a stretched fabric surface.
SH: While the first collection presentation had an air of pop, there are surprisingly mystical moments in this one, for instance in the works of Thomas Zipp and Dirk Bell.
KB: Dirk Bell's ceiling work was the first one we bought from him, when we still knew absolutely nothing about the bunker's dimensions. We were completely fascinated by the way the work is conceived as a ceiling piece. By these incredible mythical figures, the fantasy, this old master quality, the symbolism.
CB: Actually, this collection presentation embodies contradictions. This exhibition is more difficult than the previous one—it's less obvious, when I think of the Anselm Reyles and Olafur Eliassons from the former exhibition series. They were all far more opulent. This time, though, it was important to us to counter that.
SH: And do viewers react differently, too?
KB: They're surprised, and many have said that it's not typical for our collection. The exhibition does not clearly articulate preferences.
CB: But preferences change, that much is obvious. Two people collecting for over thirty years—think about how unexciting it would be if we always remained predictable.
SH: To what extent did your interests change?
CB: Things I thought were important thirty years ago no longer interest me today. When I was 25, I was heavily influenced by the Young British Artists. I was young, and I found artists like Sarah Lucas and Tracey Emin fantastic. The sexual component, the loudness, this screaming out of emotion, the eruptive power of it all. Conversations with Tracey Emin about being raped, about her abortions—although I was shocked, I found it all very important and relevant. Today, I'm more interested in nuances, quieter approaches such as that of Marieta Chirulescu, very different from the motifs that really hit me in the gut back then.
KB: For me, it's more about sculptures and installations that fascinate and challenge me today. The appropriation and alteration of a room and the effect that has on our own physical presence is an intriguing aspect of sculpture. Each time I enter Klara Lidén's Teenage Room (2009), I get a chill from all the different feelings I have—anxiety, curiosity, mysteriousness.
SH: Your collection is largely western—the artwork by Ai Weiwei is the only one from an Asian country. Why is that?
CB: Admittedly, until recently we've had little contact to Asian culture. And we thought about whether or not to integrate Ai Weiwei into the collection for a long time. He was the only artist, probably in part due to the fact that he lived in New York, who was able to create a connection to things that are also important in our society.
KB: For us, it began with the works he showed at Documenta 12. We explored his work for a long time, and we knew about this tree—a key piece, and huge.
CB: Then everything happened all at once. One Saturday afternoon, we decided that we wanted to buy this work of Ai Weiwei's, and the next day, Sunday, Ai Weiwei was arrested at 10 a.m.
SH: It's important to you that you were already interested in his work before the huge media attention began?
CB: It's important to him, too, as he told us when we visited him right after his release in Beijing.
KB: But he had already visited us once before that. Before he had the show in his Berlin gallery, neugerriemschneider, Tim Neuger called and asked if Ai Weiwei could come over and have a look at our collection. Afterwards, he came upstairs to us, and we liked each other right away.
SH: What role does liking someone play for you as a collector?
CB: A big one. We always have to get to know the person. I can't buy art from someone I don't like. It's like adopting a person's thoughts, their attitude. To me, these are expressions in visual form, and I don't want to spend time with expressions by someone I don't value as a person. That's the beautiful thing about contemporary art—that you can meet its makers.
SH: How important is the location of Berlin?
CB: The intellectual friction that occurs here is pretty extraordinary. I wish there were more colleagues here in the presentation of contemporary art, that more people would come to this city and that the scene were more international. It's getting increasingly concentrated, and I find that to be incredibly enriching, also because of all the different environments in which art is shown.
KB: We hope that Berlin will become even more of a magnet for the whole world. We're always glad to have New Yorkers or Brazilians come here, when they love the city and we can add something to that. We love this city, we've chosen it, and we like to share this with others.
SH: What part does sharing play for you in collecting?
CB: Over time, we've let art completely enter our lives. It determines our whole world. Working with art has changed both our professions. To share art, to give interested people the opportunity to become involved in it—this was the impulse that led me to become a publisher of art books two years ago. I have a great need to share, to inform, I like to do the tours in the bunker myself, and I often receive feedback that my enthusiasm is infectious. And so it seemed logical to produce artists' monographs, to invite authors to write, and to pass along my love for art in this form, too.
KB: We want that the things that are important to us are seen. And that's far more than a hobby or a well-tended interest. A stance has grown out of this that has influenced our whole life.
CB: I'm not a connoisseur who savors. I am more like a politically motivated individual who acts. It's a conscious decision to share the collection with others. Not only to make it more accessible, but to employ 21 people, to school and direct them to convey our intention. I want to infect. And I was always aware that the art is never for me alone.
KB: That reminds me of a story that your mother told us: once, when you got a chocolate bar as a child, you could have gone away to eat it all by yourself. But you marched off and didn't stop bothering everybody until your sister, your aunt, and your mother also tried a piece. You weren't only trying to be friendly, you also wanted to convince them of the chocolate's quality.
CB: In any case, I didn't have too much chocolate left in the end, but my satisfaction was much greater this way. That's how it is with our guests today.
SH: You never call them visitors, you always speak of guests—why is this distinction so important to you?
CB: In the museum, you're a visitor: you decide how much time to invest, how intensively or superficially you want to become involved. In the Boros Collection, however, you have to make an appointment, agree to spend 1.5 hours of your time with us.
KB: You're greeted as a guest, everyone knows everyone else's name. The entire tour takes place without signs, but not without a personal conversation. People talk to one another. Here, the guests also thank us—a museum visitor would never do that. It almost never happens that someone interrupts the visit in the middle.
CB: I also thank my guests, by the way, when I'm downstairs in the collection and a tour has just ended. One should never take this interest for granted! Our guests take time for something Karen and I find important! One can hardly imagine a greater measure of respect, a greater joy. It's wonderful that this interest is not merely our interest, but that it's shared.


