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An analysis of certain video game age rating systems, for the concious buyer and the F/OSS developer.
As some of you may be aware of if you're following my Twitter or my Google+, I'm an active developer and contributor with certain open source projects, and I also find myself writing two console games at the moment - named "Purple Haze" and "Phylactery". The good, text-mode kind of console. So in light of this, I spent some time analysing some of the age rating systems that we've all come to know by now - their differences, their similarities, their basic modes of operation. Things like that. Because things aren't quite the same all across our lovely blue marble, and some of those differences could get open source developers all over the internet in trouble. And we don't want that.
Before I begin, I would like to thank Christine Schulz and Paul Dalg with the USK, and Ivar Posthumus with the PEGI. They provided me with some very valuable feedback around Easter, when I was researching some of the details for this article. I'd also like to point out, that the new commentary function at the bottom of this page won't be used for comments like "OMGMYFAVOURITEGAMEWASCUTYOUBASTERDS!!11!!112". See, the thing about that is, while I realise that this topic in general will lead to a lot of heated discussion from gamers, we'll be staying civil and objective for this analysis. At least with the help of Disqus' black list we will. Pretty sure of that, really.
This article is roughly divided into three sections: the first section will be dealing with the different kinds of rating that games could get and the legal implications those ratings may have, the second will be dealing with all the information you could gather about those ratings and the content of games on the rating organisations' websites, and the third will look at some of the specific problems your average open source (or indie) project will face with regards to this. The latter is something that is rarely analysed, but it's impossible to do so without the former.
For the purpose of this article we will not deal with classic, non-interactive media, such as movies, music or books. This would make the article even more unwieldy. A separate German translation is also available on this blog. Oh and, this should be obvious, but I'm a computer scientist. Not a lawyer. So this is not legal advice. It does contain advice though, and there are notes on legal issues.
I'm pretty sure you've noticed those little stickers with age rating information on the back matter of video games in stores, or on websites related to video games. If, like me, you live in Europe, then undoubtedly you've noticed the colourful labels issued by the USK the PEGI - that's the Unterhaltungssoftware Selbstkontrolle and the Pan European Game Information, respectively. If you happen to be in a particularly well stocked store, or you live somewhere outside of Europe, you'll find labels issued by the ESRB - the Entertainment Software Rating Board or the CERO - the Computer Entertainment Rating Organization, or rather the Tokutei Hieiri Katsudō Hōjin Konpyūta Entāteinmento Rētingu Kikō. Other than that there's a plethora of old labels you probably won't be encountering that much, a lot of current labels in other regions than Europe, the US and Japan, and in Germany in particular there's also a certain kind of non-label, or rather an entry in a list of dangerous media by the Bundesprüfstelle für jugendgefährdende Medien [BPjM] - i.e. the Federal Department for Media Harmful to Young Persons.
And that begs the question: why do we have all those rating organisations? So this will be the first thing we'll examine more closely. However, I'll only be focusing on the larger organisations, and this will be somewhat Germany-centric as I happen to live here. Then again, I'm told Germany is a fairly big market for video games, often ranked the second most important market even, so this is probably not a bad thing. This means that I'll be comparing the USK, the PEGI and the ESRB. I'll also throw in the age ratings in the Apple App Stores - because I've personally had to deal with those in the past - and the BPjM, because index entries by those folks have really nasty legal consequences, and because it's pretty much the only such organisation in any western society.
I've prepared the following table for this comparison:
|Germany (sometimes Switzerland, Austria)
|USA, Canada
|Potential Ratings
|Content Information on Website
|yes, potentially inaccurate
|Content Information on Label
|yes, potentially inaccurate
|Public Ratings
|only indices A, B & E
|Rating Database on Website
|Legally Binding
|Rating Initiated by...
|Jugendamt ("youth office")
|Content Without Rating...
|considered 18+
|same as USK rating
|cannot be distributed on App Store
|Basic MO
|independent survey
|independent survey
|survey to verify publisher specifications
|survey based on publisher specifications
|verification of publisher specifications
The exact process employed by the individual organisations is a lot longer, so if you're interested, you should check their websites for details. The potential ratings in the case of the BPjM refer to the individual indices that a game might be assigned to - this is specified in §18 JuschG. Also, the restricted qualifier means that the content is assumed, by the BPjM, to be illegal in accordance with German law.
The potential age ratings are also rather interesting, so I prepared this diagramme:
One interesting tidbit we can see by looking at this diagramme is that all of the organisations seem to agree that the age of a person directly correlates with their mental stability. On the other hand, there does not seem to be any consensus regarding the exact age at which a person will typically be able to handle differnet content.
In principle, all of these age ratings are strictly voluntary. In practice, however, there may be legal requirements or contractual obligations that may force a publisher to acquire an age rating by an organisation operating in the intended target region. Game console manufacturers, for example, will require that a publisher acquire a rating in a given region before issuing a distribution licence. A natural exception to this is the PC market - Linux, BSD and Macs included - where the platform providers generally do not issue a publishing licence for each product. The same applies, in principle, to game consoles that allow homebrew software to run without any technical hurdles - such as the Sega Dreamcast - or modified versions of regular consoles.
Additionally these ratings typically only apply to physical media, such as DVDs, BluRays, thumb drives, flash memory, cassettes or punch cards. These classic ratings will thus not apply to content that is only distributed online - such as browser games, games that are only available in the various app stores, or F/OSS and sometimes indie games. The situation gets really hairy when content is only distributed online at first, but is then published on physical media later - which, incidentally, also happens a lot with F/OSS and indie games, and which we'll have a closer look at later.
But of course pure online media are not completely exempt from repercussions due to ratings: for example, in Germany you're legally required to implement measures to prevent kids and juveniles from accessing your website, iff the content would otherwise be rated 16+ or 18+. The same applies to content that would otherwise be rated 12+, if your target audience appears to be under or around that age. Valid protection mechanisms include a machine-processable tag on the pages that your site has an intended target audience of a specific age range or above - if that tag is approved by the state, see the USK website for one that is, effective age verification systems and, curiously enough, designated airtime. The latter is, obviously, not really helpful if whatever it is that you do has a global audience. Failure to add one of these protections may result in legal consequences - such as potentially crippling fines. Other countries may or may not implement these regulations, seeing a lawyer about it would probably be a good idea if you don't want to tag your content. Additionally it may be tricky to sue you if you don't have a legal presence in a country where state regulations are violated by your content, but your mileage may vary.
In light of this the USK, PEGI and ESRB offer additional services that help publishers and content authors with these legalities. Again in Germany, the USK is somewhat special in this regard, as their advice is generally legally binding and may offer protection from repercussions and sanctions that could be issued by the BPjM. The BPjM, however, are also special in this regard, because they have the legal authority to put specific websites on one of their indices - which means that the site will not be visible in web searches in Germany. These ratings are never publicised in any way, other than a filter module for use by search engines and possibly web browsers so they won't be showing that content. Public discussion of such content may or may not violate German law, and it may or may not have been deemed illegal altogether. This may or may not be a good thing, but the handling of these C and D indices is described in §24 JuschG.
The astute reader may have noticed that Germany is actually part of Europe. Germany is, in fact, the only European country that does not rely on PEGI age ratings, but instead employs its own services - the USK and the BPjM. The reason behind this is that, according to German law, protecting children and juveniles from potentially harmful media is a state issue that has separate legislation, and in fact it supersedes the general provisions for freedom of speech and press as provided by article 5 of Germany's constitution - see article 5, paragraph 1 for the provisions and paragraph 2 for this particular exception.. This exception also applies to the provisions that would otherwise not allow the state to censor content, but at the same time it is exceedingly rare that this is the reason for censored content in video games. More on that later. The important thing to take away from this is, is that the USK and BPjS are actually just implementing the legal requirements that have been worked out by the state in the constitution and the Jugendschutzgesetz [JuschG]. An age rating is thus an administrative deed, and even the potential age ratings are described in §14 JuschG.
In contrast to this the PEGI operates in an independent fashion, and the states that enforce PEGI ratings choose to do so, and choose to trust the PEGI with this task. A recent, public example for this was when Britain chose to abandon the BBFC's video game ratings in favour of the PEGI ratings in 2011.
The legal implication of this is that, according to German law, it is not possible for Germany to adopt PEGI ratings - which has been requested every now and then, including most recently in 2011 via a public petition. While the law does not specifically say that ratings would have to be performed by the USK, it does state that these ratings are either implemented by the regional authority itself, or that they may rely on the expertise of a self-monitoring organisation. While the PEGI certainly would qualify for that, the PEGI is not typically bound by German law in particular - especially not the part that would require it to refuse a rating if the BPjM might have an interest in certain content, which means the state can't legally rely on their input in accordance with §14 JuschG. That and the actual age rating groups are different from what that same paragraph would require.
It could be conjectured that an adoption of the PEGI by the German state would require a change in legislation - and possibly also the abolishment of the BPjM - which is unlikely - or allowing them to do their work in spite of any other, effect age ratings, as they used to - which is probably not in the interest of any German consumer or any publisher trying to operate in Germany.
As has been mentioned, these age ratings are primarily intended to be informative for any potential buyers. However, many countries will enforce the age ratings of at least one organisation in public trade situations - often coupled with fines if a vendor chooses to ignore these ratings and sell games to minors regardless. Germany's doing this with their USK ratings, for instance. Parents, on the other hand, tend to be entitled to choose to let their kids play games with a rating that is higher than the kid's age - unless of course you're in Germany and the game made it on any of the BPjM's indices, even the non-public ones, in which case you could get in legal trouble if you did this.
In countries that do enforce age ratings, a missing label will typically invoke a fallback rule, whereby the game will be treated as though it had the highest possible rating - typically 18+. It is, however, rare to find content like that in stores.
The individual organisations tend to provide a lot of information on their websites regarding the titles they have rated - well, except for the BPjM, which does not provide a public database for the content they have put on one of their indices, and instead they only provide updates to the list in their quarterly journal BPjM-Aktuell. Unless of course, said content managed to get put one of the non-public indices. Then you could try to get the filter module and guess random domain names. Maybe.
The web sites of the other organisations contain the following information:
|Public Database
|Version Identification
|Date of Rating
|Rating Reference Number
|Date of Release
|Version Number
|Date of Last Update
|Binary Size
|Copyright Statement
|Summary of the Rating Decision
|Level of Detail
|single line
