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I began swing dancing around 2005, after watching videos of my younger brother, and the Irvington High School Swing Dancers, attending Grand Nationals and Swing Diego. I was amazed and instantly hooked, and I began going dancing with them at Two Left Feet in Danville. The thing I love most about West Coast Swing is how the variety of music draws a diverse group of dancers together. I love how every person brings their own style to the dance, which gives me a different experience with every song! Dancing take me to a place where I forget about all of my other responsibilities, and I get to focus on the energy and connection between my body, my partner, and the music.
I really appreciate that Next Gen encourages members to get involved in the club! There is so much work involved in running this club, the monthly dance, and the yearly convention, and I have had a wonderful experience seeing the club from behind the scenes. As a Board member I have been able to voice my ideas for building our community, and it's extremely rewarding to see them implemented! Being involved with Next Gen has increased my confidence on and off the dance floor, and has allowed me the opportunity to meet some amazing people.
Outside of dance, I live in the Sacramento area and I work as a private practice sports chiropractor. In my free time, I enjoy exercising, hiking, kayaking, shopping, scrap booking, road trips, and cooking.
Edith Kelly Politis - tREASURER
A long-time lover of friends and family, animals, and garlic, Edith comes to us from her hometown of Mill Valley. We're told she offers THE BEST Blueberry Pancakes around, as her grandson boasts that she adds vanilla ice cream to "sweeten the deal". (We've yet to be treated to these wondrous treats, but we think once this bio is read, we might encounter some.) A self-employed, top notch Grammy, this lady is always here to lend a helping hand wherever it is needed. You are sure to be greeted with a hug and a smile whenever an Edith encounter is near, and you'll always be better for it! We are so thankful that this stunner is our amazing treasurer!
I was first introduced to WCS at the Avenue Ballroom in San Francisco. I was going there to dance the jitterbug, but I went on the wrong night and saw people doing this amazing dance that was definitely not the jitterbug. I was mesmerized. A gracious and courageous follower dragged me to the floor and bravely danced with me. But I had no idea what to do. For me, it was a long dance and it was likely even a longer dance for that intrepid follower. But I was hooked. I gave up the jitterbug and began dancing the WCS. And I've been dancing it ever since.
I'm from New Zealand, which is where I started learning West Coast Swing after initially being dragged along by my now-husband. I first moved to the Bay Area 3 years ago and currently live in San Francisco. My favourite style of music tends to be whatever I'm dancing to- I love the variety that West Coast Swing offers. As well as the Next Gen monthly dances, I also regularly attend Mission City Swing in San Francisco and Do Your Own Swing in San Jose.
Meredith Jones - Independent Director
I'm a Lindy Hopper turned West Coast swing dancer, SoCal Native turned Bay Area local, and Dietitian turned Software Engineer. I started Lindy hopping in SoCal in 1999, inspired by both the 90's swing revival and a desire to do something social despite being a total introvert. I jumped into the ballroom dance scene in college, getting a feel for American smooth and rhythm dances, as well as International standard dances. After college I found West Coast Swing, and have been dancing it (almost) exclusively ever since, with a little country 2-step on the side! When I'm not working or dancing, I love to do active and outdoor activities, like running, hiking, cycling, and climbing. I'm still a total introvert, but if you see me out dancing, I'd love to meet you!
Johnny Lee - Independent Director
Originally from San Luis Obispo, Johnny Lee is our resident wake-boarding expert. On any remotely warm California day, you can find him totally shredding some gnarly waves dude, probably while also managing your investment portfolio, teaching you how to ski and snowboard, or founding another awesome dance troupe. Did we mention that he also heads up Swing California? Yup. This guy, and his perfectly chiseled facial features are always seen having fun, being an active outdoors-man, and cutting some major rug on the dance floor. A Lindy Hop to West Coast Swing convert, Johnny enjoys smooth Jazz like Kenny G, smooth dancing like Maxie Dorf, and smooth powder underneath his board. Just kidding. . . he doesn't like Kenny G.
The Next Generation Swing Dance Club's Board of Directors is a group of volunteer Club members that manages a real corporation. That's right. This isn't just a little local dance club. TNGSDC is a 501(c)(3) non-profit corporation, subject to Articles of Incorporation filed with the California Secretary of State, the club's Bylaws, and the laws of the State of California. As such, these documents and laws, along with the corporate Policies & Procedures, are the governing foundation of TNGSDC.
The Board makes decisions, determines goals, oversees financial matters, oversees club operations and member & swing dance community communications, evaluates the performance of the corporation, and fosters the philosophy, purpose, and vision of the Club. The Board is responsible for corporate budgeting, expending funds, and entering into contracts.
Sitting on TNGSDC Board is an excellent way to learn about what it takes to manage a corporation -- but even better, it is a great way to get to know your fellow dancers. The Founders Committee, which is comprised of people experienced in running TNGSDC, serve in an advisory capacity and are always available to assist and advise, if requested. Also, a great way to start on the Board is as an Independent Director, which is often an "entry" position to learn about how to manage the club.
The Board of Directors are all volunteer Club members, nominated and elected by the club membership. A new Board is elected each year and the process begins with nominations submitted by Club members in February and at the March Club Dance. The election takes place in March, and culminates at April Club Dance when the incoming Board of Directors is introduced.


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subset: commoncrawl


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Every business and people have lots of activities on Internet. We have focused on marketing data collecting, extracting, and analylie, and provide softwares for more companies.
From begining, we have get lots of people help. With crowded and hybrid sources, such as affiliates, operators, networks, apps, forums, ...etc, our technology become more efficient.
From useless data, dirty records, no-structure text, we have built a strong engine to process such millions of billions of data.
Scratch from small idea, with feedback and helps from a lot of peple!
Our softwares have gained reputations of many KOLs. We have been working har on more features for our customers.
Successfully upgrade from a side project into an official project, with support of seed fund from friends and investors.


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Recovering Failed SIBus Transactions in WebSphere Application Server
GeetaNadella 310001N3AC Visits (13748)
If you are a WebSphere Service Integration Bus (SIB) user, at some point you might have come across WTRN0005W / CWSIT0008E / CWSIT0019E / CWSIT0103E / CWSIT0009W errors, especially after making some configuration changes on the SIB server (which is the server hosting the messaging engine). Ever wondered how to fix these errors without opening a Problem Record (PMR) or Service Request (SR) with IBM? In this blog entry I will be providing step by step instructions that would help you fix the WTRN0005W / CWSIT0008E / CWSIT0019E / CWSIT0103E /... [More]


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Career Opportunity: Accounting ClerkSeptember 16, 2019
Apply Now: ACCOUNTING CLERK
Haida Gwaii BC
Taan Forest Limited Partnership (Taan), a subsidiary of Haida Enterprises Corporation (HaiCo) requires a highly organized individual with strong accounting and interpersonal skills to be part of the Taan Forest Team in Skidegate.
The Accounting Clerk has responsibility for Accounts Payable, data entry, reconciliation and filing. As a member of Taan's Administrative team this position supports the operation through providing timely reports, and accurate accounting services as needed and assigned. The Accounting Clerk liaises with other parts of the Finance team, to secure necessary information for Taan's Administrative team. The Accounting Clerk supervises the Reception position.
Working knowledge of good accounting practices;
- Excellent administrative and organization skills, strong capacity for detail and accuracy
- Effective communication skills
- Good interpersonal skills necessary for customer, vendor and team relations
- Intermediate knowledge of MS Dynamic GL and accounting procedures.
- A certificate or diploma in accounting or an equivalent combination of training, education and/or experience is required.
- Experience in the logging industry is an asset
- At least five years administrative experience.
If you are interested in this career opportunity, please send a resume and cover letter to firstname.lastname@example.com with the heading "Taan Accounting Clerk". Application Deadline: September 30, 2019 at 4:00pm
Preference in hiring will be given to qualified Haida citizens. We thank all candidates for their interest however only those selected for an interview will be contacted.
DEADLINE FOR APPLICATIONS: September 30, 2019


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DY2 8NZ, King Street, Dudley, DY2, Dudley
Listed 15 days ago and may not be available
Listed on 02/11/2017
King Street
Rent an awesome 1 bed Penthouse Apartment with open-plan lounge, stunning fitted kitchen and stylish bathroom - £290 per week.
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Looking for working people only. No smoking inside the property and no pets. Get in touch for more info you won't be disappointed!
1 bedroom penthouse apartment, open-plan lounge, stunning fitted kitchen and stylish bathroom. All bills included except electricity and wifi.