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Have a loved one affected with dementia? Get resources, recommendations, charts and advice for the support you need.
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It's easy to feel refreshed, energized and ready to start a new day of working toward your rehabilitation goals at Rehab to Home. Each morning you'll awaken to the smell of fresh coffee, as one of our hospitality team members greets you. With breakfast served either in your room or the café, you can relax and read the newspaper, use your laptop, watch TV or chat with others. Afterward, you'll meet with your personal therapist to work on your customized rehabilitation plan and therapy goals for the day.
After morning therapy, a delectable lunch of your choice, and an afternoon rehabilitation session, you'll have free time to relax and catch up with friends and family, surf the internet, watch a new movie, have visitors join you for a private dinner, take a relaxing shower, or play a friendly yet competitive game of Wii. We also give you the flexibility to arrange visits to home or other outings when approved by your medical team.
In addition, through our continuing educational series for wellness, you'll learn from medical professionals about your condition and treatment so that along with your therapy team, you'll know how best to help your body recuperate and return to an active lifestyle.
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Updated Date: 14-Nov-2019.
Versions Supported: Solidworks Version 2016, 2017, 2018, 2019 and 2020
OS Supported: Both Win 32 and 64 bit
Note: Please contact 'firstname.lastname@example.com' for plugins working on older versions of SolidWorksE.g. 2013, 2014, 2015 etc.
Have you ever felt the need of converting your model to an HTML document so that you can view it in the browser? Or share it with anyone easily?
The WebGL Exporter for Solidworks®does it for you. It exports the model to an HTML document that can be viewed in the browser and shared with anyone for review irrespective of whether that person has the required design software or not.
It supports both face-level and body-level material (color and texture). The option is provided to control the file size and quality by specifying the precision value. Increasing precision value will increase the fineness and accuracy of the model as well as the file size. You can choose whether you want to tessellate at the body-level or face- level. All the data is compressed which reduces the file size as much as possible.
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The new Avengers: Endgame - Iron Spider with Nano Gauntlet Pop! Vinyl Figure is here!
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Today we are having some heavy rain that is ideal for settling our new paths and the latest plantings.
These paths were put in by Custom Asphalt Driveways - Mark and his team of fantastic workers have done a great job.
These paths are an asset to the garden because they allow for Michael to walk more safely as well as civilising places that have become well worn tracks over the last 25 years. For us the expense of the paths is offset by the fact they we will always live here and the garden will always be such an important part in our day to day lives. People who visit the garden who have mobility limitations will get the benefit and Shadow our dog is really enjoying doing laps. Our garden is well set up with garden seating and Michael will often station himself somewhere in the garden and really take time to look at plants in detail.
Often this will inspire an "idea", and we all know what happens then.
I guess I have spent a fair bit of time putting Michael's
Sunday, February 26, 2017
New Paths at The Shambles
Posted by "The Shambles" Montville garden at 3:38 PM
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|Single Views
A click on an image will open a new window with a larger picture of that particular piece with a stylized frame, for example › 214:
More clicks on this picture will cycle between the different resolutions; alternatively the size can be chosen directly as well (see below) - the icon denotes the choice of the width via links: › max › 800 px › 200 px.
Below that a scaled chart is shown to illustrate the dimensions with respect to a reference figure as all works are show with the same size:
Next the horizontal image size can be chosen directly. The setting max yields the largest available, at most 1600 px.
For work numbers less than 226 you find comments and simulations as indicated and access them from here. Once there, you can switch by those indicated methods between adjacent oeuvre numbers, for example from comment to comment or from museum setting to museum setting.
Another random sample: › 219
server time used 0.1747 s


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Canada's original stand-up paddle-surf contest is coming back to Tofino and this time it's bringing its big brother.
Back by popular demand, Canada's most passionate stand-up paddleboard surfers return to the west coast of Canada for the second annual Tofino Paddle Surf SUP Invitational, October 23 to 25, 2015.
"It's a fun, competitive event," says Catherine Bruhwiler, the organizer and owner of Tofino Paddle Surf. "We're inviting any committed stand up paddle surfer from Canada and beyond to a fun and supportive weekend of competing and partying."
Last year 64 SUP surfers from Ontario, California, Washington and Hawaii joined a strong crew from Vancouver Island and BC in the inaugural event. The two-day contest featured judged heats in Pro men, amateur men and a women's division. The top surfers in the pro and women's went on to represent Canada at the ISA World Championships.
This year SUP surf won't be the only contest on the water. The Invitational will wrap up with a one day surf contest.
"By adding a surf contest component we create an environment of mutual respect between all disciplines of surf," says Bruhwiler, who will compete in both the SUP and surf events. "It's an opportunity to bring people together to share their love of surf, the ocean and the beach."
SUP surfers will compete on Friday and Saturday with the winners crowned at a Saturday night banquet. Surfers will take to the water on Sunday. Both events will be held at one of the beaches near Tofino, on Vancouver Island's west coast—Canada's surf capital.
"Tofino's an ideal location for a surf contest," says Bruhwiler. "With several beaches to choose from, each facing a slightly different direction, we can pick the best venue for the conditions, ensuring quality surf."
The SUP and surf community has jumped on board the event. Last year almost everyone received some sort of prize from sponsors, including SUP boards for top finishers. Bruhwiler expects similar overwhelming support and interest this year.
"I got a lot of great feedback on our inaugural event," she says. "I think this year's event will be even better."


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Houndstooth is the new black. I love this vintage skirt for fall when paired with the trendy wine colored sweater. The look also transitions easily from 9-5 to happy hour.
Tag Archives: macy's
Mint + Purple
Today is 'Sport Purple for Platelets' day. September is ITP awareness month so I am adding a little purple to my outfit today to create awareness about ITP. Some days the blue denim as classic as it is, just isn't exciting enough. Add some color to your day and bring out those colored skinnies from your closet today.
Mixing Prints
I love prints. The funkier the better. My current obsession is this 'hello telephone' print on this top. This summer be bold, be cheery and wear prints.