|one or two paragraphs, including examples of problematic content
|Content Summary
|somtimes, but short and as part of rating summary
|lengthy summary provided by publisher
|Customer Reviews
|Content Descriptor Level of Detail
|no content descriptor
|Animated Blood, Blood, Blood and Gore, Cartoon Violence, Fantasy Violence, Intense Violence, Sexual Violence, Violence, Violent References
|None, Infrequent/Mild, Frequent/Intense: Cartoon or Fantasy Violence, Realistic Violence, Prolonged graphic or sadistic realistic violence
|no content descriptor
|Nudity, Partial Nudity, Sexual Content, Sexual Themes, Sexual Violence, Suggestive Themes, Strong Sexual Content
|None, Infrequent/Mild, Frequent/Intense: Sexual Content or Nudity, Mature/Suggestive Themes, Graphic sexual content and nudity
|no content descriptor
|no content descriptor
|None, Infrequent/Mild, Frequent/Intense: Horror/Fear Themes
|no content descriptor
|Alcohol Reference, Drug Reference, Tobacco Reference, Use of Alcohol, Use of Drugs, Use of Tobacco
|None, Infrequent/Mild, Frequent/Intense: Alcohol, Tobacco or Drug Use or Reference
|Bad Language
|no content descriptor
|Comic Mischief, Crude Humor, Language, Lyrics, Mature Humor, Strong Language, Strong Lyrics
|None, Infrequent/Mild, Frequent/Intense: Profanity or Crude Humor
|no content descriptor
|no content descriptor
|no content descriptor
|no content descriptor
|Real Gambling, Simulated Gambling
|None, Infrequent/Mild, Frequent/Intense: Simulated Gambling
|Online Interactions
|no content descriptor
|no content descriptor
It should be noted that, while the USK does not provide the reasoning behind ratings on their website, it does write a lengthy summary which can be acquired via email. While this would presumably cut a lot of the "why is X rated N" - "probably because of Y" style discussions on public forums short, the mere fact that there is typically a plethora of these indicates that this offer is only rarely, if ever, utilised. Also the ratings probably only available in German, so foreign readers may feel left out there.
Further, some of the possible ratings that are provided for in the Apple App Store submission questionnaire will actually automatically prevent a programme from acquiring a distribution licence. These are the Prolonged graphic or sadistic realistic violence and Graphic sexual content and nudity descriptors. Programmes and games where these would apply cannot be found on the App Store proper. Additionally, some content descriptors are deliberately inflated when an App allows the user to browse the web. Google Chrome, for instance, has a rating of "Frequent/Intense Mature/Suggestive Themes" - even though the app itself does not actually contain any such content.
As a software developer, the first thing you'll notice with those database entries is that - with the exception of the Apple App Store - none of the organisations will tell you which version they've rated. While they do tell you which platform they've rated the game on, the databases do not differentiate between different versions of the same game on the same platform.
A (relatively mild) example of where this would be of interest would be the Windows/OSX/PS2 game Giants: Citizen Kabuto. In the non-US versions of the game, one of the player characters - Delphi - is seen topless in game, whereas in the US version of this game the developers saw fit to provide her with a bikini top - and the blood is now in all sorts of colours. Based on the rating database, it is not possible to tell which version of the game has been rated by the individual organisations. This is something that, in general, happens a lot with all sorts of titles in all sorts of localisations and ports - sometimes it may be something minor like here, other times certain versions of a game may be quite impossible to beat due to content that has been cut.
The ratings will typically not include the programme version of a game that has been rated, unless different versions actually receive different titles - such as World of Warcraft (Version 1.x) vs World of Warcraft: Mists of Pandaria (Version 5.x).
Persumably for the same reason, the ratings will typically not specify whether a physical medium contains several language versions - which is fairly common on Steam or European versions of console titles. Which is slightly odd, considering that different translations may use considerably more or fewer instances of bad language, or things like politically problematic material may have been left out entirely. If you've ever seen the Simpsons in both the English original dub and the German translation, you've probably noticed this, too.
Different language versions may also significantly alter the mood of a game. For instance the original, English version of Hunted: The Demon's Forge has a very dark and sinister overall mood. The non-UK European PS3 Blurays of this game, however, do not contain the English dub - they only contain the other European translations of the game. If you buy this game in Germany, expecting it to contain the English dub, you'll find your English PS3 will present you with the French version of the game instead. Now, while it is obvious that at least two of the voice actors for this game were highly motivated and did a good job in general, for some reason this game ended up being involuntarily funny. Tu me fais peur, fillette! - Giggle. I honestly couldn't keep a straight face playing this game, and it's not that I find French funny on principle - Deus Ex: Human Revolution suffered the same problem, but the game still didn't end up feeling like a comedy because of it, neither did TES: Skyrim. Some games just have poor quality dubs, which can affect the overall feel of the game - incidentally, this is why it's a real shame when publishers decide not to include the original dub on a multilingual game disc.
Now, the reason for this apparent omission in the rating databases is that the rating organisations are typically completely oblivious to the fact that there are different versions of the game - the publisher will just submit one version, the rating organisation will rate that version and the rating will then apply to that version and that version only. It's obviously an unfair move on the part of the publisher, but that's how it is. Now, sadly, this leads to...
Gamers in general will often postulate that cut versions of games are somehow the fault of whatever rating organisation is dominant in their region. German gamers seem to be particularly susceptible to this. This is, however, quite incorrect. While different editions of games may sometimes omit features or even crucial content - and quite often so for the German and American markets - the rating organisations will not approach a publisher and declare they should give the female protagonists bikini tops or change the colour of the hostiles' blood to yellow with smilies - or, at least the USK, the PEGI and the ESRB won't.
This is a conscious decision by publishers trying to game the system - SCNR - to get lower age ratings. For example, in the US, certain stores - like Walmart - will not stock games with ratings over ESRB's Teen - although Walmart in particular may have changed their policies in the mean time, as their website only states they don't stock ESRB AO titles. By modifying the version presented to the ESRB - and thus, by extension the US consumers - they are thus trying to increase their sales by making sure popular stores will keep their games in stock. In Germany, on the other hand, the publishers are often trying to avoid getting put on one of the BPjM indices, which would prevent them from marketing the game at all, or they're trying to change a likely USK 18 rating to a USK 16 rating, in order to maximise profits by increasing the buyer base.
This "censorship" is thus, for all intents and purposes, a marketing decision. One that none of the rating organisations are even told about.
Although it should be noted that the previously discussed BPjM is somewhat of an exception to this: they are in fact quite capable of exercising their powers to censor media content in Germany. But they only censor titles as a whole, they still don't send a letter to a publisher, demanding they should change the soldiers in Half-Life to robots, remove most of the blood stains and make sure none of the humans actually die. Censoring complete works by putting it on their B or D indices is quite in their power, but that's about it. And it does make the versioning problem a lot worse: Half-Life 1 is actually on one of their indices, so you can't advertise it in Germany. But that only applies to the non-German version, the latter having been modified as just described and has been rated 16+. Again you wouldn't know which version is which just by looking at the ratings, and they're both by the same publisher, with the same title.
But, again the USK, PEGI, ESRB et al have nothing to do with this. On the contrary: as mentioned before a rating by the USK will, in fact, prevent the BPjM from doing their thing. So there's no reason to complain about their work. It would be much more sensible to complain about this to the publishers if they don't show enough chutzpah to include a warning sticker on their back matter if they cut things - as Steam does with their "Low Violence: Low Violence Version" note in their store directory - or to just not localise a game if they can't get the desired rating - as Warner Bros. Interactive Entertainment did with Mortal Kombat 2011. Since cuts are nothing more than a marketing decision, let it be known that most adults will in fact go out on a limb to buy their games abroad if they can't get a localised version. So show some back bone, will ya?
This one is also fairly common with German games - you'll find a lot of them asking store clerks for "PEGI versions" on general principle, because they'll simply assume the USK would issue much stricter ratings than the PEGI. Ironically the British thought the same about the PEGI ratings when they switch to those in favour of their own BBFC. Now, I'm a computer scientist, and this is clearly quite an unlikely scenario. So I did what we always do in a case like this, I ran some numbers with R:
This first plot shows the number of ratings the individual organisations have in their database - as found on their website. The x axis represents the rated age of a game, the number of such ratings is on the y axis. The red circles are ESRB ratings, green are PEGI and blue are USK. The black circle is the number of games on the public indices as published in the statistics section of the BPjM. You'll notice the quite obvious clustering near most of the higher ratings, and a very similar curve for the three organisations starting at around 9-10.
Since the organisations have not all rated the exact same number of games, we're now looking at a relative, cumulative plot of these ratings. The y axis is now the relative number of games that have been rated the age on the y axis or lower. Obviously the lines will all meet at the same point - 100% at age 18. I've also added a new, pink line which represents the ratings performed by the USK and BPjM combined - all of the latter simply count as 18+ for most intents and purposes - to prevent people from claiming that would skew the stats and make the USK look less strict.
A higher number on the y axis at a lower age compared to another organisation on this plot means, that there are more games available for someone of that age based on that organisations' ratings.
Which means: the strictest ratings, statistically, on average, are indeed issued by the PEGI. Well, German gamers, ain't that a kick in the teeth? Ok, there's one more way we can look at this: since the different organisations use different age categories, this plot isn't quite fair just yet. To make it slightly better to compare in light of this, we'll have a look at a linear interpolation of the data we have:
Same results - who'da thunk? The PEGI is indeed the strictest of the lot - even if we account for the BPjM's doings. But at the same time we can also see that all of them have very similar curves - similar enough for the differences to be statistically insignificant for most intents and purpose. The largest differences are, in fact, in the lower age ranges, and most of those are easily explained with the different minimum ages in the organisations' systems.
The only logical conclusion here is that the main difference between the ratings are different weights for the individual contributing factors. Everything else would lead to quite dissimilar curves in that last graph. Sadly, this is by definition a very subjective matter, so I won't be able to cover this in more detail. But if you're interested in working this out yourself, you could head over to wikipedia and have a look at their summary of the different ESRB content descriptors, or have a look at PEGI's content questionnaire for publishers. Both of those give quite a bit of insight into the weighting employed by those organisations, but keep in mind that the actual ratings are still worked out by actual, real people. Which means they're still subjective by definition.
Also, if you're interested, the R programme that generated these graphs is available for download right here, or via this site's GIT repository.
The whole age rating process is, as is quite apparent, designed to fit the "classic" developer/publisher/physical media scenario. This makes a lot of sense in principle, but if you consider how free/open source software works you'll find that things get quite hairy, quite fast. This is because, with F/OSS projects, typically a developer works without a separate publisher, without any physical media and without any budget. Instead, the developer will typically publish their content themselves, for free, while allowing public access to their development versioning system servers. Any actual budget tends to be via Flattr or anonymous donations.