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Browsing by Keywords "Concerto"
Now showing items 1-1 of 1
About the artistic and performing features of violin works of Gara Garayev (Bilkent University, 2019-06)Garayev's unique talents of music opened a new page in Azerbaijan's music of 20th century. He adapted an untypical way of making music in which he was able to combine the traditional and the modern type. There are several ...


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Craft Materials
Our craft materials include a whole range of products for your creative craft projects! We have adhesives to stick every kind of surface you can imagine, fabric paints and pens to decorate your makes, pom-poms, pipe cleaners, sequins and so many different types of decorative items to bring any project to life! We also stock a fantastic range of studs that are great for adding an edgy look to your clothes and accessories!
10 Sizes
Polystyrene Shapes Hexagon Ball
£0.29 £0.10More Info
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Thanks Bunnings for our Vegetable patch!
On 8th February 2019, Oroua Downs was blessed with many awesome hands that transformed out over grown vegetables patch into a magical place that will inspire our green thumbs! We are so very lucky and so incredibly grateful!!!
A huge thanks to Bunnings for donating their time and resources to make this happen.


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For roughly the first ten years that I was aware of, interested in, and collecting Aboriginal art, I survived on a steady diet of the Central Desert painters. The color, the abstract quality of the imagery, the energy all appealed to a taste in art that was bred by New York painting in the 60s and 70s. When I began to appreciate another school of work, it was to the Kimberley I turned, first to Balgo, and then on to Turkey Creek and the works of the Warmun painters.
All that changed for me when, on a trip back to Australia in 2001, I came across the catalog from the Adelaide Biennial of the previous year, Beyond the Pale. The Biennial was curated by Brenda L. Croft with the backing of then director of the Art Gallery of South Australia, Ron Radford. Of course, I had seen bark paintings before, and Yvonne Koolmatrie's majestic woven works, and art created by people of Aboriginal descent who had grown up in Perth or who worked with cameras and chemicals. But I hadn't paid it much attention until I discovered the catalog (too late to see the show itself).
Writing in Artlink magazine, John Kean offered this description of the show.
Making exhibitions is all about creating a series of dramatic spatial experiences. In Beyond the Pale, Brenda L. Croft did this with resolute purpose in a carefully staged sequence of rooms, each with a clearly conceived idea and mood and each which prepared the ground for the next experience. She has assembled some of the sharpest works currently being created by Indigenous artists in Australia. While she lets those works speak for themselves, she also weaves them together as a cumulative expression of connection, dispossession, recollection and resistance (Artlink 20, no. 1, p. 68).
Putting aside the political implications for a moment, the show certainly did create startling connections. The photographs of Darren Siwes and Michael Riley were both soaked in colors that verged on the monochromatic; they both invoked Christianity in an Aboriginal context; they both were iconographically mysterious, suggesting multiple interpretations but disallowing any single explanation. Weavings by Lennah Newson and Joyce Winslett both evoked traditional cultural practices, but Newson's basketry contrasted starkly with Winslett's "Baby" in its sculptured coolamon. Connections were highlighted by the inclusion of pairs of husband and wife (Long Tom Tjapanangka and Mitjili Napurrula), father and son (Jimmy Njiminjuma and Abraham Mongkorrerre), and brother and sister (Clinton Nain and Destiny Deacon) as well as mentor and protege (Kitty Kantilla and Pedro Wonaemirri).
Fast forward seven years: Radford is now at the National Gallery of Australia, as is Brenda Croft, who has curated the inaugural National Indigenous Art Triennial, Culture Warriors, in Canberra. The show opened on October 12, and runs through February 10. It will travel to Adelaide, Perth, and Brisbane. And miracle of miracles, the NGA has signed a deal with the Corcoran Gallery to bring the show to Washington DC in 2009, according to a report in the Sydney Morning Herald ("Mr. Yalandja's traditional sculptures go to Washington"). So I may have to wait a while to experience the exhibition in person, but in the meantime the sumptuous catalog affords a first look.
In addition to the catalog, Croft and the NGA have continued the excellent tradition begun with the Michael Riley retrospective by building a website for the exhibition that may be the next best thing to being there. This time, in addition to reproducing 143 works by the thirty artists selected for inclusion in the Triennial, they have supplemented the visual experience by including an online "audio tour " consisting of 90 second commentaries on thirty works (one for each artist).
While it may just be a matter of Croft's particular style of curating, I sense that there is a considered effort on her part to reach across the years and make connections between the 2000 Adelaide show (the first of its biennials to be devoted entirely to Indigenous art) and Culture Warriors.
First of all, there are the political echoes. In 2000, Australia was awaiting the arrival of the Olympic hordes, to whom they offered a proud display of Aboriginal heritage, not only at the ceremonies in Sydney, but via exhibitions like Beyond the Pale and the AGNSW's Papunya Tula: Genesis and Genius. In 2007, the fortieth anniversary of the referendum that was the most important symbolic recognition of a spirit of inclusiveness for Indigenous Australians in the country's history likewise drew international attention.
Sadly, the anniversary was marked more by a tone of disappointed hopes than one of celebration, and many of the works selected for this exhibition seem to echo dispossession even when they remind the spectator of connections. Ricky Maynard's bleak black-and-white portraits of his Tasmanian homeland are filled with loneliness, while Christopher Pease's appropriations of nineteenth-century lithographs document the beginnings of European dominance even as they portray Indigenous occupation of the country. Vernon Ah Kee's text panels ("Strange Fruit," "Hang Ten") elicit the failures of the reforms promised by the inquiry into Aboriginal deaths in custody while Judy Watson, Richard Bell, and Gordon Hookey all make explicit reference to the death of Mulrunji Doomadgee on Palm Island in 2004.
Although Croft has selected only four artists for inclusion this time who were also represented in Beyond the Pale (along with Watson and Hookey, Destiny Deacon and Julie Dowling), she has made other choices that demonstrate the continuities she sees among styles and concerns across time. Elaine Russell's naive landscapes of river life, especially "Catching Yabbies" recall Adelaide's inclusion of Ian Abdulla. Treanha Hamm's woven "Yabbie" echoes not only Russell's stories, but the sculptural forms of Yvonne Koolmatrie. Like Koolmatrie, Hamm is concerned with resurrecting endangered (if not extinguished) techniques, and her possum skin cloaks are modern realizations of a long-dormant traditional expertise; like Koolmatrie she attempts not simply reconstructions, but renewals of these forms in ways her ancestors never imagined.
Similarly, Arthur Pambegan's massive Flying Fox sculptures, born out of Wik ceremonial dances, recall Ken Thaiday's equally massive if stylistically quite different Torres Strait Islander dance headdresses from 2000. Family connections extend from one show to the other as well, with John Mawurndjul taking up the baton from his elder brother Njiminjuma.
In a different way, the sensibility of the two shows is evident in an absence. Perhaps I found Beyond the Pale to be such a revelation because there was little of the desert tradition to steal my attention from less familiar but equally expressive works. Although there is new work in Culture Warriors from the APY lands by Jimmy Baker and Maringka Baker, and Doreen Reid Nakamarra is the sole representative of the desert regions of the Territory, the Kimberley is a blank space of the map of the exhibition, unless one counts Jan Billycan from Bidyadanga. (The catalog actually includes a map indicating the traditional homeland and current residence–critical given the number of urban artists in the show–of each of the thirty representatives.)
And while I'm charting the geographical distribution, I will recall that on reviewing Hetti Perkins' One Sun One Moon: Aboriginal Art in Australia from the AGNSW a couple of months ago, I asked where all the artists from Queensland were, for they surely weren't in Sydney. The answer is now clear: fully a third of the population of Culture Warriorshails from the Sunshine State. In appreciating the talents coming from this part of the Eastern seaboard, Croft shows herself to be at least somewhat in sync with this year's judges at the NATSIAA, despite the frequently discussed differences between the curated sensibility of the Triennial and the free-for-all spirit of the Darwin award show.
But I want to return to my theme of absence for a moment, for there is one place in this show that I feel the loss acutely.
According to the review of the show by Sebastian Smee that appeared in The Australian on November 3 (which in its headline, "Beyond the Frame ," if nowhere else acknowledges a connection to the Adelaide Biennial), the first room of the exhibition in Canberra is given over to what the show's website refers to as "the big guns": Jean Baptiste Apuatimi, Philip Gudthaykudthay, John Mawurndjul, Lofty Bardayal Nadjamarrek, and Arthur Koo'ekka Pambegan, Jnr. These artists are clearly meant to represent the great "traditional" centers of Indigenous art production and the elder masters of Aboriginal painting and sculpture, the link between ceremonial visual traditions and the modern marketplace.