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MARLBOROUGH – The owner of a city real estate firm is proposing to build a four-story addition to her Bolton Street office to create a mixed-use development with offices on the ground level and residences on the upper floors.
Marilyn Green, owner of Re/Max Signature Properties at 28 Bolton St., recently submitted her plan to the City Council to construct the addition that would house 12 new residences. Green, who has owned the property for 18 years, has not decided if the boutique-type residences will be apartments or condominiums.
"We're excited about our project," said Green. "I want to create a place where everybody wants to live."
Underground parking is also expected to be part of the plans, said Green.
The building at 28 Bolton St. currently houses Green's offices and a mortgage company, both of which will remain, said Green.
Green, who has 40 years experience in the real estate industry, got the idea after talking with Tim Cummings, then-executive director of the Marlborough Economic Development Corporation. Cummings told Green about the new Marlborough Village zoning district that encourages mixed-use projects and said it could help revive downtown.
"I think when people come into the city of Marlborough people are going to say 'wow'," Green said of the ongoing downtown renaissance.
Green believes her proposal will help bring a new energy and new residents.
"If you had something to keep them here they wouldn't be going home to Newton or Watertown at the end of the day," said Green. "I'm hopeful others will embrace the same concept."
The Urban Affairs Committee is expected to discuss the project in the coming weeks. The committee will provide a recommendation to the full City Council, which will then vote on the matter.
Green's mixed-use proposal is the third to come before the council since it approved the new zoning in late 2014 . The zoning change eases requirements on parking and building dimensions for developers, who in turn have to comply with more stringent design standards. The zoning allows developers to make payments in lieu of creating parking and instead use spaces that are available in the municipal garages.
Developer Kevin Brett is seeking to build a six-story mixed-use facility on Main Street that will feature a ground floor restaurant and 32 condominiums on the upper floors. The 69,000-square-foot project would be located at 163-173 Main St. The project is also being reviewed by the Urban Affairs Committee.
George Voyatizis, owner of Fish Restaurant, recently received the go-ahead to construct 40 new apartments above his building at the corner of South Bolton Street and Granger Boulevard. Voyiatzis plans to have tenants move in next summer.
Jeff Malachowski can be reached at 508-490-7466 or firstname.lastname@example.com. Follow him on Twitter @JmalachowskiMW.


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Lochmara Lodge Wildlife Recovery & Arts Centre
Photo © Lochmara lodge
Discover the magic of the Marlborough Sounds, staying or playing at award winning Lochmara Wildlife Recovery and Arts Centre.
The Marlborough Sounds is a nature lover's adventure playground. Tucked into the native bush at the water's edge, we have a small but flexible range of day tours from Picton for adventure or relaxation, a café/restaurant serving fantastic local produce, and accommodation overlooking the bay.
At Lochmara you will find hands-on experiences in the Wildlife Recovery and Arts Centre, with nature trails, conservation projects, native parakeet breeding programmes, Queen Charlotte Track day walks and space to relax and enjoy the scenery. Hammocks provide restful quiet spots, the kayaks are free for all guests, and at night a glow worm walk is a must. Winner of the Department of Conservation's Conservation in Action Award for a tourism business (201), and Supreme Award Winner at the Marlborough Chamber of Commerce Business Awards (2012). Lochmara is once discovered, never forgotten
Lochmara Lodge Wildlife Recovery & Arts Centre
Lochmara Lodge Wildlife Recovery & Arts Centre Contact Details
Picton Office
Picton Marina
Boats leave daily from here
Lochmara Lodge Wildlife Recovery and Arts Centre
Louise Bright and Shayne Olsen
Lochmara Bay (accessible from Picton)
Queen Charlotte Sound
PO Box 172
Phone : 64 3 573 4554
Freephone : 0800 562 462
email: email@example.com
website: http://www.lochmara.co.nz


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- Essex success regime CCGs select single commissioning chief
- Mid Essex CCG accountable officer Caroline Rassell seconded to role
- Ms Rassell will head new committee to oversee commissioning across the patch
The five clinical commissioning groups in the mid and south Essex success regime area have appointed a single lead accountable officer.
Mid Essex CCG accountable officer Caroline Rassell has been appointed lead officer for the Mid and South Essex sustainability and transformation partnership CCG joint committee and senior responsible officer for local health and care.
Ms Rassell has been seconded to the role with immediate effect for 18 months but will retain her Mid Essex CCG role.
A statement by the CCGs said: "[Ms Rassell's] role will be to oversee the developments of hospital services across mid and south Essex.
"The CCG joint committee is made up of the GP chairs and accountable officers from each of the five CCGs in the STP area – namely Southend; Castle Point and Rochford; Basildon and Brentwood; Thurrock; and Mid Essex. The joint committee will act collectively in the planning, securing and monitoring of health services for 1.2 million people living in mid and south Essex."
The statement added that the committee would commission and manage the contracts for NHS and independent sector acute, NHS 111 and out of hours, ambulance, patient transport and acute mental health services. All other decisions about healthcare will be taken by individual CCGs.
The development follows the patch's acute providers announcing last March that Basildon and Thurrock University Hospitals Foundation Trust chief Clare Panniker was to head up a new leadership team overseeing the three hospital trusts under an unprecedented "group" model.
System leaders hope the new structures will pave the way for a significant reconfiguration across the financially challenged patch.
The success regime has ambitiously pledged to balance an estimated £216m overspend across the mid and south Essex health economy by 2018-19.
CCGs' statement
Source date
September 2017


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Brazilian watchdog asks Booking.com, Expedia to respond to hotel pricing complaint
2 August 2016. By Carolina Guerra.
The Brazilian antitrust authority has asked online travel agencies Booking.com, Decolar.com and Expedia to respond to allegations by a sector association that they hinder competition by imposing unfair pricing conditions on hotels.
The sector association, known as Fórum de Operadores Hoteleiros do Brasil, or FOHB, filed a complaint with the Administrative Council for Economic Defense, or CADE, stating that the companies impose anticompetitive clauses in contracts that cover tariffs, availability and conditions.
The association said that a hotel that offers its services via online travel agencies cannot offer better pricing conditions through its own platforms.
Before deciding whether to accept the complaint, CADE has given Booking.com, Decolar.com and Expedia until Aug. 12 to answer the FOHB's allegations.
"Certain hotel networks affiliated with FOHB are being harmed due to these clauses imposed by those companies," according to FOHB's July 28 complaint.*
"Hotels that eventually chose to neglect the conditions included in these contracts tend to receive lower platform rankings … or they are excluded from search mechanisms on those platforms," FOHB said.
"In case there were no such obligation by Booking.com, Expedia Brazil and Decolar.com, hotel groups would see themselves freed and unimpeded to set prices in their direct channels … and prices could be less expensive," FOHB added.
The association estimates that Booking.com, Decolar.com and Expedia represent a combined 90 percent market share in Brazil.
FOHB, whose members represent 637 hotels in 150 Brazilian cities, said that the online travel websites are fundamental for booking purposes and it's not possible to consider a market without their services.
The association recommended that CADE take the issue to a Justice Ministry body, the National Consumer Secretariat, or Senacon.
Similar cases are also being reviewed by European competition authorities.