Basically, a traditional publisher's worst nightmare is the typical, common, deliberate situation with F/OSS. That this will raise problems with the classic methods employed to protect minors should be obvious. On the bright side, there is no law forcing any F/OSS developers to actually get their content rated - it's still just as voluntary as it would be for regular publishers.
Note that I'll specifically be dealing with F/OSS here, but a lot of this should apply to indie developers in general, too.
It sounds stupid, I know, but I still have to reiterate this point regardless: F/OSS developers will, with very few exceptions, have no budget whatsoever for their creations. It doesn't matter if they're developing a new window manager, system software of some kind or games. It might be possible to raise some funding with sponsors, but that's generally not going to happen until they've managed to churn out some releases. Until then the budget is somewhere between nonexistent and whatever the devs can spare - also typically nonexistent, save maybe for just enough to pay the server bills.
PEGI, USK and ESRB obviously don't offer their services for free - which is perfectly natural, considering the amount of work they have to do. Depending on the type of game you're trying to get rated and the rating organisation you're trying to have it rated by, those fees will be somewhere between EUR 250 and EUR 1500 - per version. This is definitely a fair price, but if you consider the sheer number of distinct versions a F/OSS game may have, and the complete lack of a budget, it's nearly impossible for any developers to foot that bill.
While identifying different versions is a mere nuisance with regular titles, with F/OSS titles it's nothing short of crippling. F/OSS typically follows the mantra release early, release often - something you're definitely not going to find in traditional media. Some projects will churn out releases on a daily basis - with hourly commits to their source control systems. Because of this, different versions of a game will sometimes be radically different. While you'll be hard pressed to find even a single game that has been adjusted for a certain market - censorship, voluntary or otherwise, doesn't sit well with software developers in general - you may find differences as radical as a text based RPG turning into an isometric game with fancy-ish graphics. A single player game could offer multi player modes in the next release - or vice versa, if someone thought it'd be neat to have bots and implemented an AI. Hell, if there's ever going to be a F/OSS dating sim, somone, somewhere is probably going to add a BFG on general principle. Don't think that's likely? Well, we have a friggin' Doom-based task manager, so the BFG thing doesn't seem all that unusual in comparison.
And that brings us to the next problem with F/OSS in this context: forks and ports. In principle, everyone can check out the current version of a F/OSS programme's source code and create their own, possibly completely new game based on that source code. That's why it's called free/open source software. Case in point: id Software will often release the game engines that power their games as open source software, once they lose interest in marketing the game it powered. And they're not the only company to do this. Given that, it's entirely likely that Doom will, all of a sudden, not just run on DOS but also in a Unix text console. Or someone will get the Unreal 3 engine to work in a web browser. Or the Quake 2 engine might get repurposed for an X-COM clone.
Then there's the thing about game resources. These published game engines by id Software, for example, do not actually contain the game data files that make up a complete video game - no levels, no sounds, no models, etc. In principle, these engines themselves shouldn't get anyone in trouble - unless they allow for some really weird things, I'd suppose - but there often are projects to create free game data sets as well - possibly even reusing demo or shareware content of those games. Does FreeDoom qualify as being sufficiently similar to Doom to warrant the same ratings automatically? Maybe. You could get a rating for that from some organisations, but obviously that'll cost you. And it is, for example, exceedingly unlikely that an American open source developer would even consider doing so for any European markets.
With the version control services of some of these projects being completely open to the public, and commits getting checked in literally all the time, it's quite unfeasible to rate most of these games. Even if a developer went ahead and got each of their releases rated, with their CVS/SVN/GIT/Mercurial/... server being open the next check in could already make that rating obsolete. And then you'd still wonder which version the rating did apply to in the first place.
With F/OSS being open the way it is, it should come as no surprise that even open operating systems have a plethora of different versions. With Linux, for example, there is Debian, Ubuntu, Arch, RedHat, and thousands of other, so-called distributions. And, of course, there's new releases of those every couple of months. And online post-release updates.
The actual software with these distributions is provided in so-called packages. These range from harmless office applications, such as OpenOffice, to system software like the Linux kernel, compilers, X.org, to web browsers like Firefox, Chromium or even Links, to a large number of games. All in all, a typical, major distribution will include a significant part of the available open source software on the internet. And so do the distributions' DVD sets. Debian, for instance, includes games ranging from harmless Minesweeper and Tetris clones to ports of the Doom engine along with open game content sets like FreeDoom. Ok, admittedly we still don't know if FreeDoom would get the same rating as Doom, and by now Doom itself is no longer on any of the BPjM's indices. Instead it's rated 16+ by the USK. But the FreeDoom data files are definitely quite similar to the original, so it's not much of a stretch to assume they'd get a 16+ rating, too. The Debian DVD set, however, is certainly not rated 16+. But it is available in stores all over the globe. Including in Germany. Sometimes even as a cover disk in computer magazines - which didn't receive a 16+ rating either. So FreeDoom is, all of a sudden - quite possibly even without the author knowing - available on physical media.
And that's where things start to get really messy. In Germany, for instance, without a rating the game would have to be considered 18+. But rating all of Debian 18+ because of some games it includes doesn't make much sense, as kids these days are quite capable of choosing and installing their own operating system on their hardware. I did it when I was 14 when I got my first Linux CD set from my sister, and that was years ago, back when installing Linux wasn't as easy as clicking yes a couple times and typing in your name. It taught me a lot about computers in general, about the hardware I had and the software I could run - or even write myself, thanks to the bundled collection of compilers. This is not something you'd want to limit to grown ups - you want children to learn these things at an early age - in their teens at the latest. But, well, I don't even remember if these CDs contained a Doom clone or not - and back then Doom was still rated as quite dangerous to children in Germany. Statistically, I'd say it probably did include one version of the game or another. And that could be all the leverage a motivated open source opponent would need to do some serious harm to the community as a whole. And that, that would be really bad for everyone, in the long run.
Oh, did I mention distributors will often apply all manner of patches to the programmes they ship? Yeah, that versioning thing just got that much more complicated, too.
This kind of versioning problem isn't specific to F/OSS, by the way. Ivar Posthumus put it quite nicely, saying:
Let's take Doom and it's clones:
Doom 3 has a PEGI 18. This game can be released on all PC operating systems if they have a PEGI license. Our license only applies to this version of the game, published by that specific publisher.
Now let's say Doom 3 is being re-released in 4 years. Perhaps it gets tweaked a bit, a DLC is added, who knows what happens. When the original content is altered, the game needs to be re-examined. If the game isn't altered (stays 100% identical), but a new publisher wishes to re-release the game. The new publisher has to have an agreement with the original publisher they can re-release it, and we'll make a so called sublicense.
This way we know that a new publisher is also selling Doom 3 with our classification.
All the open source spinoffs, add-ons, map packs, texture packs, mods etc. are not covered by our rating, since it only applies to the original submitted content.
It may look like official DLC's and version updates need to be examined by PEGI. This is not the case. A game can receive all the normal updates, changing the balance in the game, patching x or y, adding menu features that weren't working properly etc. When a publisher releases a DLC, it does not have to be examined if the content of the dlc doesn't alter the age rating. Only if the DLC would alter the ratings (let's say; add 18 violence to a 16 game), or if the DLC would become be available as a physical boxed product in the stores, would it have to be examined.
This last part bears special significance, in that it suggests that regular (online) post-release updates and patches would not require a new rating under most circumstances. This is very fortunate with respect to, say, an OS distribution.
A lot of these problems are a direct consequence of how F/OSS in general has a global target audience - or rather they don't have an explicit target audience and with everything being open like that it gets used across the globe - and the developing community is also spread across the globe. Sometimes the developers even act completely anonymously - for various reasons, not the least of which is that with some kinds of software they could compromise a project if they openly admitted to committing certain changes. Export regulations and all. Now, obviously you can't expect a single developer - working for free, no less - to figure out the intrinsics of every law in every country regarding the protection of minors. They don't have the time. They aren't lawyers. They don't even get paid. And with the potential repercussions ranging from "none" to "you're not allowed to advertise, import or even talk about it in public in that country", that would be requiring way too much of them. And it'd be unlikely that even if they did try to figure it all out, that they'd be able to interpret it the same way as the locals.
A corollary of this is that this is really, really, hard to regulate in any meaningful way. Let's use FreeDoom as an example, again: let's assume this would have to be rated 18+ or would even make BPjM's index. A German lawyer or a representative of the BPjM would be well within their rights to send the developers a warning and demand the content be taken offline. Now, assuming the devs behind FreeDoom aren't German, they'd probably ignore that. So the BPjM would then, possibly, put the site hosting FreeDoom on one of their indices. Which would make sure this content wouldn't show up in search results. But there'd still be a lot of links to that content on a lot of web sites - distribution sites that ship FreeDoom, for instance. So, consequently, these sites would then point to legally problematic content in Germany - which might also net them the same warning and possibly a place on one of those indices. Not to mention the guys that actually sold Debian DVDs. Ad recursivum. And sooner or later, half the open source web out there won't be available in Germany, unless you happen to have remembered the link to one of them. That's a very slippery slope, right there - and unacceptable collateral damage.
At the end of the day, most organisations that rate games do so in quite a similar way - but there is a bit of variance with the legal repercussions those ratings could have, depending on the organisation and the region you're in. If you're a parent, just pick one and stick with it - it'd probably be a good idea to check out the others' ratings on their website, to get a better idea of the content involved. Or, better yet: play the game yourself before you get it for your kids' Hanukkah/Winter Solstice/whatever. That's probably a good idea in general, since you should know what's best for your kids.
With F/OSS, on the other hand, things are still a bit grim indeed. There's no sensible way to have the systems currently in place apply to open source games - and that's something that's quite impossible to fix on the F/OSS side of things, because its very nature conflicts with the established organisations' MO. I mean, I'm quite certain nobody even thought that including games in their OS distribution could be problematic in any way - much less so because of this angle. But it is. And making all OS distributions 18+ by default is not going to help much, either. So here's me hoping someone can come up with something, before anyone gets their first warning letter from a lawyer - or the BPjM.
And if you happen to be a F/OSS developer, probably the only thing you can do is to be quite conservative and simply assume your game will be 12+ or 16+ if that's even remotely conceivable. If so, just tag your things with an approved age rating system for web sites - if you happen to read German, try this label generator over at the USK's site. Just, you know, to be on the safe side.
Written by Maggie Danger (EffinMaggie on Twitter).