It is in this selection (and what review of a biennial or triennial doesn't contain at least one complaint about the selection of artists?) that I fault the absence of the Desert tradition. Three of the five "big guns" represent Arnhem Land, and while no one can argue that Mawurndjul is a premier exponent of Central Arnhem Land painting and the most celebrated Aboriginal artist in the world right now, he is of a different generation than the other four. Surely Makinti Napanangka, Paddy Japaljarri Sims, or Eubena Nampitjin would belong comfortably in this group and give the Desert its due. I appreciate the exposure to lesser-known artists (given my personal epiphanies as a result of Beyond the Pale I could not feel otherwise), but in a show which is meant to remind us of 1967, some nod should be given to the communities that revolutionized Aboriginal participation in the broader streams of Australian culture.
Perhaps it was a matter of scale, as most of the selected works by these senior artists exceed five feet in at least one dimension, and the senior Desert artists I've mentioned rarely make works of that size these days. (All the works in the show date from 2004 onwards.) I hope that is not the case, although there certainly seems to be a growing tendency for "museum quality" to equate to "extremely large" in the market of late, and the Sydney Morning Herald story noted that the NGA acquired three-quarters of the work from the exhibition for their permanent collection.
And how does this grandeur and the selection of artists play out in the political themes that the exhibition's title announce? I have to say I'm a bit lost here as well. In her introductory catalog essay, Croft makes the point that the show celebrates the 40th anniversary of the 1967 referendum, and also takes up the theme of the "history wars" that have been fought in academic circles since the late 90s and which were in turn engendered, or at least encouraged, by the "culture wars" in the United States.
The connection seems too tenuous to me to support the weight it is meant to bear. The American culture wars also grew out of social turmoil in the 60s, and the inevitable, media-manipulated backlash against the vocal demands for a fair go for racial minorities, women, gays and lesbians, and the various immigrant populations that have repeatedly been absorbed into the American melting pot. The Australian history wars are far more narrowly focused on representations of events on the historical frontiers and the debate over both the accuracy and the intentions of settler's accounts.
The 1967 referendum, as Murray Goot and Tim Rowse have recently argued in Divided Nation?: indigenous affairs and the imagined public (Melbourne University Press, 2007), was an altogether vaguer affair in the minds of most Australians, concerned more with a sense of the fair go than with any real political agenda. And what to make of the assertion that 21 of the 30 artists included here were not citizens until 1967? In the first place, it is not true: Aboriginal people became Australian citizens in 1948 along with everyone else in the country (all of whom had until that moment been British subjects); the referendum rather allowed the Commonwealth to make uniform laws affecting its indigenous citizens, and to count those of Aboriginal descent in the census. In any case, it seems hard to relate this perception to much of the art on view here or to distinguish one group from the other except by dates of birth.
I wish that Croft had used her essay to investigate these political and cultural concerns from a broader perspective. Instead, after a few paragraphs, she turns her attention to a series of brief profiles of the artists at hand, illustrating how each of them expresses their particular slice of Indigenous culture. Given that each artist is the subject of a brief essay that accompanies the illustrations of their work in the catalog, this effort seems somewhat redundant.
Admittedly, the focus of most of the individual essays is appropriately on the art works themselves. The result, then, is to separate the cultural critique from the artistic, often by dozens of pages, and although there are cross-references from the opening essay to those later pages, the need to flip back and forth dulls the reader's ability to comprehend the connections between the two. If Croft had chosen to integrate her cultural observations with the other material devoted to the individual artists and taken her curatorial prerogative as an opportunity to address the "cumulative expression of connection, dispossession, recollection and resistance" that Kean noted as the endpoint of Beyond the Pale, her mission might have been better served. (Incidentally, the general device of an introductory curatorial essay followed by dedicated short analyses of the artists and their work by a variety of scholars and members of the artistic community is another way in which Culture Warriors resonates with the earlier exhibition catalog.)
The catalog for Culture Warriors contains the broad range of documentation and supporting information about the art and the artists that has become the hallmark of these major publications of late. There are artist biographies, contributor notes, a glossary, chronology, and map, along with two bibliographies or recommendations for "further reading." One of these is devoted to general works, important exhibition catalogs, and historical and anthropological texts; the other provides source materials on the individual artists in the exhibition.
Here, too, though there is a maddening fragmentation of information. The section on each artist opens with facing pages. On the left a large, striking portrait of the artist is surrounded by, on average, half a dozen small photographs that range from candid shots to group portraits posed at exhibitions, or family photographs that provide connections to generations past. The page to the right affords each artist the chance to make a brief, personal statement. Infelicitously, the captions for the photographs do not appear until the third page of each section. There they appear in tiny print crushed into the gutter of the page, with information about the subject and date of the images and the photo credits run together into a single long paragraph peppered with semi-colons.
The third page contains the critical essay on the artist. In the case of the "big guns," there are two or three contributions for each, resulting in a longer, fuller profile. The remainder of each section is given over to stunning full-page illustrations of selected works. But here again, frustration sets in. Only the title of the work and the date of its composition are provided with the illustration, at the bottom of each page, again in tiny print. In order to find information on dimensions or medium and ownership of the work, the reader must once more flip pages to find the checklist at the back of the catalog.
For the reader who is wiling to work at synthesizing all of this, the website devoted to the exhibition offers even more treasures. There are illustrations of 143 works to be found there, more than could be included in the monograph. These images can be sorted by "work date" or by medium, although the default order by date is not apparent. For example, several works from the same series by Christian Thompson interspersed with paintings by Elaine Russell, Judy Watson, and Lofty Bardayal.
Another page provides a list of all the participating artists. Clicking on any name allows you to see thumbnails of all the works by that artist alongside the artist's statement. Each thumbnail gives access to a larger image, which can be further enlarged, or sometimes in the case of three-dimensional works, to a different view of object. Another link from list of artists takes you to the audio tour that highlights a single work by each of the thirty participants (thoughtfully offered at both dial-up and broadband speeds).
Other pages on the website provide photographs and speeches from the Triennial's launch back in April 2007–the launch being the announcement of the Triennial's inception and not to be confused with the opening of the first instance of the Triennial a month ago. The artists' biographies are also available. A search page provides access to information by "artist first and last names, titles and title descriptions, place made, provenance, catalogue raisonné, medium, technique, date, accession number and internal record number."
I am almost done with my carping, although before I let everyone off the hook, what is going on with the cover illustration for this catalog? Is there some irony that I am missing in "culture warriors" being represented by a faceless individual–the back of John Harding's head? Harding is Destiny Deacon's brother, and the cover is cropped from one of her photos in the exhibition. And while we're at it, where is Destiny's other brother, Clinton Nain, whose political high-jinks and devastating bitumen canvases have made him a cultural warrior of the first degree over the last fifteen years? Nain's work in Beyond the Pale certainly evoked the American culture wars better than anything in Culture Warriors, and his recent series of targets, nooses, and reflections on deaths in custody are spot on in the realm of the history wars, too.
Complaints aside, the Triennial, this exhibition, its catalog, and its website are a most welcome addition to the history of Indigenous art and to the astonishing run of exhibitions that have graced the first years of this new century. Croft intends to turn over the mounting of future triennials to rising Indigenous curators, an act in itself that nourishes the growth and transmission of Aboriginal culture and its interaction with mainstream Australia. By the time this first Triennial returns from its international tour, we will all be eagerly anticipating the opening of the next installment.
Postscript: In his review of Culture Warriors (cited above), Sebastian Smee opens with a long digression on another exhibition in Canberra which visualizes the Aboriginal imprint on the continent, and its residue in the wake of encroaching colonizers. Cage of Ghosts: photographs by Jon Rhodes at the National Library of Australia explores the Indigenous landscape as it has been literally captured and confined by "combinations of boardwalks, railings, cages, gates and grilles; large wooden constructions, fences, chains and posts; steel viewing platforms, mesh, pespex, signs, bars and locks" designed to protect these remnants from vandals and casual destruction. For now, the NLA's website offers a glimpse of Rhodes's evocative photographs. A book based on the exhibition is scheduled for publication in 2008. Rhodes's previous work, Whichaway? Photographs from Kiwirrkura 1974-1996, is a classic study of life in the Western Desert, widely available in Australian libraries.