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The Triage Menu block links to the main Triage functions that you'll want to become familiar with. Although the entire Logic Tree taxonomy (me_triage) is part of the Triage Example, there is a minimum of content attached. The Endpoint Example shows you the one endpoint that has actions attached.
We'll go through the options in order:


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Le Donne e La Chitarra
Guitar Music by 19th Century Women Composers(more…)
Guitar Music by 19th Century Women Composers(more…)
On November 6th, 1856, less than a month after the death of J. K. Mertz on October 14th, his manuscripts and instruments were put up for sale. (more…)
The Internationalen Guitarristen Verbands in Munich published a journal from 1900 to 1931. It was known for the first few issues just as "Mitteilungen des Internationalen Guitarristen–Verbands (e.V.)" then as "Der Guitarrefreund" and later as "Der Gitarrefreund."(more…)
The journal "Mitteilungen der Freien Vereinigung zur Förderung guter Guitaremusik (e. V.)" (known in English as the "Free Society for the promotion of good guitar-music") was one of the early, informative journals on the guitar published in Augsburg, Germany from 1904 to 1909. In January 1909 the Augsburg society joined with the Munich Gitarristischen Vereinigung and stopped publication of their own journal.(more…)
Julie Fondard, possibly 1819-1864, was a student of Sor in Paris perhaps earlier than 1830. Sor dedicated his opus 62 to her in 1838. She published in Cheltenham, England from around 1834 through 1836 where she first announced herself as a pupil of Sor. By the end of 1836 she was back in Paris.
Below is a list of all of Alexander Weinmann's "Beiträge zur Geschichte des Alt-Weiner Musikverlages" series for easy reference. His books document the output by date and plate number of many important Viennese publishers. His papers are housed in the David M. Rubinstein Rare Book & Manuscript Library at Duke University. Many well-known (and unknown) guitarists' publications can be researched in this series.
There is a nice video of Nicoletta Confalone's presentation on Emilia Giuliani at the "Musica con la chitarra, oggi" in Bologna, February 2014. There is also a great overview of her work on Emilia on the same site.
The Emilia Giuliani book is finally done! She was the daughter of Mauro Giuliani. Very little information about her has been available and only a few of her compositions have had much attention since their original publication in the 1830-40's. In the 200th anniversary year of her birth I'm proud to release this book with tremendous work and support from Nicoletta Confalone and Thomas Heck.
The following list is the current state of my research into the works of Luigi Sagrini (1809-1874). (Correct birth date discovered by Bernard Lewis.)
The works list below represents my latest work on the works of Felix Horetzky (Feliks Horecki) (1796-1870). Horetzky republished the same composition with multiple publishers often tracing his movements from Vienna to Paris and then on to London. I have denoted these publications with letters after the opus numbers.


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CAPTAINS: L-R: Scott Cummings (Scotland), Davide Fragnito (Italy), Benito Paolucci (Argentina), James Tuttle (Australia), Clément Castets (France), Leni Apisai (New Zealand), Jack Walker (England), Jeremy Ward (South Africa), Vasil Lobzhanidze (Georgia), Masato Furukawa (Japan), Tom Phillips (Wales), James Ryan (Ireland).
The World Rugby U20 Championship is a tremendous showcase of rising talent
The ninth World Rugby U20 Championship has been launched, just three days before the tournament kicks off in Manchester, England. All 12 teams have arrived in the north-west of England, where New Zealand will aim to retain the trophy they won last year in Italy. Matches will be played at Manchester City Academy Stadium and AJ Bell Stadium on 7, 11, 15 and 20 June, with the final held at the AJ Bell Stadium on 25 June.
Speaking at the launch, World Rugby Chief Executive Brett Gosper said: "The U20 Championship is a perfect pathway for the future stars of world rugby. "Following Rugby World Cup 2015, Manchester will provide a great backdrop for the games and fans in the region are in for a feast of open, running rugby at a tournament that will showcase some of the stars of the next Rugby World Cup in Japan in 2019."
RFU President Jason Leonard said: "It is a tremendous privilege as host union to, once again, welcome friends from across the rugby world to the tournament, and to meet the future stars of our sport. "The World Rugby U20 Championship is a tremendous showcase of rising talent, and we look forward to three weeks of exciting rugby. For the RFU as host union, the tournament also plays an important role in continuing the Rugby World Cup 2015 legacy in this country – with more youngsters playing, more older players returning, more coaches, referees and volunteers inspired to get involved."
The trophy made its final journey into Manchester on Saturday morning, after a trophy tour that visited schools and clubs around England over the past month. Matches will be broadcast to 111 countries around the world and fans can click here to see where they can watch all the action.


text: At several of José Andrés' U.S. restaurants—including the Washington, D.C.- and Las Vegas-based tapas bars, Jaleo—at least ten different variations on the gin and tonic are served. One of our favorites is this pretty version that's dressed with whole pink peppercorns, citrus, and rosemary. A dry gin lets the aromatic garnishes shine. This recipe first appeared in our June/July 2014 issue with Camper English's story, "Miracle Cure."


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Register to the event
T3CH is an invitation-only event. If you have yours, please proceed directly to registration.
Senior Vice President, Core Shared Services Research & Development, Amadeus
In 2017, Denis was appointed Senior Vice President, Core Shared Services R&D (CSS R&D) and joined the Amadeus Executive Committee. The CSS R&D unit aims to deliver shared capabilities across all Amadeus' businesses. This includes critical areas such as reservation, issuance, content, shopping & pricing, payment. Also the unit has the mission to strengthen and empower the Amadeus engineering community by offering robust test systems, developing methods and tools, and supporting application architecture.
Denis held the position of Vice-President of R&D-RDM (Reservation, Distribution, and Mid & Back-Office) from 2013 to 2017. The RDM Product Engineering Group was responsible for the delivery of Amadeus' core reservation services: Distribution and Airline IT businesses, profile management, payment solutions, the Advertising Platform, Distribution front-end products (such as the e-Travel Management corporate self-booking tool, the Amadeus Selling Platform and Selling Platform Connect front-offices), and Amadeus' range of mid and back-office products (such as Agency Manager, AiMO, Gestour and Modus).
Between 2007-2012, Denis was VP of the DEV-SEP division (Sales & e-commerce Platforms). In this role he was responsible for the delivery of Amadeus' entire range of Sales and e-Commerce Platforms: the e-Retail B2C web offering for airlines, travel agencies, and hoteliers; the e-Travel Management corporate, self-booking tool; the Amadeus Selling Platform front-office and portal for Travel Agencies, Altéa Reservation Desktop for airline call centres, airport and city ticket offices, and also Checkmytrip.com.
Prior to this, between 2002-2007 Denis held the position Director, Product Development, for the e-Travel product development and operations teams in Nice and Boston, improving and enhancing the e-Travel consumer, corporate and portal product range.
Denis began his career with Amadeus in 1989. Some early roles included the position Director, Amadeus OCG (Online Corporate Group), Product Design & Development, and Director of Development for Amadeus' Distributed Systems division, leading the design and development of Amadeus' Front Office Systems for airlines and travel agencies.
Denis is a seasoned travel industry developer with many years of experience working in Amadeus' development operation. He has demonstrated his understanding of customer requirements, and is considered a pioneer of Web technology within Amadeus. Before joining Amadeus, Denis was a senior software engineer for the Digital Equipment Corporation and IBM's Yorktown Heights Research Laboratories in New York, USA.
A French national, Denis graduated from the Ecole Centrale de Paris.