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For the ultimate in chic sophistication, this dress ticks all the boxes. Available in four colour options, the dress has a high neck and sleeveless design, hugging the body down to a peplum waist. The attached underskirt then hugs the body down to just below the knee, with a mini underlay for comfort. The whole look has a lace design, and it ticks every single fashion box you could need!
Jersey: 95% Elastane: 5%

subset: commoncrawl


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SARAH McHUGH
Since embarking on a History Undergraduate Course at Queen's University, Belfast, I have developed a keen interest in gender history, in addition to crime and punishment. My undergraduate work therefore focused quite heavily on these research areas. My final year dissertation focused on spousal murder in nineteenth-century Ireland, consider the motives and methods for murder. After completing my undergraduate course, I chose to undertake a Masters in Irish History, where I discovered an interest in using age as a category of historical analysis. Wishing to pursue this interest, I applied for a PhD and was fortunate enough to be rewarded a scholarship from the Northern Bridge Doctoral Training Partnership. I am currently working on my PhD thesis which focuses on the institutional care of elderly women in nineteenth-century Ireland. I will consider the treatment and daily lives of elderly women in workhouses, charitable institutions, hospitals, prisons and lunatic asylums in a bid to consider how society responded to old age in the nineteenth century. As part of my PhD, I have participated in the Wordsworth Trust: Working with the Archives Symposium, presented a paper at the annual International Women's Day conference, held at Queen's University and will be producing a paper for the European Social Science History Conference in April 2018.
Queen's University Belfast is committed to Equality, Diversity and Inclusion.
For more information please read our Equality and Diversity Policy.
Queen's University Belfast is registered with the Charity Commission for Northern Ireland NIC101788
VAT registration number: GB 254 7995 11


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In 1797 a large Choctaw war party crossed the Mississippi River to
make war on the Caddos. They returned to Natchez with several scalps
hanging from poles.
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Fort Tour Systems, Inc.
Email: firstname.lastname@example.com


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Woppa Modern Rugs
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The main legal act in the sphere of customs regulation in Russia is the Customs Code of the Russian Federation (as of 01 April 2009 the Customs Code is effective in the wording of 24 November 2008).
All goods and vehicles carried across the customs border of the Russian Federation must be declared to the customs authorities of the Russian Federation.
A customs declaration is submitted within 15 days of the date the goods are presented to the customs authorities of the Russian Federation.
Current administrative legislation (the Code on Administrative Violations of the Russian Federation) establishes appropriate penalties for violating customs regulations. In particular, for a false declaration of goods and vehicles resulting in an exemption from or understatement of customs duties or taxes, a fine may be exacted of between 50% and 200% of the amount of unpaid customs duties and taxes, with or without confiscation of the goods and (or) vehicles constituting the subject of this violation; alternatively, application of an administrative penalty only in the form of confiscation of the goods and (or) vehicles may take place.
When carrying goods across the customs border of the Russian Federation, the following customs duties may be payable:
Customs Duties
Import and export duty rates are established as a percentage of the customs value of the goods (ad valorem) or in Euro/US dollars per unit of measurement of the goods (specific), and may also be of a combined nature, i.e. a combination of the first two types of rates.
The Customs Tariff is established by Resolution of the Government of the Russian Federation #718 of 27 November 2006 (with amendments and addenda). This is a set of import customs duties categorised in accordance with the trade nomenclature of goods. According to the Customs Tariff, import customs duties levied as a percentage of the customs value of goods range from 0% to 100%. For instance, ethyl alcohol is subject to a duty levied at 100% of its customs value, but not less than EUR 2 per litre.
Export customs duties are established for significantly fewer goods than import customs duties. Goods subject to export customs duties mainly include oil and oil products, gas, timber, non-ferrous metals and products manufactured with them.
Value Added Tax (see section "Taxes")
Excises (see section "Taxes")
Customs duties for customs clearance
Customs duty rates for customs clearance are established by Resolution of the Government of the Russian Federation #863 of 28 December 2004. Depending on various factors, primarily the customs value of imported goods, such duty rates range from RUB 250 to RUB 100,000.
Customs duties for the escort of goods by the customs authorities
Customs duty rates for the escort of goods by the customs authorities are established by the Customs Code. Depending on the type of transport used, customs duties are either calculated using a regressive scale (the longer the distance for which the goods are escorted the lower the duty) or may constitute a fixed amount. For example, a fixed customs duty of RUB 20,000 is established for escorting a single sea/river-going vessel or aircraft, regardless of the escorted distance.
Customs duties for the storage of goods
Customs duty rates for storing goods at a temporary storage warehouse or at the customs' warehouse are also directly stipulated in the Customs Code. Such duties are paid in the amount of RUB 1 per 100 kilograms of goods for each day of storage and in the amount of RUB 2 per 100 kilograms of goods for each day of storage for goods stored in special premises.
Goods not intended for use in production or commercial activities may be brought into Russia by individuals without payment of duties if their total cost does not exceed RUB 65,000 and they weigh no more than 35 kg.
Foreign currency and Russian currency (Russian roubles) in cash may be imported into and exported from the Russian Federation by resident and non-resident individuals.
If a resident or non-resident individual imports into the Russian Federation foreign currency and Russian roubles in cash in an amount exceeding the equivalent of USD 10,000 at a time, all foreign and Russian cash should be declared at customs by submitting a written customs declaration.
Resident and non-resident individuals may export foreign currency and Russian currency in cash up to an amount of USD 10,000 at a time. In this case, it is not necessary to provide the customs authorities with supporting documents confirming that the exported foreign and Russian currency in cash has been either transferred or imported into the Russian Federation, or purchased in the Russian Federation. Amounts of exported foreign and Russian currency in cash exceeding USD 3,000 must be declared in writing to a customs authority.
When exporting foreign and Russian currency in cash in amounts exceeding USD 10,000, residents and nonresidents must submit documents to the customs authorities confirming that the difference between the exported cash amount and USD 10,000 has been transferred (imported or remitted) into the Russian Federation as cash funds.
Exporting foreign and Russian currency in cash in amounts of more than USD 10,000 at a time (not taking into account the amounts previously transferred, imported or remitted as cash funds, which are confirmed by documents on foreign and Russian currency importation) is not permitted for both residents or non-residents.
Customs management in the Northwest region is performed by the Northwest Customs Department, which is part of the Federal Customs Service of the Russian Federation. The territory of its jurisdiction includes:
• St. Petersburg and Leningrad Oblast;
• Arkhangelsk Oblast with Nenetsk Autonomous Region;
• Vologda Oblast;
• Republic of Karelia;
• Republic of Komi;
• Murmansk Oblast;
• Novgorod Oblast;
• Pskov Oblast; and
• Kaliningrad Oblast.
In St. Petersburg, customs clearance is carried out by Baltic, Pulkovo, St. Petersburg and Northwest Operative Customs.
Baltic Customs
32a Kanonersky Island, St. Petersburg 198184; tel. +7 (812) 713 99 45; fax +7 (812) 713 99 40
Pulkovo Customs
St. Petersburg 196210, Airport Pulkovo-2, Customs; tel. +7 (812) 326 22 28; fax +7 (812) 326 22 29
St. Petersburg Customs
10, 9th line V.O., St. Petersburg 199034 tel. +7 (812) 323 07 91; fax +7 (812) 213 80 17
Northwest Operative Customs
71, building 2, Ul. Savushkina, St. Petersburg 197183 tel. +7 (812) 430 58 43; fax +7 (812) 380 22 29