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It's strange – when I look in the mirror, I see a person who is perfectly fine. Aside from a few acne scars that I'm trying to patch up, and gray roots that I'm trying to cover up, I look like a healthy, functioning person. My fingers work properly, my joints aren't creaking, I can squat without hurting my back, I can twist this way and that without breaking a bone, and I can run like normal.
And yet, there are hidden things that the eyes cannot see. I was recently asked by DEXA Scan to take their test and write about my experience on this here blog. I was a little hesitant at first, considering Rose Gold Rhyme is a lifestyle blog, but the more I read about what the DEXA Scan was, the more I thought it fitting to take it.
Basically, a DEXA scan is a very simple scan taken at an imaging lab. There are several in the Dallas area that offers it, so I didn't have to very far for one. The whole procedure takes less than fifteen minutes. I was asked to lie down on the hospital bed while a scanning device hovered over me and scanned my bones. From this, you are able to see your bone density.
The results from my test was quite shocking to me. As perfectly as I seem on the outside, I was apparently losing bone density by quite a bit. In fact, I was in the "warning" range for being labeled as someone with osteoperosis – which literally means porous bones. I don't want to be hunched over when I'm in my fifties, and I certainly don't want such brittle bones that one small fall on the carpet requires a hip replacement.
In short, I wasn't eating right and I wasn't receiving enough nutrients to keep my bones from being as healthy as it could be. I always knew that my diet wasn't the fullest, but after seeing the test results and realizing that I'm only 28, yet on my way towards aging bones, scared me. I remember back when I was younger, my diet was piss-poor. Full of Coca-Cola, instant noodles, chips, all that good preservative junk. That day after the test, I swore to change my diet permanently.
Since then, I've been better about it. It's only been a couple of weeks since the DEXA scan, but I've made a point to eat more green vegetables, eggs, and fish, and I've nearly cut out instant food altogether. You know, the ones with the ridiculous amounts of sodium like those Top Ramen or those microwave dinners.
It'll be a slow climb to get my bones back to the state that I want them to, but I'm so glad to have gotten the opportunity to take the test now before it's too late, and it ends up taking years and years to recover from.
*I was gifted a DEXA Scan for this article.


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Message to the Future
Better Living Through Chemistry
First Billboard
2084 Billboard
Vanishing Gold
Feathers Billboard
The Last Billboard
Moon Tracks
The Wasteland
Twin Towers
In my art I try to balance the tension between beauty and environmental destruction in portraying the changes in our world. We live in exciting, precarious times. Today the most dramatic changes are experienced instantly …. there is world wide information available to all through the internet, cell phones and Facebook. With it comes an obsession for freedom, even for revolution.
Since the sixties I have painted many aspects of nature, the dark volcanic islands of the Galapagos, the fierce beauty of the Grand Canyon, the incredible vanishing animals of Africa as well as the degradation of the wilderness of America. The more I traveled, the more I witnessed these changes worldwide. My response was to paint a Billboard Series and the Industrial Park Series using silver paint, iridescent pigments, and dimensional collage materials that parallel the actual detritus of today's toxic environment.
In true George Orwellian doublespeak, industry calls its sites "parks," its clear cutting, "making open space," its killing, "harvesting," and of course denies global warming. Today, with the population reaching 7 billion, and the need for the necessities of life, such as food, water, and education, environmental awareness and active conservation are crucial to the health of the world.
The Storm
My first New York City exhibit in 1969 was called "Elegy to Nature". Since then I have been painting and drawing the many diverse aspects of the landscape — fascinated by our love, yet exploitation of nature.
I grew up in Western PA, attended Carnegie Mellon University and after graduation came to New York City to live, paint, and earn my Master's Degree at NYU which enabled me to teach art at Pace University and Pratt Art School.
My most recent work is a series of iridescent paintings called Industrial Park, dealing with pollution, the extinction of plants, animals and global disasters. These works use oil paint with iridescent pigments to simulate the look of broken glass, mine tailings and rainbow like oil spills. In 1980, after a serious car accident and a long recovery, a sense of the fragility of life tinged my work.
During the seventies I had four one woman shows in New York City, received a C.A.P.S. NY state graphics award, proposed and worked on 2 Heresies issues and wrote an article on ECOTAGE. Trips to the Galapagos Islands, Africa, the Grand Canyon and other travels stimulated my series of Billboard paintings depicting the hotspots of the world.
Grants from The Pollack-Krasner Foundation (2008), The Vogelstein and The Puffin Foundation enabled me to publish two catalogs and exhibit my Mythmaker series of 20 drawings at the National Museum of Women in the Arts in Wash DC 2004-05. My work is in the permanent collections of many museums: the National Academy of Sciences in Washington D.C., the Telfair, the Guild Hall, the Fogg Art Museum, the Hunterdon, the Islip Museum, the Long Island Museum and the Heckscher Museum.
In March of 2008 I exhibited my political and ecological works at the National Museum, called Museo de los Ninos in San José, Costa Rica. This exhibit included works on 9/11 which became part of the museums permanent collection.
In September 2010, I was given a solo show of my Industrial Park works at the Islip Museum, New York called Future Tense. In April, 2011, I had a one-person exhibit called Vital Signs, on the endangered environment at the South Street Gallery in Greenport, NY.
My work, being of a political and environmental nature has required me to look for non-commercial spaces for exhibition and appreciation.
To view more of Janets's work, please go to: Janet Culbertson
2012 "Possible Peril" Accola /Griefin Gallery, Chelsea, NY
2011 "Vital Signs," South St. Gallery " Landscape Today," 2010, "Future Tense." Islip Museum, NY
2008 Galeria-National de San Jose, Costa Rica, "The Sacred Earth";
Floyd Memorial Library, Greenport, NY, "Billboards"
2006 Seton Hill Univ. Greensburg, PA "Tomorrows Landscape"
2004-05 The National Museum of Women in the Arts, Wash. DC,
"Mythmaker" series 20 Eco-feminist drawings from 1974
MD Hall of Creative Arts, Annapolis, MD,
"Smart growth?" Ill. Central College, East Peoria, "Tomorrow's Landscape"
2003 Cambridge Multicultural Arts Ctr., MA "Today's Landscape" &
Nassau county Museum at Hewett Library, Envirnmental works.
2002 University of Nebraska, Omaha — "Earth First"
2001 Friends Academy, Locust Valley, NY (three artists)
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Spinach is one of the most popular green leafy vegetable in the world as it is a rich source of vitamins, minerals, and phytonutrients. Because of its wide range of benefits it is advised to consume spinach on a regular basis.
Spinach is also a very versatile vegetable. It can be eaten raw as part of salads, or it can be sauted or cooked. It also can be added to any soups, stews or you can mix a handful of it in your morning smoothie. Also, spinach is very low in calories and has zero fat.
Regular consumption of spinach can provide you lots of nutritional benefits. Here are 7 top benefits of eating spinach on a regular basis.
Nutritional Benefits
1. Rich source of Iron
Spinach is one of the richest source of Iron among the vegetables. Iron is a mineral that serves several important functions, its main being to carry oxygen throughout your body and making red blood cells.
It's an essential nutrient, meaning you must get it from food. The recommended daily intake (RDI) is 18 mg. A deficiency can occur if your intake is too low to replace the amount you lose every day. Low iron levels may result in a lack of focus, increased irritability, and reduced stamina. Low iron is also known to cause hair fall in most people.
100 grams of cooked spinach contain 3.6 mg of iron, or 20% of the RDI. Since spinach is also rich in vitamin C, it boosts the iron absorption significantly
2. Improves Eye sight
Spinach contains two essential chemicals, Lutein
Spinach is also a rich source of beta-carotene and vitamin A is responsible for keeping the
3. Improve cholesterol levels
Dark leafy greens, such as spinach and kale, contain lutein and other carotenoids, which are linked to a lower risk of heart
Spinach may also help lower cholesterol levels by binding to bile acids and making your body excrete more cholesterol.
4. Improve Bone Mass & Prevent Osteoporosis
Spinach contains a high value of Manganese which helps with your bone health. Manganese, in combination with other minerals, including Calcium, Zinc & Copper, can help reduce bone loss, especially in older women who are more susceptible to bone fractures and weak bones
According to studies, taking manganese along with other bone-supporting nutrients like calcium, Vitamin D, magnesium (which is also found in a great amount in spinach) , zinc, copper can improve bone mass in women with weak bones, which is useful to naturally treat osteoporosis
5. Rich source of magnesium
Magnesium is necessary for numerous biochemical reactions in your body, some of it being energy creation, protein formation, muscle movements and nervous system regulation. Magnesium is also known in maintaining the mood levels and helps prevent depression.
1 cup of spinach will contributes to 37% of your daily intake of magnesium.
6. High levels of Folate
Folate, also known as Vitamin B9 is necessary for health and optimal functioning of your body. Spinach has high levels of folate present in it, with 1 cup of spinach providing you 66% of your daily recommended intake of folate
Folate reduces
Folate is especially very important during pregnancy. During early pregnancy
7. Reduce Premenstrual symptoms (PMS)
Spinach has a high level of magnesium in it, with each cup providing about 37% of your daily recommended intake. Having a diet rich with magnesium, combined with vitamin B6, may help relieve symptoms of premenstrual syndrome, such as bloating, insomnia , leg swelling and weight gain.
Selecting, storing and consuming
The fresher the spinach the better, because spinach starts losing its nutritional benefits within a few days after it has been harvested. Avoid spinach with excessive moisture. Always choose dark green leaves and stay away from leaves that are brown, yellow, or wilted.
Do not wash the spinach before you store it. Try not to purchase more than you will eat within three to five days. If you wait longer to eat the spinach than that, it may taste bitter and the nutritional value and health benefits can diminish.
Spinach has a high content of oxalic acid, which makes it hard to digest. Hence the best way to make its nutrients more digestible is by slightly sautéing it or steaming it. This reduces the oxalate content in spinach. However boiling it too much can reduce the nutrients.
Vitamin C is already present in a good amount in Spinach. But you can add in some additional ingredient with vitamin C to better help absorb the benefits of spinach. Calcium however can slow down iron absorption, so try to avoid having Calcium with a spinach meal.
Check out our spinach rich recipes here