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Campaigns implementation
Client description:
Mega Image is a Romanian supermarket chain, established in 1995, owned by Delhaize Group since 2000. It operates 296 stores under the name Mega Image, in Bucharest, Brașov, Constanța and Pitești, and Ilfov, Dâmbovița, Prahova, Giurgiu counties.
Back in 2010, the client turned to Rainbowidea for help in producing and implementing the bi-annual campaign materials inside its stores.
When we first started implementing and producing Mega Image campaigns we had to handle ~70 stores in Bucharest. After 4 years, in order to keep the premium standards (fast and cost-efficient services) our in-store team grew proportionally with the number of Mega Image stores (that are now up to 300) in more than 8 counties across the country.
We're proud to keep on succeeding in producing and implementing in-store materials from Mega Image campaigns in 5 days from the client's approval and we continuously feed our practical creativity.


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Results for Thessaloniki
Domotel Les Lazaristes
Located right across from the arts centre Moni Lazariston, Les Lazaristes Domotel offers luxurious accommodation just a 10-minute drive from central Thessaloniki. Les Lazaristes Domotel rooms are tastefully decorated and have elegant furnishings. They are equipped with air conditioning, satellite and pay TV, and safety box. All guestrooms and suites enjoy twice-daily maid service and 24-hour room service. Guests can spend relaxing moments at the hotel's swimming pool or at the pool bar shaded by a pergola. They can also pamper themselves at the on-site spa featuring a hammam and hot tub, and offering a variety of massage treatments. At Papa bar guests can choose among a wide selection of spirits. A Greek buffet breakfast is offered daily by the swimming pool. Domotel's ideal location allows direct access to the city centre, the White Tower and Ladadika. Thessaloniki airport is 7.5 km away. Free Wi-Fi is available in the entire hotel and free covered parking is possible on site and at the new City Hall in the city centre.
Royal Hotel
Wheelchair user friendly 1.Ther is park area at the hotel with accessible route to the jack directly under the hotel elevator. It is a second parking space at the rear of the building and will inform you about the entrance. 2. Elevator is very spacious and fits comfortably Chair. 3. Central hotel entrance has stairs but you can use the second entrance with no stairs. 4. The restaurant is accessible from rooms without stairs and there is communal disabled WC in public areas. 5. Rooms are specialized for disabled, spacious and adequate bathroom with flat bath for the passage of wheelchair with appropriate handles. 6. disabled rooms in 3 floors of the hotel. Total 6 rooms.
Hotel Olympia
Wheelchair user friendly. On the first floor of HO lies a room specially designed and equipped to meet the needs of individuals with decreased mobility. Its large size of 28 square meters and the arrangement of the furniture, along with the handy bents on the floor, the placement of the handles in the WC and the height of the orthopedic beds, all create a functional and comfortable environment that embodies the high standards of HO's hospitality. 1) There is limited open parking places in front of the Hotel, which is free of charge. Unfortunately, it can not be held any position, because we tried to do in the past for people with disabilities, unsuccessfully. 2) The hotel entrance is accessible by ramp and elevator spacious (They have already served, no problem, our disabled customers) 3) Our restaurant is accessible for people with disabilities 4) Disabled unique room located on the 1st floor spacious with adequate bathroom, specially designed for people with disabilities. 5) There is toilet for people with disabilities, on the 1st floor.
Four Seasons Hotel
Wheelchair user friendly. In the hotel there is a specially designed room for people with special needs and additional benefits such as a public WC as well as special electric weel chair for people with special needs , which is exceptionally convenient and pleasant. Also we allocate safe parking for your car which will save you from stress of searching for the parking place during your stay in the hotel or some other days if needed. there is unhindered access of people with disabilities in all of our hotel facilities (pool, bars etc). Our hotel has a room (No. 104) for Disables people (which is accessible with a special lift) but there is an additional room which is accessible by elevator and has one bathroom with shower similar to the 104.


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This year the Easter Bunny is delivering chocolate in the form of our decadent brownies! Wrapped with a pretty Easter scene, our gourmet gift box is packed full of freshly baked goodness. Select from three brownie sizes, each one individually wrapped to preserve freshness and make hiding easier. Tuck the morsels inside a plastic Easter egg for a truly delicious Easter treat!
Our brownie morsels measure 1 1/2" square, the Sprites are twice as big (3" by 1 1/2"), and our regular sized brownies are a generous 3" by 3".
The morsel box includes 6 flavors:
Our Sprite and Regular boxes add 6 more flavors:
About Our Brownies & Baked Goods


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Specialized Rehabilitation Programs
When it comes to rehabilitation, one size does not fit all. The program that works for you may be very different than the program that works for someone else. That's why we've developed numerous specialized rehabilitation programs. We'll make sure you participate in the program that will help you reach your goals as quickly as possible.
Our specialized programs include:
- Adapted Sports and Recreation Therapy
- AlterG Anti-Gravity Treadmill
- Aquatic Therapy
- Concussion Physical Therapy
- Comprehensive Outpatient Rehabilitation (CORP)
- Parkinson's Delay the Disease Wellness Program™
- Parkinson's LSVT BIG And LOUD Program
- Hand Therapy
- Incontinence and Pelvic Pain Rehabilitation
- Inpatient Rehabilitation
- Lymphedema Program
- Sports Medicine
- Swallowing Program
- Wheelchair and Adaptive Seating Clinic
Contact Us
Our rehabilitation team is ready to help you get back to the things that matter most in your life. We offer locations close to you throughout Southwest Ohio, in our hospitals and in outpatient facilities. Call the number for the hospital near you to learn
more about rehabilitation services in your area.
- Atrium Medical Center: (513) 974-5233(513) 974-5233
- Miami Valley Hospital: (937) 208-2062(937) 208-2062
- Miami Valley Hospital North: (937) 734-5720(937) 734-5720
- Miami Valley Hospital South: (937) 438-7711(937) 438-7711
- Upper Valley Medical Center: (937) 440-4840(937) 440-4840