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size chart is not available at this moment
qd-vantage stretch woven fabric helps keep you dry and comfortable by wicking sweat to the fabric's surface, where is quickly evaporates. / the mesh gusset enhances mobility and adds ventilation. / elastic waistband with internal drawcord / reflective elements for enhanced visibility in low light. / a zippered back pocket secures your small items. / built-in shorts for compression support and comfort. / reflective elements. / curved hem for range of motion.
100% polyester


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There is no dearth of dieting tricks that could help you to attain the perfect shape. Diet plans that find favor with Hollywood celebrities is easily accepted by the commoners aspiring to look like the stars. Fat Smash Diet is one such celebrity diet developed by Ian K. Smith. The creator of this weight loss program claims that Hollywood celebrities following this diet plan had lost between 19 to 38 pounds of weight.
Fat Smash Diet
Unlike fad diet plans that claim to shed the excess flab within 7 to 10 days, the Fat Smash Diet is a gradual weight loss process. It is usually a 90 days program that helps your body to gradually adjust to changes in diet and lifestyle. The weight loss program is divided into four phases. Instead of constantly counting your calories, you should simply consume the right foods and exercise regularly to attain the desired body mass index.
Fat Smash Diet – Phase 1
The first phase of the diet spans for nine days. This is the detoxification period that would eliminate the toxins and wastes from your body. In this phase you are allowed to consume unlimited fruits, vegetables and beans excluding starchy vegetables. The foods should be taken raw, steamed or grilled. You should consume moderate amounts of brown rice, low fat dairy products, egg whites, soy milk and herbal tea. Not more than 3 tablespoons of fats such as olive oil should be consumed daily.
Fat Smash Diet – Phase 2
In the second phase of the diet new food and beverages are introduced in the meal. Limited amount of lean meat, seafood, whole grains, cheese, whole egg, avocado, sugar, fruit juice, lemonade, sugar and club soda could be consumed in the phase 2 of the diet. This phase lasts for three weeks.
Fat Smash Diet – Phase 3
In the four-week long third phase of the diet, new foods such as bread, pasta and desserts are added to the diet. The portions of the foods are now bigger than the third phase.
Fat Smash Diet – Phase 4
The last phase of the diet is your ultimate diet plan that should last throughout your life. At this stage, you are allowed to have potatoes, beer, wine and pizzas. The portion size should be controlled. You should have four to five meals each day, and avoid skipping meals. Along with the diet, you should exercise daily.


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Monday December 11, 2017
You have done your research and know what you're going to say to your audience, but how to do put that into a blog post? Aren't there different types of blog posts? What are they and how do you use them on your blog?
There are many types of blog posts out there that you can write about, such as a How To Post, Resource, Epic Post, Review, Quick Tips, and many more! But today, let's focus on just five different types of blog posts so you can begin creating content for your new blog pronto!
How to
How To blog posts are one of the most popular type of blog posts you can write. Why? Because everyone wants to know HOW to do something! Many of my blog posts are How To posts. Writing a How To post shows your audience how to do something specific, something they have been dying to know about! Remember, this is why you did all that prep work beforehand so you can know what they want to know about and then write it in a how to post.
Resource Post
Many people want to know what you use behind the scenes to keep your business growing. And many people are wanting to use what you use as well! Resource Posts are just that: posts about resources you use to help you run your business, live life better or help you stay on time. I wrote a blog post about how I use free and paid products to keep my content rolling out and going at all times. Your audience LOVES the behind the scenes and I bet they are looking for products or services you love as well.
*When writing a resource post, include any affiliate links so you'll get a percentage of the sale if your audience chooses to pay for a service you enjoy using.*
Interviews posts are a win-win for everyone and it's the best case scenario for all parties included! Interviews do two things for you: it gives you instant content and reputation. When you interview someone that your audience will enjoy learning more about, you are building clout for yourself, clout for the one being interview and authority in your field. Interviews create authority and it gives you the look that you know some big-time people (even if they are still starting out!). It gives the other person visibility and it gives you authority, so it's a win-win situation!
Here are two different ways I have used interviews in my blog posts: I was writing a series about writing your book and I asked my friend Anastasia if I could interview her. My content came from her responses and that was my blog post. The second way I have used Interviews is when I conducted interviews for my book and turned them into blog posts.
See? Win-win! When people are interviews and blogged about, they will share it on their social media sites and that means you'll get visibility and recognition as they do too!
Case Study
Case Studies are great when you're marketing a launch or you're wanting to prove your service or product is worth the cost. I have done my own case study when I was in the middle of a promotion to showcase that previous clients saw results after working with me. Use case studies to gain before and after imagery and then ask your client to give you testimonials on how you changed their lives and why they would recommend you.
Case studies are important to show data if you have it. People like to see numbers, so include how your client has now closed 72% more deals or has made $3,500 extra in 60 days.
However, if you don't have any numbers to show, then showcase the difference of your client's lives after they worked with you.
Everyone wants to know that they are not alone in their journey or walk in life. Sharing a personal struggle or an "I've been there" blog post helps you build a connection with your audience. No one likes talking to some mystic on a mountaintop! Bring it down to being human - share some struggles that you've been facing and how you're managing yourself right now. It's okay to be vulnerable and to share.
Want to know the other different kinds of blogs you can write and then how to set them up? Then come to Create and Launch Your Blog for 2018 FREE Masterclass where you'll learn the exact strategies to help you create and launch your blog in no time! This FREE Masterclass that was designed for the beginner in mind who is saying, "I want to begin blogging, but I have no idea where to start..." or "I want to launch a blog, but I don't want to hear crickets." If this sounds like you, then you're a perfect fit for this training!
Create and Launch Your Blog for 2018 will be held on three different days so you can pick which one fits in your calendar the best! If you're ready to learn how to quickly and easily launch your blog, then go ahead and sign up for the day and time that works best for you by clicking the picture above of the button below! I'll see you there!
Click here if you're ready to Launch Your Blog in 2018!