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FIA2018: Astral in drones drive with Dubai deal
Kenya's cargo airline Astral Aviation signed a deal at the Farnborough Airshow today with Dubai-based Falcon Drones Technology for two Lucas-F250 drones with an option to purchase an additional 10 in 2019.
Astral will become the exclusive operator of the Lucas F-250 drone in Kenya.
Sanjeev Gadhia, CEO of Astral Aviation said: "The Falcon Drones technology is truly ground breaking. At Astral, we are delighted to have secured this order with exclusivity in Kenya. It brings with it the exciting prospect of further expansion in the wider East Africa region."
This latest drone offers a range extending 1500km, with endurance of up to 10 hours, a cruise speed of 150km per hour and maximum speed of 200km per hour. It also benefits from a cargo payload of up to 250 kilograms, capacity for EURO pallet dimensions, folding wings, a folding tail, fully autonomous takeoff and landing and Waypoint Navigation and landing.
Sanjeev Gadhia and Kamel Alzaka announce the drone deal at Farnborough


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Children with Autism By Kristi Sakai Christian parents pray for the safety and health of their children, but for many parents of children with autism, it may seem as their prayer was unanswered. They may often feel overwhelmed by the spiritual, emotional, physical, and financial, needs of their child and family. Church families frequently want to help, but they do not know how. Autism is not caused by faulty parenting! The odds of a child being diagnosed with autism are 1 in 166. Autism is a neurological disorder that ranges on a continuum of "classic autism," in which children may even be non-verbal and more severely affected, to Asperger Syndrome, or "high functioning autism." The latter is misleading as even "high functioning" children are also significantly impaired. Autism is called the invisible disability because although no one doubts that a child in a wheelchair has a "real" disability, at first glance most children who have autism may not appear different from the outside. What you may only "see" is the unusual behavior, which frequently is misunderstood as being naughty, willful, or the result of bad parenting. These kids usually have hypersensitive sensory systems and are easily overstimulated in crowded and loud settings, particu- larly in public places like church. They may need to wear certain kinds of clothing or eat a limited diet. They also struggle with issues surrounding unexpected changes, such as adjusting to a different Sabbath school teacher or an unexpected change in their daily schedule. The reaction may be total overload. They may appear to be spoiled children throwing a tantrum to get their way but is, in fact, experiencing a sort of neurological firestorm, which they are unable to regulate. This, along with being impaired in the ability to read facial expression, body language, or understand not only others' emotions but their own, has a huge impact on their social development. Church may be the one place where they can feel accepted and understood. What can the church do for the families of these children? Be an example of Christ-like compassion and accept them as they are. Autism is not caused by faulty parenting. God created these children, just as He created yours. Parents are doing the best they can under extremely difficult circumstances. Provide a structured Sabbath school and nursery with knowledgeable adults. Allow for flexibility and awareness that parents may either be reluctant to leave their child for fear they will have a behavior problem or, conversely, are desperate to get a rare break. Negotiate ahead of time if and when the parent will be called if there is a problem. God created these children, just as He created yours. In general, most of these kids respond best to: Small groups with extra adult support. A consistent routine with a picture schedule to tell them what will happen next. As much notice as possible when there is going to be an unexpected change. Transition time: I refer to this in my book as "countdown": "Class will be over in ten minutes" and so on. This allows the child to prepare himself for the change. Create a plan for meltdowns. It is in almost every case best to remove the audience (class) rather than the child because of safety concerns for all involved. Less is more. Stay back and wait it out, and limit verbal engagement if it is escalating the behavior. If you must speak, be calm and use few words. This is one of the most painful things for both parents and teachers because we want to either comfort or chastise the child, but this is not a teachable/reachable moment. On the other hand, if the child asks you to hold him, he knows what he needs to calm and you can help him in this way. I recommend the DVD "Difficult Moments" by Dr. Brenda Myles, which thoroughly, but concisely, explains how to help prevent meltdowns and what to do when they occur. Education is key! Many parents are just as puzzled by their child's behavior as the rest of the world, but you can help them find resources. Provide funding if they cannot afford to attend a local autism conference, invite someone to speak to your church, or purchase books about autism and other disabilities for your church library. May God bless you, and thank you for caring about families such as ours. ................. Kristi Sakai lives on a farm in Oregon with her three children and husband, all of whom have Asperger Syndrome. After her oldest child was diagnosed, she embarked on an intense journey of seeking out interventions only to discover they mostly applied to clinical and school settings. She set about to "translate" these research-based strategies for home and family, which eventually led to her writing "Finding Our Way: Creating a Supportive Home and Community for the Asperger Syndrome Family," which received the Autism Society of America's 2006 Literary Work of the Year in the Family Social category. Kristi is a national presenter, as well as Editor of the Autism Asperger Publishing Company's online newsletter: "AAPC Community of Support for Parents. Professionals and People on the Spectrum." But the greatest passion of her life is being Mom to Tom, Kito, and Kaede, and wife to Nobuo. www.asperger.net May 2007 ACTS Magazine, a publication of the General Council of the Churches of God, 7th Day, Meridian, ID, USA
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Welcome to Five Star Roofing & Restoration
Five Star Roofing & Restoration is your one-stop-shop for all your roofing needs. Whether it's repairs, inspections, maintenance,