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After the extraordinary success of last year's open-air screening, this year's edition of the World Festival of Animated Film was once again announced with open-air screenings, as well as with picnics and workshops for children.
The first one was held on 28 May in the very heart of Zagreb, in Zrinjevac park which, thanks to Animafest, became a colourful beehive. 'Order' was restored by The Substitute, one of this year's festival mascots.
Starting from the afternoon hours, the youngest audience had a chance to learn about film at Restart's workshops, whose team introduced them to the secrets of building a storyline. In the evening, the last year's winner of Animafest's Audience Award, Song of the Sea by Tomm Moore, was screened.
If the weather permits, today, on Sunday, we also kindly invite you to join us for a cinema picnic at Zrinjevac. Grab your blankets and picnic hampers, and join Animafest morning thru evening. Workshops for children continue at 5pm and 7pm, and at 9.30pm Zrinjevac's big screen will be graced by the only Croatian Oscar-winning film, Dušan Vukotić's The Substitute.
We will also take a look back at the very beginnings of Croatian animation – the Zagreb School – and the film that marked its onset, The Great Meeting by Walter and Norbert Neugebauer (1951), as well as three Oscar-nominated Croatian films – Tup-Tup by Nedeljko Dragić, Dream Doll by Bob Godfrey and Zlatko Grgić, and The Play by Dušan Vukotić. Croatian Oscar winners are also an introduction into a series of attractive programme sections at this year's Animafest, the one dedicated to the influence of Academy Awards on animation.
In case of rain, screenings will be postponed and everyone is invited to the new open air rendez-vous the next weekend, on Saturday and Sunday, 4 and 5 June, Ribnjak Park.
The screenings there include the winner of last year's Grand prix for best feature film, Ale Abreu's Boy and the World, and films already considered classics, which garnered the prestigious statue: Wild Life by Wendy Tilby and Amanda Forbis (2011), Ryan by last year's Animafest jury member Chris Landreth (2004), an inspiring classic The Man Who Planted Trees by Frédéric Back (1987), Father and Daughter by Michael Dudok de Wit (2000), Every Child by Eugene Fedorenko (1979) and The Danish Poet by Torill Kove (2006).
Let us remind you that festival tickets can be purchased at the recognisable Mandlek-shaped info point in Flower Square, on weekends before the festival and every day during the festival.


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When I get my ACP access back, there's gonna be whoopass to deal with. Oh yes. whoopass.
Italicized whoopass.
(And most of it is going to hurt in the postcount for all these silly one-liners. The forums still have rules, y'know.)
You're just gonna reset our post counts to before these antics, right?
I know that the rest of ya missed out on last night's fun, but the "Hacker" is gone and I think the spam should stop now.


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Evidence of histologically or cytologically confirmed diagnosis of locally advanced or
metastatic EGFRm (del 19 or L858R) NSCLC:
1. As detected by local EGFR mutation test that includes QIAGEN therascreen EGFR RGQ PCR
kit, Roche cobas® EGFR Mutation Test or a sponsor-approved laboratory developed test
that is validated in a CLIA laboratory (with tissue submitted for central laboratory
confirmation via FDA approved QIAGEN therascreen RCQ PCR kit).
2. T790M disease as follows:
Phase 1 If a repeat biopsy was performed on the tumor following prior EGFR TKI
therapy, then T790M positive disease must be present. Patients of unknown T790M status
following EGFR TKI progression (ie, no post EGFR TKI progression biopsy was performed)
are eligible.
In the PK sub-studies involving food/antacid and CYP3A4 effects, patients with EGFRm
(del 19 or L858R) with any T790M status are eligible to enroll.
Studies at RP2D Cohort 1: Patients may have de novo T790M mutation, but it is not
required. Cohort 2 and Cohort 3: Patients must have EGRFm (del 19 AND T790M or L858R
AND T790M) NSCLC tumors as detected by local EGFR mutation test that includes QIAGEN
Therascreen EGFR RGQ PCR kit, Roche cobas® EGFR Mutation Test or a sponsor-approved
laboratory developed test that is validated in a CLIA laboratory, which will then be
retrospectively confirmed by the central validated Thermo Fisher Scientific Oncomine
Next Generation Sequencing (NGS) cancer panel test. Patients will also be enrolled if
they solely test positive for EGFR (del 19 AND T790M or L858R AND T790M) NSCLC in
plasma detected by local EGFR mutation test that includes QIAGEN Therascreen EGFR
Plasma RGQ kit, Roche cobas® EGFR mutation test v2 (US-IVD) or Sysmex Inostic's
OncoBEAMTM EGFR test or a sponsor-approved laboratory developed test that is validated
in a CLIA laboratory, which will then be retrospectively confirmed by a validated
cfDNA test as determined by the Sponsor.
3. Prior treatment for EGFRm NSCLC as follows:
Phase 1 Has progressed after at least 1 prior line of therapy including and EGFR TKI.
Patients may have also received other lines of therapy before or after the EGFR TKI.
Studies at RP2D Cohort 1: no prior treatment for locally advanced or metastatic EGFRm
NSCLC. Cohorts 2 and 3: must have had disease progression on treatment with an approved 1st
or 2nd generation EGFR TKI. Patients who have been treated with a 3rd generation EGFR TKI
are ineligible for this study. Patients may have had multiple lines of therapy; however,
the last therapy prior to study treatment must have been an approved EGFR TKI and received
within 6 weeks prior to study registration.
Patients must have at least one measurable lesion as defined by RECIST version 1.1 that has
not been previously irradiated.
Tumor tissue available. Requesting formalin fixed paraffin embedded (FFPE) block or 15
unstained sections (5 micron). If a lesser amount of tissue is available, contact the
sponsor. An archival specimen is acceptable for Phase 1; a de novo specimen is required for
Cohorts 2, and 3 if the T790M status was confirmed by tissue biopsy.
For All Phases/Cohorts Previously diagnosed brain metastases, unless the patient has
completed the treatment that is clinically indicated, if any, and has recovered from the
acute effects of any treatment that was delivered prior to study registration, have
discontinued corticosteroid treatment for these metastases prior to registration, and are
neurologically stable.
Major surgery within 2 weeks prior to registration.
Radiation therapy, excluding stereotactic radiosurgery (SRS), within 1 week prior to
Systemic anti cancer therapy within 2 weeks or 5 half-lives (whichever is longer) of
registration excluding EGFR TKIs. Patients on EGFR TKIs must discontinue the agent for a
minimum of:
- 2 days prior to registration for erlotinib or afatinib, or 3 days for gefitinib if
they will be part of the lead-in single dose PF-06747775 PK study (Phase 1 Dose
Escalation Single and Multiple dose PK and ECG Assessments; Phase 1 Sildenafil at MTD;
and Phase 1b/2 First-Line Single Agent). Please contact the Sponsor for direction for
any other EGFR TKI.
- 5 half-lives or 5 days (whichever is longer) prior to registration if they will be
starting on continuous PF-06747775 dosing directly (Phase 1 PK sub-studies at RP2D;
Phase 1b/2 Combination with Palbociclib; Phase 1b Combination with Avelumab).
Partial Exclusions for Cohort 2A and 2B (Palbociclib combo):
Prior treatment with a CDK 4/6 inhibitor.
Partial Exclusions for Cohort 3 (Avelumab combo):
Prior therapy with an anti PD 1, anti PD L1, anti PD L2, anti CD137, or anti cytotoxic T
lymphocyte associated antigen 4 (CTLA 4) antibody (including ipilimumab, tremelimumab or
any other antibody or drug specifically targeting T cell co stimulation or immune
checkpoint pathways).
Active autoimmune disease that might deteriorate when receiving an immunostimulatory agent.
Patients with diabetes type I, vitiligo, psoriasis, or hypo- or hyperthyroid disease not
requiring immunosuppressive treatment are eligible
Use of immunosuppressive medication at time of randomization