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"Have a great time folks" said the policeman as he guided us in to the field that would serve as a parking lot for the night. We were in Kingston to see Bob Dylan at the Hutton Brickyards, the first concert event ever held at this beautiful modernized long-abandoned industrial space. A parking pass I hadn't ordered or paid for had mysteriously arrived in the mail, so the night already felt magic. Back up the hill on the gritty main street of the town, we'd seen a very long line of concertgoers waiting at a shuttle stop. Parking is always an issue in Kingston. Part of it is topography (the town is hilly and you're always butting up against ravines, train tracks and trestles, then water) and part is small city politics – it's a convenient way to say "nah that'll never work – the parking will be a nightmare". But not this time. They were doing something new.
"This is sooo much easier than going to see Dylan at like Forest Hills Stadium or something," I said to Eric as we strolled a few yards down a gentle slope along the Hudson River with a trickle of other concert goers. An early evening blue sky poked through old metal rafters of the brickyards framing a few shiny red semi tractor trailers and three sleek tour buses: Which one do you think he's on?
"Step up for the Metallica concert!" One of the grinning security men cheerfully looked in people's bags and patted down a guy or two. All the staff greeted everybody with a smile and then they filtered us in through different gates: $150, $75 and $55 general admission. That's us. The hoi polloi; rabble. I'd bought the tickets on a whim when they'd added this second show after the first sold out in an hour: $55 a piece had seemed indulgent at the time. Now I was kind of wishing we'd gone big, because, well Bob was on one of those buses and pretty soon he was going to be standing (he'd stand some, wouldn't he?) right there in front of us and – how often is that going to happen for the rest of our lives?
Eric and I staked out spots on the barricade separating seated $75 tickets from standing $55. The place isn't huge, holds 3000. The stage was close enough to make out a grand piano to the right center, Tony Garnier's upright bass, drums back in the corner of stage left. An elegant set-up.
I went back to try and get some food – there were vendors from local restaurants set up under another rustic metal awning. An air of almost-affluent country fair with some hick elements – we were in Kingston after all. I remember coming up here for a wedding many years ago, when I still lived in the city. It was a big Italian affair down by the river and I felt like I was back in the fifties. Things have progressed a lot, with an influx of restaurants and artists, but it's still a fairly provincial place. Changing. Standing in line to get a wristband to buy alcohol, I looked around for somebody I knew, as in some ways Kingston is our "big city": we get our hair cut at the fabulous Le Shag salon there; go see shows at BSP sometimes; have guitar repairs occasionally; drink coffee, stop by Doug Wygal's record store or Stockade Tavern or Adams for groceries. The ads for the show trumpeted that Dylan had never played Kingston before and there was a feeling of local boy coming home as it's just down the road from Woodstock and probably where he used to go do his more comprehensive grocery shopping.
In front of me, a bald satyr in expensive jeans and hand-tooled leather belt flirted with his boyfriend and I felt sure it was the doctor we'd first gone to when we moved to the area. It had to be him. He declined to get a wristband, either because he doesn't drink or more likely couldn't bear to show anyone an ID revealing his real age. I almost wanted to say "Hey, remember me? Poison ivy and and a bad case of conjunctivitis five years ago?" but the moment passed. We really hadn't clicked with the guy but there'd been something fascinating about him and now for the rest of the night I would see him darting everywhere waving a chocolate ice cream cone.
Does that happen to you at shows? I'll zero in on a few characters and then they'll come in and out of view constantly, like an extra in a movie crowd scene you can't take your eyes off of and construct a whole backstory for; or that loud laugher on old Honeymooners and I Love Lucy episodes who distinguishes herself with that extra edge of shrill hysteria. For me at the concert it was The Doctor and a tall young guy with long dark blonde locks under a flat cap, looking like he'd studied old concert photos from the seventies, R. Crumb drawings or pictures of Lynyrd Skynyrd – he was here there and everywhere the whole night causing me to wonder where he kept going, who was he there with, what did this concert mean to him? Was it his first time seeing Dylan and that's why he was bouncing around with excitement, or was it just the drugs?
I gave up on food — the lines were so long and chances were I'd have to make my way back to Eric with my hands full of pulled pork tacos at the exact minute the lights went down and I couldn't let that happen. Back behind the barricade we wondered how the band would come out, in what order. What would it be like? Eric had never seen Dylan before and for me it had been at least a decade. For a brief moment I had a vision of somebody helping him onto the stage but I shook that thought out of my head. No. He's 76, not 95.
And then: the rhythm guitar player, stage left in a sharp silvery suit and low fedora and then – the rest of the band and among them: Bob. Looking the same. Impossible. Rangy, roguish, the stage light illuminating that head of hair that probably has doctoral theses and books written about it – at very least its own Pinterest. Bob. Standing behind the piano. Launching into – oh one of my favorites – Things Have Changed. I am in my own Bob Dylan dream and he is singing this one for me.
The band is so good. The audience is so shiftless and aimless back here though, fetching drinks, chatting, milling around. He's playing Don't Think Twice and Highway 61, his singing as great as ever and a group of yoga ladies are negotiating who should go get some snacks and white wine a few rows forward – I want to hit them with something, instead I hold my bag up as a shield to block them from my view because now Bob is ambling over to the straight mic stand to croon one for us. I've avoided listening to him doing standards, but here in person it all makes sense. The golden backlights and footlights, the lyrics and melody : Why Try To Change Me Now? He poses with the straight silver mic stand so naturally and when he sings "I always was your clown", the song touches me in a way it never did by Sinatra because I hear Frank through a glaze of sepia as forever my parents' era and music, but Bob's been where I want to go and done what I want to do so he's singing in my ear.
Lovesick is next. The sound is good and clear but just wish it was a littler more powerful in this new venue when the chorus comes in. I love Dylan's piano playing: Summer Days which I used to skip over and then became one of my faves on Love & Theft is next. His playing and singing is pure enjoyment, and the whole band has a roadhouse looseness that just makes me feel good. But it's the standards that stun me and move me and make time stand still. These songs have never spoken to me except as pieces of impeccable craft because you always hear them sung by great singers and that kind of singing has never done anything for me, it's the cracks and bumps and unruly personality I crave, but his breathing and control are astounding still. Does Bob swim?
I make a note to seek out the song about two trains running side by side (Long and Wasted Years it turns out to be – Tempest, an album I missed entirely – 2012.) Stormy Weather and Once Upon A Time weave spells with their melodies and artful truths I can usually distance myself from. I just wish the people speaking Russian behind me would shut up! I turn and glare at them through my school marm glasses, fierce enough to make them move away or maybe they just need a lobster roll at the exact moment that Bob is singing Tangled Up In Blue? A barroom version of many people's favorite somehow feels more poignant than a reverent reading — I don't think I've ever heard him sing this one live, or maybe I have but there's no doubt I was almost an entirely different person back then so…see that's one of the beauties of Bob – he shares his mantle of mystery so I board that fishing boat from whatever my daily reality is at that particular moment so it's always the first time.
There's been a strict no cellphone rule mentioned since before we even entered the brickyard and it's really refreshing to enjoy the screenless atmosphere; only the occasional picture-taker. If I could have captured one moment with a photo, it was Autumn Leaves – the beautiful amber lights simultaneously sihouetting and illuminating the band and the graceful drape of Bob's suit, bent knee and bowed head "…and soon I'll hear old winter's song"…so glad that autumn, Keats' season of mists and mellow fruitfulness, has become a longer season than all the others and you can just keep putting winter off cause who wants to think of Dylan in a chair by the fire with a blanket tucked around him? Only when he's ready.
The stage goes dark. They come back for an encore of Blowing in the Wind followed by Ballad Of A Thin Man – planned but not obligatory. Devastating. The lights come up.
This has been a big deal for Kingston, the inauguration of a venue this size in a small city that has struggled for years. I thought the running of the place was pretty close to impeccable, but I missed the intense, experienced focus of a big city crowd. Though maybe that's a fantasy I keep, that there are pockets of sophistication and civility where our heroes are given the respect and attention they deserve. It was a lovely setting with boats pulling up alongside and a soft breeze off the river and a skeleton of the brickyard that built Yankee Stadium (now demolished). I was going to say I could've done without the constant flow of shuttle buses cresting the hill just visible behind the stage throughout the show, but there was something utilitarian and beautiful about them and I imagined Bob enjoying the rhythm and fairground-on-the-edge-of-town aspect of it all, and even though I now envy the Forest Hills crowd with that iconic venue's legacy of historic shows, we got to stumble out past the semis and tour buses and shout goodbye and thank you with a couple of hippie kids as the fleet pulled up the gravel hill in line with the audience's cars and the same cop that had waved us in shined a flashlight to let Bob's bus driver know "yep, you can go now buddy."


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The vacuum autoclave enables impregnation of roof frameworks
I.S.V.E. Srl has recently increased its range of spray impregnators to include the new IMP-PG "Oscillating" model. This vacuum autoclave enables the impregnation of roof framework placed in properly braced packs. The application and use of the IMP-PG is equipped to give wood protection against the following Risk Classes:
- Risk class 1: situation where the wood or wood based product is shielded, completely protected from atmospheric agents and not exposed to humidity.
- Risk class 2: situation where the wood or the wood based product is shielded, completely protected from atmospheric agents, but where high environment humidity may cause occasional but not persistent humidity.
- Risk class 3: situation where the wood or the wood based product is not shielded and is not in contact with the ground. It is continuously exposed to the atmospheric agents or, even though protected from them, is subjected to frequent humidity.
In these three cases, defined by ENC, (European Normalisation Committee), IMP-PG guarantees protection and long lasting esthetical quality of the wood.


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As our name states, we perform all types of hydroseeding services in North Idaho, but we also Hydroseed in the greater Spokane Washington hydroseeding areas. Over the years, we have worked on various Washington State and Spokane County public works project sites, as well as large to small private residential projects. North Idaho Hydroseeding (NIH) works from the Washington State line through Otis Orchards, Liberty Lake, and the Spokane Valley into Airway Heights, to Cheney and beyond. We also serve from Rockford, north of the South Hill to Five Mile and north past Nine Mile Falls to Deer Park.North Idaho Hydroseeding Incorporated and Spokane Washington Hydroseeding serves all of the Spokane area. We complete all documentation necessary to maintain our Washington State Contractor's License and Interstate DOT Registrations and Permits. Our company has increased it's presence in the Spokane area by working with quality Washington State landscape contractors. Coming from Idaho we have found our price rates to be competitive if not lower in comparison to Washington contractors. We have the ability to access remote sites when necessary. In North Idaho we serve much of the Idaho Panhandle. North Idaho Hydroseeding works in Kootenai County covering the south end of Lake Coeur d' Alene, east to Harrison, north through Hayden Lake, Garwood, Chilco, and to Athol. We also work west to Blanchard, Spirit Lake, Twin Lakes, Hauser Lake, Rathdrum and into Post Falls. North Idaho Hydroseeding travels to Bonner, Boundary, Shoshone, Benewah, and Latah Counties. We also perform hydroseeding in the Spokane Washington hydroseeding areas.
North Idaho Hydroseeding(Spokane Washington Hydroseeding) operates Finn Hydroseeders. Our various Finn hydroseeding machines are capable of mixing and spraying heavy hydroseed mulches including wood and BFM. We use a variety of mulch combinations in our spray applications. Because soil types vary greatly from well drained sand with no organic matter, to clay which is rich in minerals but is lacking in porosity; different hydroseeding approaches need to be employed.We also offer a variety of fertilizing options. Depending on the season and soil conditions, we use either quick release or slow release inorganic fertilizers with varying formulas. Organic fertilizing options can be used along with the addition of beneficial mycorrhizal applications which build healthy microbes within the soil. From the simplest lawn to the most challenging erosion control site, we have the appropriate equipment, materials and expertise to successfully complete any project.
North Idaho HydroseedingService areas:Kootenai CountyCoeur d' AleneHarrisonHayden LakeGarwoodChilcoAtholBlanchardSpirit LakeTwin LakesHauser LakeRathdrumPost FallsBonner CountyBoundary CountyShoshone CountyBenewah CountyLatah County
Spokane Washington HydroseedingService areas:Greater SpokaneLiberty LakesCheneyRockfordDeer ParkAirway Heights