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|The Duke and Duchess of Sussex farewelled Australia today. The Duke and Duchess departed Sydney Airport to go to New Zealand. The Duke and Duchess of Sussex travel on the same airplane as a number of the New Zealand Invictus Games competitors, and on arrival, will be met off the plane together by the New Zealand prime minister Prime Minister Jacinda Kate Laurell Ardern. (The Duchess's wore a dark pink midi dress by Hugo Boss. It is called the Eodora dress).
The Duke and Duchess of Sussex bid farewell to Australia
16 comments:
- AnonymousOctober 28, 2018 at 5:09 AM
Meghan should definitely add more shades of red in her wardrobe. She looks great in them too.ReplyDelete
Love the dress! Meghan no longer looks pregnant here!ReplyDelete
Another luscious color! It has been really wonderful to see the DoS becoming more adventurous in this regard. I hope that she will concentrate now on resting up for a while, because this was a long and demanding trip especially for one who is new to it and pregnant besides.ReplyDelete
Meghan really looks great here. She looks very good in deep shades.ReplyDelete
I love this dress! Beautiful. I wish she was more consistent with this kinds of outfits, with Meghan is always hot and cold.ReplyDelete
Perfect colour for MeghanReplyDelete
Wow! This softer, drapey fabric and the jewel tone are extremely flattering on the Duchess. Some of her stiffer dresses don't enhance her morphology like this one does.ReplyDelete
Really love the dress, wish I had it as well.ReplyDelete
Lovely dress in both colour and style. Very nice.ReplyDelete
What a lovely dress! And the colour suits Meghan very well.ReplyDelete
Lovely colour of dress, which suits the Duchess well. Prefer the shoes with this to last night's outfit but still not keen on them.ReplyDelete
- AnonymousOctober 28, 2018 at 7:34 PM
Nice color dress don't care for the shoes.ReplyDelete
She looks phenomenal here. Love the wine colored dress and the pairing of these sexy shoes with the conservative dress. Really flattering.ReplyDelete
Great colour, great shape, great dress at all! Hair also very nice.ReplyDelete
But wth does she think about that shoes?? They just look.. awful...
- AnonymousOctober 29, 2018 at 12:18 PM
Those shoes are so stylish and they fit perfect for her legs. Wow.ReplyDelete
(We will not publish unnamed comments that were posted without stating a name or nickname) - Blogs allow for the posting of public comments. Posted comments must directly relate to the information and or topics of discussion on those blog. Comments that are moderated will be reviewed before posting. Comments that are not moderated will be addressed as soon as possible. We trust the community to ignore personal attacks, negative speech, and respond politely.


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Capital market assumptions Q3 2018
Capital market assumptions Q3 2018
Latest updates to the Invesco Global Solutions team's long-term asset class forecasts
Invesco Global Solutions develops capital market assumptions (CMAs) that provide long-term forecasts for the behaviour of major asset classes globally. The team is dedicated to designing outcome-oriented, multi-asset portfolios that meet the specific goals of investors. The assumptions, which are based on a 10-year investment time horizon, are intended to guide these strategic asset class allocations.
For each selected asset class, we develop assumptions for expected return, standard deviation of return (volatility) and correlation with other asset classes.
In its latest quarterly update, Invesco Global Solutions believes that return expectations for equity have improved in the UK and Eurozone but have reduced in the US. Relative to Q3 2017, return expectations for fixed income are broadly unchanged or improved slightly, except for US municipals and bank loans. As for commodities, return forecasts have risen, driven by rising interest rates on cash and increased inflation expectations.
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Bloomington Step into Preschool
Is your child not yet old enough for 3-year-old preschool?
Step into Preschool is designed for children who turn 3 between September 1, 2020-December 31, 2020.
Children will get a taste of what preschool is like in this class. A licensed teacher will provide opportunities for children to work on social, language and literacy skills through read alouds, conversation and singing with friends and adults other than their caregivers. Playtime in the motor room and gym will all be included throughout the day as well.
This class will meet September-May.
Classes will be offered: 1 day per week on Wednesdays from 1:00 p.m.-3:00 p.m at Southwood Center.
2 days per week on Tuesdays and Thursdays from 9:30 a.m.-11:30 a.m. at Pond Center.
3 days per week on Mondays, Wednesdays and Fridays 1:00 p.m.-3:00 p.m. at Pond Center ***This class will have a required Parent Education class every Wednesday. Sibling Care not available.***
Sliding fee scale applies.
You will also be eligible for early preschool registration for the 2021-2022 school year if you enroll in this class now.
Bloomington, MN 55420


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A family of 2D and 3D CAD programs from IBM. CATIA was one of the first CAD programs to provide 3D solid modeling. The program was developed by Dassault Systems, a French aerospace company. CATIA runs on IBM AIX, HP-UX workstations, Windows 2000/XP, SGI IRIX and Sun Solaris platforms.
In CATIA, you can not only create a car, but a factory in which it will be produced, the machining processes required, and even you can simulate ergonomics studies as well, like weather the current layout of a plant will be comfortable for workers to work or not. So you can simulate the whole thing within a virtual reality, including, and of course, rendering. SolidWorks: well, it is purely a product to design machines. But, of course, there are other applications, like aerospace, automobile, consumer products, etc. Much user friendly than the former one, in terms of modeling, editing designs, creating mechanisms, etc.
i-Max infotech, a pioneer in rendering state-of-art IT business solutions, set its foot in the industry in 2013 and since then has been rendering unparalleled services to its valuable clients across the globe. The highly qualified professionals of the firm have a high flying creative vision that is not limited to just beautifying your website. Our company is a perfect blend of high-end solutions including SEO services, MySQL, PHP, ecommerce solutions together with an assortment of database creation, design and management solutions. The professionals of i-Max infotech strive to facilitate unparalleled upshots you are worthy of!