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Dr. Alan Adkins
Dr. Alan Adkins was born and raised in Pensacola, Florida. He did his undergraduate studies at Pensacola Junior College and University of West Florida. He received his Doctor of Dental Surgery degree from the prestigious Case Western Reserve University in Cleveland, Ohio. In dental school, Dr. Alan was awarded the Thomas Hinman scholar. He is active member at the American Dental Association and the Florida Dental Association. In his free time, Dr. Alan enjoys spending time with his wife Debbie, watching college football (Go Noles!), fishing, and listening to music.
Dr. Walter F. (Beau) Biggs
Dr. Walter F. (Beau) Biggs, DMD, joined the Adkins dental practice in September of 2014. He previously owned a dental practice in Pensacola from 1984 to 2009. He then spent 5 years as a civilian dentist in the U.S. Army before returning to Pensacola to practice again in the community he grew up in.
Dr. Biggs has a special interest in implants. He has articles published in the Journal of Prosthetic Dentistry on the subject. He has been on the visiting faculty at the prestigious Pankey Institute for Advanced Dental Education and is an active member in the Florida Dental Association.
Dr. Biggs is a born and raised Pensacolian- in fact, he grew up across the street from Dr. Adkins! His father owned "Biggs Sporting Goods" in downtown Pensacola, his brother has a construction business in town, and his sister is a local artist.
Dr. Biggs is married to Shay. They have a son, a daughter, and 2 beautiful granddaughters.
Dr. Patricia McKie
"A smile is the only language that everyone understands."
Dr. Patricia McKie was born and raised in northwest Indiana. She received her Bachelor of Science in General Health Sciences at Purdue University, West Lafayette and her Doctorate of Dental Surgery from Indiana University School of Dentistry. After dental school, Dr. McKie practiced for 2 years in Indiana and a year in Hawaii before settling in the Florida panhandle. She is a member of the American Dental Association, the Florida Dental Association, and the Academy of General Dentistry.
Dr. McKie decided to pursue dentistry after shadowing her childhood dentist and other dentists in her hometown while in high school. She admired the relationships that the dentists developed with patients and their families and was amazed at a dentist's ability to make patients feel more confident in themselves. Dr. McKie has long believed that a smile is the only language that everyone understands and dentistry allows her to play a crucial role in giving people a smile they can be proud of.
Dr. McKie currently lives in Pace, Florida with her husband. In her free time, she enjoys reading, spending time with family and friends, and most recently, scrapbooking. She and her husband also enjoy cheering on the Purdue Boilermakers!
All our professionals at Adkins & Adkins, DDS maintain the highest levels of accreditation and pursue ongoing education to stay abreast of the latest trends in dentistry.


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Cafe Memoria Deux demo released!July 26, 2019 at 7:48 am | Posted in Artwork, Demo, Progress | Leave a comment
Tags: anna, art, demo, mikaela, progress
It's been several years since I started this project. But the Café Memoria Deux demo is now playable! Thanks to those who helped me get to this point. It's been a wild ride putting this together!
Demo version 0.1 contains:
- A focus on the characters Anna and Mikaela
- All characters make a return from prequel + two new characters
- A return of the food selections + rating system from the first Café Memoria
- Note there's no sprite art of the protagonist, Ryne, just yet, as he's still being worked on as of this post.
- As someone pointed out in the comments of previous post, no, there's no voice acting. But depending on how things go, there might be in future versions!
Screenshots (click to view larger):
Café Memoria Deux 0.1 can be downloaded here:
Windows, Linux (84 MB) / Mac (67 MB)
As always, let me know if there are any problems and/or bugs. Questions, comments, constructive criticism are welcome!
I really hope you guys enjoy! It might've took several years from the birth of this project to a demo release, with some setbacks in-between. But I consider a demo release a major accomplishment.
Thanks to you all for checking out this demo, hope you all stick around for the full version 🙂
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VAT introduction could cause cash-flow issues for Gulf insurers
January renewals: brokers agree that stability comes at a price
Insurers in Gulf Cooperation Council (GCC) markets are coming under pressure to increase retention levels for high-rise buildings to demonstrate their alignment of interests with those of reinsurers, according to new research by AM Best.
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GCC, Gulf Cooperation Council, Property, AM Best, Report, EMEA, Gulf region