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Out of stock
Today, Lawman Guitars is Presenting...
A really cool 1965 EKO Model 995 Hollow Body Beatle Bass .. I have sold a bunch of these and no, its not the one I just sold last year. I got another. I love having these for my customers. They all love them. I played one myself for years and always enjoyed these light weight beauties! Original Hard Shell Case makes this an awesome find!
These cool basses have been featured by many Bass Players from the 1960's like The Doors and The Grass Roots among many others.
I have posted a video demo of not this one but another that I sold last year. It sounds and looks almost exactly like it so please ask any questions about the sound or looks.
These cool Made in Italy basses have a Spruce carved top and check out the Birds-eye Maple back and sides. Its beautiful. The pickups sound great. This guitar is complete with all original parts. It even has the EKO branded Pickguard, and bridge with COVER!! Original tuners, and everthing ... Our Techs have it set up with easy playing low action with a set of new strings. Perfect Thump to them.
Very few dings or scratches on this cool bass. Just normal playing wear. The frets are still in great shape! It plays great!! The Pickups are strong and very deep...love the growl from these single coil EKO Pickups.
Any cracks you may see in the pics are only finish crazing cracks. There is no body or wood cracks on this bass. Italians sprayed their Nitro finishes heavy back in the 1960's. Vox guitars have the same malady. So please know that these are finish cracks...not wood or body cracks..
The original Italian EKO Factory Sticker is inside the body cavity under the Bass F hole.... It is impossible for me to shoot a pic of it thru the sound hole but its there.
The case is as nice as the Bass. Original Case with working handle, latches and hinges. Really nice case for this bass. Even the accessory box is still in it...Could use some detailing but I'll leave that to the new owner. Most of these guitars came with a softshell Case. Its awesome that I have the Hardshell ORIGINAL Case...they look a lot like the Vox Bass Cases...probably the same manufacturer from Italy as Vox!
Sold as-is no returns as its vintage and used, however...I have been hand picking out vintage guitars for my customers for over 20 years now and they have all loved them. This hand picked bass that I found will not be an exception.
Thanks for looking at our cool guitars
Lawman Mike at Lawman Guitars


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Wedding invitations in Laval: check prices, request quotes and get the best deals on detailed, personalized wedding invitations to send out to your guests. Choose from custom colours and signature fonts to make the perfect wedding invitations, save the date and thank you cards.
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Partners Card Kick-Off Party
October 17, 2018 @ 5:00 pm - 7:00 pm
Purchase a Partners Card & Receive 20% Off Your Fall Favorites!
We're partnering up with Christ Counseling Ministry and hosting a Partners Card Kick-Off Party next Wednesday, October 17th from 5:00 to 7:00pm!
Light bites will be served. We hope to see you there!
Here's How The Partner Card Works:
Purchase the Partners Card for $50 at our store, from Christ Counseling Ministry, or other participating retailers and receive a 20% discount at each participating retail location from October 17th-27th, 2018.
More info at partnerscardwf.org.


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Alan Brothers, Bill Cormack, Renee DeYoe, Barbara Goldberg, Ellen O'Connell,
Peg Palmer, Will Phillips, Kenn Sovie, Tom Stair, Michelle Tang
Sailing with Pelagic.
I first learned about Pelagic while at Parker's Boat Yard in Red Brook Harbor. I wanted to go back to Maine with my Swan 40 'Lucy Vincent' but had no crew. Living in Washington State and keeping my boat on the East Coast has made finding sailing friends geographically challenging.
One long-time sailing friend had sailed with me from New England to Savannah and back to Maine. We had a great time cruising Maine, which had been a life-long dream. A few other friends had visited the boat from time to time and sailed with me for a few weeks but, at that time, none of my West Coast friends were available. It was now August and I was anxious to get back to Maine and go further east than the previous year. I was at Parker's because Lucy Vincent had transmission issues just before entering Cape Cod Canal the previous fall. Parker's had fixed the problems and, being sympathetic to my plight, had put me in touch with Tom Toomey of Pelagic. It was fortuitous that Pelagic Sailing Club had a club cruise passing through Red Brook on their way to P-Town. I got my overnight qualification on the sail to P-Town. Another member sailed with me back to Red Brook for my second evaluation, by which time Tom Toomey was available for my third and final evaluation. He and another Pelagic member joined me for a day sail in Buzzards Bay. I think they were impressed that we flew the spinnaker. I became qualified as a Boat Owner member in just two weeks, maybe setting a club record!
I was now able to invite Pelagic members Dick Tucker and others to join me for the trip to Maine. We sailed to Gloucester, then an overnight to Northeast Harbor. After a change of crew, we had a great sail east of Bar Harbor in Frenchman Bay and later spent a night in Somes Sound. I made my own way to Castine, or more precisely Smith Cove with a stop at the Center for Wooden Boats. In Castine, 2 other members joined me for a cruise down to North Haven, where we spent the night and then back up to Castine, having transited Fox Island Thorofare. Being on my own again, I sailed over to Belfast for a few days and then down to Camden, one of my favorite places in Maine, where I had made friends the previous year. Here Dick Tucker returned to the boat with his wife Pat. We spent a couple of days sailing to his house on Westport Island where I was their guest for a few days. With bad weather approaching, Dick and I scurried over to Gamage Shipyard in S. Bristol where Lucy Vincent would spend the winter. Thus ended my second year cruising Maine, made possible and more enjoyable with all the great people I met through Pelagic.
The following summer Bruce Atwood met me at Gamage where we spent a couple of weeks working on the boat and then went for a three week cruise. This time we really made it "Down East" with a cruise to Roque Island with its mile-long white sand beach. While in Northeast Harbor we met some other folks from Pelagic who saw the club burgee and stopped by for a gam. Bruce left the boat in S. Bristol and 2 new Pelagic crew members sailed with me to Portland and then on to Boston with a stop at the Isle of Shoals. Craig Spear arranged for a mooring for Lucy Vincent at Winthrop Yacht Club while I fixed my auto-helm. I now had a chance to visit Bruce and Marge at their home in New Hampshire, not far from Raymarine. From Boston, Lucy Vincent made her way south with a lot of help from Pelagic members, where she spent the winter at Norfolk, Virginia.
This summer Bruce again joined the boat and helped with lots of repairs. We sailed from Norfolk to New Bedford Yacht Club, with numerous stops along the way, where we arrived in time for the 50th Anniversary party and cruise. Being on a club cruise was new to me and we enjoyed visiting with other Pelagic sailors and doing things that I would not have otherwise known about, such as the 'Illuminations' at Oak Bluffs. We cruised in company of other Pelagic boats from Edgartown to Hadley's to Cuttyhunk, where the cruise ended with Lucy Vincent rafted with Cha Ching on a private mooring.
All in all, being a member of the Pelagic Sailing Club has made it possible for Lucy Vincent to sail to a lot of interesting places and to make many new friends along the way.
Alan Brothers
Lucy Vincent
Swan 40
Boat Owner
Member since 2015


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Interiors of a place decide one's perception. The interiors of the place make it what you want that place to be. It is a blend of art and science which enhances the interior of a building to achieve a healthy and more aesthetic and pleasing. It brings to us the people using the space. The one who specialises in order to plan, research and coordinate and manages with the projects. Interior design deals with the multi-purpose which involves a lot of things like conceptual development, space planning etc. This involves the execution of the design, construction management and a lot more.
This brings to you the opportunity to plan a very beautiful place and heaven for someone and everyone you work on a project. Thus, this profession to brings to you the idea of creation and happiness to bring a smile on the face of people and broaden it


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A Graced History The Sisters of Mercy of Rochester 1900 - 2000
Paperback, 276 Pages
Price: $10.02
Prints in 3-5 business days
A history of the Sistes of Mercy in Rochester, NY from 1900 to 2000
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1 Person Reviewed This Product
Oct 15, 2009"A Graced History" As a young child, I wanted to be a nun but I was African American and not even a Catholic. Later I read The Nun's Story, The Song of Bernadette, Sister Agnes, St. Theresa's The Little Way, etc. and always had curiosity about life behind the veil. Reading A Graced History about the Sisters of Mercy in Rochester, New York has been interesting (I could not put the book down!) and has left me with the impression that Sisters are refined, highly educated and express themselves eloquently. Over the life span of their organization, we see the Sisters tackle a number of tasks from architectural feats, educational training, schools, hospitals, nursing homes, real estate ventures, and more. Their history reads like a manual of business acumen. And we are surprised at their skill in negotiating with banks and gaining the support of major businesses such as Kodak and Sears and Roebuck and several private individuals, as well as some surprising contacts, such as Bill... More > Cosby and The Harlem Boys Choir As they grow in stature, they consult with legal services and increase steadily in their know-how and resourcefulness. No young "apprentice" could easily supercede them in ingenuity, effort, inventiveness or productivity. Even though A Graced History presents a historical record of the organization, there is a subtle, internal drama centered around their conflict with Bishop McQuaid, which gives a plot to the story. This light motif is handled expertly and cleverly by the authors and draws the book together. Reading between the lines of the story, however, we construe an interesting drama about the organization's struggle to maintain an individual identity and economic viability in an ever-changing social and political environment. Sisters are women pulled out of society and removed from their reproductive purposes and, therefore, are non-injurious to modern society. We become aware of how the pressure of an increasingly more pyramid-like, power structure, from Rome down, influenced the functioning and aspirations of their tiny unit. Over the cases of Sisters resigning during difficult transition periods, there is little said and no elaboration. But I suspect that the continual drive to reorganize, incorporate and tie loose ends together, to unite and expand, after a certain point, might have eventually undermined the original intentions of the organization. Their hand in a summer camp program, a nursing school and hospital, for example, had to be partially given up. A smattering of superficial politics (possibly in conflict with possible, long-ranged politics of the American government) coupled with the seemingly exclusive association of "multicultural" with persons of South American nationality might have been off-course, for some nuns who left. Though not indicated, some Sisters, who eventually resigned, might have come in conflict with the idea that loving the poor was synonymous with "giving up one's own necessities" in place of "sharing one's expertise." The possible failure (up to year 2000?) to adequately identify the recruitment and effective incorporation of "young blood" into their operation as a high-priority objective was possibly an Achilles heel.< Less
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Product Details
- 9781411666924
- Copyright
- Standard Copyright License
- Publisher
- Lulu.com
- Published
- February 7, 2006
- Language
- English
- Pages
- 276
- Binding
- Perfect-bound Paperback
- Interior Ink
- Black & white
- Weight
- 1.04 lbs.
- Dimensions (inches)
- 6 wide x 9 tall
- Product ID
- 279150
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Xubuntu worked!Posted by InF at 1:13 AM
Oh yes!! Seems today is the day of the OH YES's!! :P
Anyways, after almost a day of downloading Xubuntu (~500MB but slowness kept me waiting), I ran it in Live-CD mode on my laptop, a Sony Vaio FZ-240. What happened? IT WORKED!
With Kubuntu Fiesty Fawn, I couldn't boot it without applying a set of commands. I was getting dropped into Busybox with this error message
"Cannot access TTY. Job control turned off.", together with some bla bla's.
After reading around, I guessed that Fiesty was not able to handle my hardware. I waited and tried different distros. Puppy Linux, Damn Small Linux and Knoppix worked charmingly. I didn't particularly like any of them. I'm a *Ubuntu fan, so I wanted some variant to use.
For some folks, the older Dapper Drake worked. That failed for me. I kept waiting, begging Bobster and Neelesh for the Gutsy Gibbon CD of Kubuntu. They forgot me and left me in my torment. :( (Bad things happen when you deprive me of Linux. I get weird.)
But now! BUT NOW! I got Xubuntu. And I just can't describe the feeling I got when I saw XFCE in front of me. And this thing runs sooooooo smoothly on Core 2 Duo! Even my resolution was supported out of the box. Now, what remains is my WiFi driver that's not working. Will fix that soon enough, either with iwlwifi, or via Ndiswrapper if it fails. I'll start posting my Xubuntu experiences soon enough. That, until I get Kubuntu from one of my tormentors or if my ship-it arrives!
Yes I know. Minimalistic desktop. No bangs and frills. Just cleanliness. Amazes me too, who is used to the bulkiness of KDE. Anyways, you'll get my feedbacks soon.
I initially downloaded Xubuntu to run on an old Intel Celeron 600MHz PC I have at home. It has 128MB of RAM, and 16MB VRAM, with a 15GB HD. I will try it on that, and post my reviews as to whether Xubuntu can really revive old PCs. I tried Damn Small Linux (DSL) and Puppy Linux on it. It worked, but it lacked features. I'll be posting my review of DSL and Puppy afterwards. Puppy failed to boot. Xorg has issues apparently. No luck with XVesa too.
For now, I return to my revision. Why do geeks need test weeks? Life's sooo unfair! I'd kill to have full-days spent on my pcs! :(
Labels: Geek Stuff, Linux
2 comments:
- Neelesh said... November 21, 2007 at 8:39 AM
- InF said... November 21, 2007 at 8:30 PM