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no. 47240/99
by Hendrik EBBINGE
against the Netherlands
The European Court of Human Rights (First Section), sitting on 14 March 2000 as a Chamber composed of
Mrs E. Palm, President,
Mr J. Casadevall,
Mr Gaukur Jörundsson,
Mr R. Türmen,
Mr C. Bîrsan,
Mrs W. Thomassen,
Mr R. Maruste, judges,
and Mr M. O'Boyle, Section Registrar,
Having regard to the above application introduced on 4 March 1999 and registered on 6 April 1999,
Having deliberated, decides as follows:
The applicants are Dutch national, born in 1951 and at the time of the introduction of the application detained in Leeuwarden. He is represented before the Court by Mr L. de Leon, a lawyer practising in Utrecht.
A. Particular circumstances of the case
The facts of the case, as submitted by the applicant, may be summarised as follows.
On 3 and 4 August 1995, two bags containing parts of a human body were found in a river near Bremen (Germany). Around 22 August 1995, it was found very likely that these remains, in any events the hands found, were those of Mr Harrie Roo. According to the findings of an examination of the remains, the victim had died one to two weeks prior to the finding of the remains.
On 23 August 1995, Ms P. filed a criminal complaint with the police against the applicant for extortion and unlawful deprivation of liberty of her friend Mr Harrie Roo. She claimed that she had given a considerable amount of money to the applicant in exchange for the release of Mr Roo.
On 24 August 1995, a preliminary judicial investigation (gerechtelijk vooronderzoek) against the applicant was opened. On 2 September 1995, the applicant was arrested in his father's home in Amsterdam, where further a suitcase containing an amount of NLG. 71,500 were found. The applicant was taken into custody and interrogated a number of times, during which he remained silent. Following consultations between the police, the public prosecutor and the investigating judge (rechter-commissaris), it was decided to transfer the applicant to detention facilities in Zaandijk in order to interrogate him there with use of the so-called "Zaanse verhoormethode"; a specific interrogation technique.
During the applicant's interrogations in Zaandijk on 1, 2 and 3 November 1995, the "Zaanse verhoormethode" was used. On 2 November 1995, at around 16.45 hours, the applicant communicated with his lawyer. On the same day, at around 22.45 hours, the applicant gave a confessing statement. He was subsequently charged and summoned to appear before the Regional Court (Arrondissementsrechtbank) of Groningen.
By judgment of 2 September 1996, following adversarial proceedings, the Regional Court acquitted the applicant of the charges relating to the killing of Mr Roo, convicted him of extortion and sentenced him to five years' imprisonment. Both the prosecution and the applicant filed an appeal with the Court of Appeal (Gerechtshof) of Leeuwarden.
Hearings before the Court of Appeal were held on 18 and 19 March, 16 April and 12 June 1997.
During its hearing held on 18 March 1997, the Court of Appeal watched videotapes containing a summary of the applicant's interrogations by the police. This summary, or a total duration of about six hours, concerned nearly exclusively parts of the applicant's interrogations of 1 and 2 November 1995. The summary had been made in consultation with the parties.
In the course of the hearing held on 19 March 1997, the Court of Appeal took evidence from the witness Mr B., a warder in the detention centre where the applicant had been held and to whom - prior to the applicant's interrogation in Zaandijk - the applicant had told that he had had a conflict with a man who had owed him money for drug transports, that he had unintentionally shot this man dead and that he had had problems in disposing of the body. Mr B. had not asked the applicant for the name of the victim. Mr B. stated that the applicant had been in Zaandijk for three days and that, after his return from Zaandijk, the applicant had appeared to be different in that he had become more relaxed.
On the same day, the Court of Appeal took evidence from Mr K., also a warder in the detention centre where the applicant had been held and to whom the applicant had said that he was detained for a big case and that he risked a considerable sentence. The applicant had further told him that it had been "him or me", "it was a stout man, 100 kilograms, 2 metres tall" and "I was covered with blood". Mr K. did not recall whether the applicant had told him this before or after his stay in Zaandijk.
Further hearings before the Court of Appeal were held on 16 April and 12 June 1997.
By judgment of 26 June 1997, following adversarial proceedings, the Court of Appeal quashed the judgment of 2 September 1996, convicted the applicant of homicide and extortion and sentenced him to ten years' imprisonment.
As to the applicant's argument that the prosecution should be declared inadmissible in that he had been subjected to the "Zaanse verhoormethode", which - in his opinion - was in violation of Article 3 of the Convention, the principle of nemo tenetur (right of an accused not to be compelled to provide incriminating evidence and thus to contribute to his own conviction) and the prohibition of exerting pressure on suspects as referred to in Article 29 of the Code of Criminal Procedure (Wetboek van Strafvordering), the Court of Appeal considered, with reference to a finding to this effect in the advice of the Criminal Investigation Advice Commission (Recherche Adviescommissie), that the use of the "Zaanse verhoormethode" was not per definition contrary to Article 3 of the Convention or Article 29 of the Code of Criminal Procedure.
Court of Appeal examined the facts found established as to the manner
in which the applicant had been interrogated. It noted, inter alia, that he had been interrogated for lengthy periods
by sometimes more than two persons, that nobody had shouted at the applicant,
that he had been addressed in a soft voice and that only at some moments
voices had been raised. It further found that photographs had been placed
in the applicant's field of vision, showing places, persons and objects
linked in some way to the facts of which the applicant was suspected
(a farmhouse, the victim, Ms P., their daughters, parts (legs) of the
victim's remains, a wrapped trunk (of what later appeared to be a
previously killed prostitute), the applicant's spouse and his daughter,
inside and outside views of the applicant's home (including bedrooms)
and that telephone threats received by the applicant's wife had been
discussed whereas he was repeatedly told that the police would only
be able to protect his family if he would give a statement so that the
police would know against whom they needed to be protected. As to the
applicant's physical condition during the interrogations of 1 and
2 November 1995, the Court of Appeal noted that the applicant had apparently
eaten nothing or little before and during his stay in Zaandijk, but
that he had regularly been offered
a meal and has been allowed to drink coffee and smoke cigarettes. He had further requested and obtained aspirins. At no point in time had the applicant indicated to be physically incapable to proceed with the interrogations. It therefore concluded that it was not established that the applicant was physically incapable to be subjected to interrogation.
As to the admissibility of the prosecution, the Court of Appeal considered that it did concern a both physically and mentally very burdensome and intrusive interrogation, but that it could not be regarded as treatment contrary to Article 3 of the Convention in consequently rejected the argument that, on this basis, the prosecution should be declared inadmissible.
The Court of Appeal further found no violation of the principle of nemo tenetur, as it had not been established that, as a result of the police actions during the interrogations in Zaandijk, such a serious violation of the principles of a fair trial had occurred that the prosecution should be declared inadmissible.
The defence had also argued that, at least on one occasion, the applicant's interrogators in Zaandijk had not allowed him to speak to his lawyer as they wished to finish the interrogation. The observation made on this point by the public prosecutor that the applicant had agreed with this course of action, was refuted by the defence stating that, on that moment, the interrogators were in the process of easing him away from his lawyer by stating that the applicant should not care so much about what others were saying. The Court of Appeal rejected the complaint of the alleged refusal to grant the applicant access to his lawyer as not having been established. It also found that it had not been established that the investigating authorities, by deciding to use the "Zaanse verhoormethode" and the manner in which it had been conducted, had acted intentionally or with gross negligence contrary to the applicant's interests in his right to a fair hearing.
As to the argument under Article 29 of the Code of Criminal Procedure, the Court of Appeal considered that, as a result of the at least particularly strong and misleading suggestion that the applicant's spouse had received threats by telephone in combination with the interrogators' intrusive and lengthy harping - using photographs - on the situation in which the applicant' spouse and in particular his daughter could end up, the acceptable border of the, in itself not unacceptable presentation to an accused of possible consequence of his silence, had been surpassed. It was of the opinion that, therefore and in conjunction with the character and duration of the interrogations of 1 and 2 November 1995, the pressure exerted on the applicant had been increased to such a level that "pressure prohibition" had been violated.
The Court of Appeal did not use the results of the applicant's interrogations of 1 and 2 November 1995 in evidence. It based the applicant's conviction on other evidence, i.e. inter alia police reports on the finding and examination of the victim's remains and the subsequent criminal investigation, statements made by the witnesses B. and K. to the police and the Court of Appeal, statements taken by the police from other witnesses who had had contacts with the applicant either during the period in the course of which the victim was likely to have been killed or at a later point in time, a statement taken by the police from the applicant on 14 September 1995, and statements taken by the police from Ms P., and statements of three other persons to the police in relation to the concealment of amounts of NLG. 125,000 and DEM. 7,430 respectively. The applicant filed an appeal in cassation with the Supreme Court (Hoge Raad).