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Affiliate Marketing Census Report 2009 – Your Help is Needed!
Okay, here is a quick one with a long quote of Jessica Luthi from AffiliateProgramAdvice.com before I am heading off for Las Vegas to Affiliate Summit 2009 West. The quote summarizes everything pretty nicely. I could not have it said better myself. I filled out the survey a couple minutes ago and suggest that other affiliate marketers will do the same.
Shawn Collin's AffStat reports provide interesting insights into the affiliate marketing space from an advertiser's perspective.
Peter Figueredo from NETexponent released last November their first AffiliateBenchmark research report, which already provided some interesting insights into the affiliate marketing space.
I was yelling two years ago in January 2007 "Where is the Affiliate Benchmark Guide 2006". Now I am hoping to get what I was asking for back then. The survey only takes a few minutes and you will get a free copy of the results, two more reasons why you should do it.
AffiliateProgramAdvice.com and E-Consultancy.com both companies are independent and impartial and trusted.
Last year e-consultancy.com (largest independent UK Data Research company) and in association with AffiliateProgramadvice.com made UK Affiliate Marketing History by producing the first ever UK Affiliate Census which can be downloaded here http://econsultancy.com/reports/uk-affiliate-census-report .
The UK Census came about due to the lack of transparency for Advertiser and Affiliate Networks in terms of who are "affiliates†Very little is known about the very people who contribute billions to our online economy. Affiliates/publishers also have little or no information about each other in terms of what is the average revenue an affiliate makes, what do affiliates see as a threat to the industry, what is the best method of promoting a merchant/Advertiser, how many networks does an affiliate belong to?.
This year it's now time to turn our attention to the USA too. This census will be a first for the USA so a bit of USA Affiliate Marketing history is in the making, all too exciting and for the UK we already have historical data so we can now plot changes/trends. We intend to do a US an UK comparison too, is the US any different to the UK? Does the UK do it better? (cheeky grin)
We believe this Affiliate Census will be the biggest piece of research in understanding "who are the affiliates and what do they do and how do they do itâ€? But… we can't do this without the entire industry getting behind this and pushing this out so here is what we need for you to do.
For Affiliates
The survey is for affiliates and takes less then ten minutes to complete by way of thanks to all those who complete the survey, we will send you the results, there is an option at the end for you to add your email address for when the report is published, this is optional. Please be aware this survey is 100% confidential, we do not ask for any personal information and the questions are fairly generic, by all means walk through it first.
We have a US survey (aimed at US Affiliates) can be seen here http://bit.ly/VG5N
We have a UK survey (aimed at UK affiliates) can be seen here http://bit.ly/pNPQ
So if you are a US affiliate please follow the US link and if you are a UK affiliate please follow the UK link.
For affiliates who are neither UK or US, you can still participate, example if I live in Germany but promote UK Advertisers, you would follow the UK survey link.
Cut off is 27th January 2009
Thank you so much in advance and if I could be a little pushy, when you have completed the survey, pass this on to anyone you think would be interested. You rock!
For Agencies
Please grab any information from the above and just email anyone you think would be interested in this as you will want to see the published results too.
For Affiliate Networks
You know you want to see the published results and if you email your entire network of affiliates by way of thanks, drop me your logo Jessica at affiliateprogramadvice.com and we will add this to the published report with a link to your network.
For Merchants/Advertisers
We know you will want to see the results of this survey, so any direct partnerships you have in place with any one in the affiliate marketing industry, please point them to the survey.
See you in Vegas!
2 Responses to Affiliate Marketing Census Report 2009 – Your Help is Needed!
Thank you . this is fantastic. the more who get involved the more data we can get that is VIP so we can grow the industry and make it a better place for everyone.
We are sending this survey out to all our community. i hope everyone will participate with us!
Yes, we need to get a census so at least we can derive statistical values on the network of affiliates that are contributing to our global economy.
Lets hope all affiliates out there will participate in this survey.
Thanks, Carsten.


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We've been enjoying strolling through the orchard with the chickens. There's something so wonderful about seeing the joy that chickens have in exploring for bugs!
This year is one to conserve water...with the ongoing drought, using a probe to test moisture at the roots, we'll be carefully making sure that every drop of water will be really needed by the trees before turning on the drip system. Cheers!


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There is no doubt that traveling and working at the same time, is easier in 2018 than in 1998. Today, most people own a laptop and a smartphone. These two tools make it possible for us to connect with people all over the world and earn money from wherever in the world. Are you thinking about quitting your job to travel full-time? Or would you like to try the life abroad for a short period? In that case, we suggest you read this list carefully.
While you're traveling, you will for sure see many beautiful places and gain amazing experiences. You will have a lot of exciting stories to tell – so why not tell those stories to the world through a blog? By starting a blog or a vlogging channel on Youtube, you can start earning money by sharing your experiences. However, you have to keep in mind that it can take some time before you can cover all your expenses through the blog. Your blog has to be interesting, consistent and monetized by ads and affiliate links.
A quite easy way to earn money online from wherever you are is to start freelancing. Are you good at writing? Creating graphic design? Do you know a small language and are you able to translate texts? There are several websites online where hundreds of jobs are posted each day. This means that you don't have to be an expert at what you do – as long as you have some knowledge and you're professional, you will most likely get a job pretty soon.
Are you an English native speaker? Or do you speak another, exotic language? Take advantage of this skill and offer to tutor in the language you speak! Even if you're not a native English speaker, your English may be good enough for you to teach locals. You can start language exchange groups or offer private sessions. Depending on the demand for your language, you can make a pretty good coin of it.
Without knowing the local language, finding a job as a bartender or kitchen employee at a restaurant is relatively easy wherever you go. If you speak the language, it'll even be possible to find a job at a hotel. These types of jobs are always needed and often available all year around. Research hotels, bars, and restaurants, stop by them and give them a great first impression. Who knows, maybe they will employ you on the spot.
Au pair and babysitting jobs are getting more and more common and not only in the biggest cities of the world – you can find it everywhere nowadays. If you are good with kids and have some kind of experience, you could find a family to help out in the matter of a few weeks. If you can teach them something – like English – you will be even more attractive to the parents.
As you now know, there are many ways to earn money while you're traveling. Before you travel, analyze yourself, your knowledge and your talents. What can you offer? What skills can you turn into money? Don't be afraid to be confident in yourself and persuade your future employer that you have something extraordinary to offer.