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Monthly Archives: June 2018
June 29, 2018
Please be advised that the NAVIOS AZURE 003N will change rotation in Europe, calling Hamburg before Felixstowe due to berth congestion now giving Felixstowe an eta of the 05/07 subject to change.Posted by admin
CSCL Atlantic Ocean V-024W
June 21, 2018
Please be advised that the CSCL ATLANTIC OCEAN V-024W will OMIT the FXT call originally due 22/06/18 – all Import cargo to be discharged on the 2ND call which currently has an eta of 02/07/18 subject to change.Posted by admin
OOCL United Kingdom
Vessel rotation change in Europe, eta FXT 29.06.18 V-004W and 11.07.18 V-004E
APL Savannah (Updated Eta)
June 15, 2018
"APL Savannah"
EPIC-NP4-009 W vessel to OMIT Felixstowe call, containers will tranship in Antwerp, to arrive Felixstowe, per "MSC Asya" ETA 24/06/18Posted by admin
OOCL Japan – Updated
June 14, 2018
Dear valued customer
As it stands the OOCL JAPAN 004W has a tentative berth plan of 16th June early AM. Vessel intends to sail latest 17th June 0700hrs. Based on this information it is unlikely all WB discharge will be completed during this length of operation. Any cargo left on board would return on the vessels EB call.
This plan will not be confirmed until Friday 15th June.
We will update this website once we have further information.Posted by admin


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Introduction: Quick 16 Page Ruled Pocket Book From 1 Piece of Paper With No Fancy Cuts or Folds (PocketMod)
PDF (PocketMod_Ruled Lines.pdf) download link:
Optionally: You can download a different PDF (PocketMod_Ruled Lines 2X for Small Hand Writing.pdf) with twice as many ruled lines on it as on regular notebook paper (in case you have really small handwriting):
What makes this PocketMod unique is that it is 16 pages (not 8), that it will be ruled (have horizontal lines to write on, like you see on notebook paper) and that it is easier to fold and cut.
I made this PocketMod because It is great for recording insights you get from meditating on Scripture, for recording prayer requests in (and praying over when you have a spare moment), for Scripture memory (write the verse or verses in the book and look at them when you have a spare moment) and for general reminders. If you have never considered meditating on Scripture or memorizing Scripture, I would point you to Donald S. Whitney's Book "Spiritual Disciplines For The Christian Life" found here:
Teacher Notes
Teachers! Did you use this instructable in your classroom?
Add a Teacher Note to share how you incorporated it into your lesson.
Step 1: What You Need
All you need is:
-The PDF with Ruled Lines on it (which you can download via the link in this tutorial)
-8.5 x 11 piece of computer paper
-computer with printer
Step 2: Download & Print PDF
The easiest way to learn how to do this is to WATCH the VIDEO on the INTRO STEP, but here are the steps broken down step by step.
1. Download the PDF (PocketMod_Ruled Lines.pdf) at the bottom of this step or here:
Optionally: You can download a different PDF (PocketMod_Ruled Lines 2X for Small Hand Writing.pdf) with twice as many ruled lines on it as on regular notebook paper (in case you have really small handwriting):
Note: The ruled lines in the PDF are on the page vertically, so that when you fold the paper 3 times they actually end up being horizontal in the finished book (So you cannot do this with regular ruled notebook paper, because the lines will up end vertical in the finished book -- that is why you need the PDF).
2. Open the PDF on your computer. If you can't open it, here is a link to a free program that can open the PDF file:
3. Print the PDF on both sides of the 8.5 x 11 computer paper. To do this, print the PDF once, then after it prints put the same piece of paper back in your printer so that it will now print the same thing on the other side of the same piece of paper (which is the side that is still blank). Then hit print again.
Note: Some printers print face-side up and some print face-side down, you will have to experiment with yours to know which way to face the paper on the 2nd print. A simple light pencil mark made on the piece of paper before the 1st print will tell you which way it prints.
Step 3: Fold the Paper in Half 3 Times
Fold the paper in half 3 times.
Note: It helps if you use a pen or your finger to really press down on each fold and make it as sharp of a fold as you can.
Step 4: Staple the Fold
Slide the pages under the stapler and put 2 staples (evenly spaced is best) in the middle fold (or "spine") of the paper book (so that the sharp part of the staples ends up on the inside of the book).
Step 5: Make 2 Cuts
Using the Scissors cut off the fold at the edge of the very bottom of the book (which still has all of the pages connected at the bottom - See the Picture of Cut 1).
Then cut off the fold at the edge of the side of the book (which still has those pages on that side of the book connected together - See the Picture of Cut 2).
Now your book is done!
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4 Discussions
Nice book in the background.
do this again except on the first one don't staple. you will have 24 pages!!
What a nice cool little book! Thanks for the 'ible!
I love the idea of using it for memorizing scripture and stuff, that's awesome!
Love your idea! You inspired me to start making my own out of recycled paper (which gives me only 8 pages as opposed to 16). Have you thought of ideas for creating a "cover' for your PocketMod?


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- Home
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- Chronograph watches
- Orient Chronograph
Orient Chronograph
Due to the complexity as well as functionality concerned, you will notice that chronograph timepieces are a little more priceless compared to the common available watches. But when it relates to luxury, workmanship, design and fashion, no timepiece can ever outshine a Chronograph watch!
Orient Chronograph watches discount price.
Orient Chronograph is among the primary suppliers of mechanical timepieces around the world whereby it has brilliant attributes as well as the Orient signatures. With high precision together with crystal oscillator frequency and also luminous hands and markers, Orient chronograph watches shows that they're not merely useful but as well trendy.


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Social Sciences for Social Work
: Examine the meaning of the concept of social exclusion and discuss how social work may respond to the reality of social exclusion.
The paper will look at 'what is social exclusion' and demonstrate how various groups and individuals are affected by it. It will further examine 'what is social work', its tasks and how these address social exclusion. This paper cannot examine all aspects of social exclusion, but will use examples of where social work is relevant in dealing with the issue. This paper looks at social work practice in particular in addressing issues arising from; poverty, unemployment, social policy and social work practice in relation to the social …show more content…


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Unwrapping the past, one presence at a time. On Facebook: The P.A.S.T. is Present
We have two paranormal teams. We have a teen team for members between the ages of 13-17. There are no dues for teen members.
We have an adult team for members 18+. Adult member dues are $4/month or $48 per year.
We have one meeting per month, where we do some training and discuss investigations.
223 North 1st Street, Yakima, Washington 98902, USA
We meet the second Saturday of each month from 10:00 am to 11:30 am
Copyright © 2018 pastispresent.net - All Rights Reserved.


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The man behind the designs
Born with a designer's eye and an unquenchable desire to collect beautiful things, I have always surrounded myself with vintage objects, toys and antiques. And as I grew up, and as I visited more and more flea markets around the world, I gradually discovered that I had a special gift. That of giving obsolete objects and materials a second life, using art to reduce our collective impact on the planet while also honouring and valuing things that run the risk of being forgotten or disappearing.