In its judgment of 20 October 1998 the Supreme Court, after having corrected an apparent textual error in the judgment of the Court of Appeal pointed out by the applicant, rejected the applicant's complaints in cassation.
This judgment, insofar as relevant, reads:
"4.1. The first ground of cassation contains the complaint is that the Court of Appeal has unjustly or on insufficient grounds rejected the argument <of the defence> to the effect that the prosecution should be declared inadmissible. ....
4.2.1. According to the minutes of the hearing on appeal of 12 June 1997, counsel has submitted different grounds which should lead to the inadmissibility of the prosecution, which grounds concern the manner in which the suspect has been interrogated in Zaandijk by the police ...
4.2.2. According to the minutes of the hearing on appeal of 18 March 1997, videotapes made of the police interrogations have for a part been shown and watched there and then. The Court <of Appeal> has selected those parts upon proposal of the Procurator-General and with the consent of the defence. That summary of about six hours, as found by the Court, (almost) exclusively concerns (parts) of the suspect's interrogations on 1 and 2 November 1995.
4.3. According to the minutes of the trial on appeal, the Court <of Appeal> has summarised and rejected the argument <of the defence> as set out on pages 2-15, para. 1, of its judgment.
4.5. The considerations of the Court <of Appeal> referred to in 4.3 have to be understood as follows. On grounds of its findings as to the course of the interrogations, the Court <of Appeal> has held that on a number of points, set out on page 14 of the judgment under the heading "Violation of Article 29 of the Code of Criminal Procedure", unacceptable pressure has been exerted on the suspect as a consequence of which Article 29 para. 1 of the Code of Criminal Procedure has been violated. This finding does not disclose an incorrect conception of the law and is not incomprehensible. On that ground the Court <of Appeal> apparently has held that the statements obtained as a result of the interrogations conducted on 1 and 2 November 1995 cannot be used in evidence as these have been unlawfully obtained; consequently, the Court <of Appeal> have not used these confessions in evidence. ...
4.6. The Court <of Appeal> has further considered that and why the use of the contested interrogation technique and irregularities referred to above found by the Court <of Appeal> should not lead to the inadmissibility of the prosecution.
To this it has held in the first place ... that although, noting the circumstances in which the interrogations of 1 and 2 November 1995 have taken place, it did concern a physically and also mentally very burdensome and intrusive interrogation, it has not by this violated Article 3 of the Convention. In difference to the first cassation ground's aim, this finding does not disclose an incorrect conception of the law and is not incomprehensible.
The findings of the Court <of Appeal> further mean that - noting that what the Court <of Appeal> has found established as to the basis of the defence plea - there has been no violation of the principles of a fair trial of such serious nature that this should lead to the inadmissibility of the prosecution as it has not been established that there have been infringements of those principles as a result of which intentionally or with gross negligence the suspect's interests in a fair hearing of his case have been disrespected.
4.7. Understood as such, the findings of the Court <of Appeal> do not disclose an incorrect conception of the law and, in the light of the trial proceedings, not incomprehensible. Insofar as the first ground in cassation objects to factual and not incomprehensible findings and to this relies on facts and circumstances not found established by the Court <of Appeal>, <the Supreme Court considers> that this cannot lead to cassation."
B. Relevant background and domestic law
Article 29 of the Code of Criminal Procedure, insofar as relevant, reads:
"1. In all cases where a person is heard as a suspect, the questioning judge or civil servant shall refrain from everything which could have the effect of obtaining a statement of which it could be said it was not freely made. The suspect is not obliged to answer.
2. Before the hearing the suspect is informed that he is not obliged to answer.
On 15 May 1996, following the national broadcast of a television programme in which the "Zaanse verhoormethode" was discussed, a Member of Parliament put questions about this interrogation technique to the Minister of Justice, who decided to seek the views of the Criminal Investigation Advice Commission (Recherche Adviescommissie; hereinafter "RAC") as to the lawfulness and functionality of this method.
On 21 August 1996, the Minister of Justice informed Parliament that, once she would have taken notice of the final outcome of two trials in which the lawfulness of this method had been raised as well as the RAC advice, she would take a final decision as to the acceptability of this interrogation technique. In the meantime, she had instructed the public prosecution department to suspend the use of this technique. In November 1996, in conformity with the advice contained in the RAC report of 1 November 1996, the Minister of Justice decided to prohibit the use of the "Zaanse verhoormethode".
The RAC report describes the "Zaanse verhoormethode" as an interrogation technique based on the so-called CASE 36 (Communication Analysing System Europe 36) communication method. The method was developed by a communication expert and was further elaborated for police practices.
CASE 36 is described in the report as a communication method focussing in particular on the way in which a person internally perceives the outside world. The application of the CASE 36 technique allows to obtain a very accurate picture of the behaviour of a person and the internal processes on which this behaviour is based, thus enabling to communicate effectively (a correct statement by the suspect) and efficiently (within a short time).
The CASE 36 technique is based on Neuro Linguistic Programming (NLP); originally a form of psychotherapy. NLP has been defined as "the study of the structure of subjective experience". NLP provides a model of human behaviour and communication which answers questions like "How does a person behave in relation to his environment, how does he take in information and how does he process this information?" An interrogation according to the CASE 36 communication method is aimed at the creation of a tie between the suspect and interrogators through which an optimal communication must become possible and thus to attain the truth via communication.
The actual interrogation is prepared by planning certain steps to be taken during the interrogation. This planning includes, amongst other things, the allocation of individual roles (father figure, specialist, analyst, person of confidence) to each member of the interrogation team. Furthermore, a preliminary meeting with the suspect takes place in order to find out which pattern of thought (in detail or global) he uses and what his "focal points" are, i.e. to what points he looks when he is not specifically asked to look at something. A determination of "focal points" is relevant for the making of "visual chronological lines".
In having the suspect draw (visual) chronological lines during the interrogation, it is attempted to verify when what has taken place. This takes place, inter alia, by making a suspect relive an experience in his mind. If a suspect has an auditive preference, there is a bigger chance of communication and a reliving when he is made to listen to recordings, like telephone conversations. Has the suspect a sensory preference, the chance of communication is bigger when having him touch an object found at the crime scene, whereas in case of a visual preference, he can be shown photographs of the crime scene.
In case a suspect has a "focal point" on a particular spot on a wall, it is possible to place photographs there. He will unconsciously look at them after which, as the intention is, he will remember facts insofar as he has been responsible for them. The showing of photographs includes both photographs connected to the offence and photographs linked to the suspect's person, like photographs of his spouse or children. These two kinds of photographs are either shown separately or combined with each other.
The interrogation team leader and the external communication expert watch and listen to the interrogation in another room. There are four hidden cameras covering the entire interrogation room and one hidden camera aimed at the suspect's face. The suspect is informed that the interrogations are recorded but does not know where the cameras are. The interrogators receive instructions via earphones from the team leader or the external communication expert during the interrogation. The interrogation is constantly adapted to the suspect's behaviour. The suspect's non-verbal communication is followed and whether his behaviour is congruent, i.e. whether his body language is in conformity with her verbal expressions. Other features of this interrogation technique are the copying of a suspect's physical behaviour which is intended to reassure the suspect and the so-called "pushing in", i.e. to push one by one and on deliberate moment the chairs of each interrogator close to the suspect until in the end all interrogator sit intimately around the suspect.
The interrogations are conducted within a couple of days, lasting on average ten hours per day depending on how the interrogation proceeds.
1. The applicants complain under Article 6 §§ 2 and 3(c) of the Convention that he did not have a fair trial in the criminal proceedings against him in that the principles of "nemo tenetur" and the presumption of innocence were disrespected in that - by the use of the "Zaanse verhoormethode" - he was forced to incriminate himself and in that he was unjustly denied access to his lawyer.
2. The applicant further complains that he was subjected to the so-called "Zaanse verhoormethode". He submits that his interrogators have intimidated him and lied to him in such a manner that this can not be considered as a normal police interrogation. He further submits that his was in a physically bad state when he was interrogated. He argues that this amounted to treatment contrary to Article 3 of the Convention.
1. The applicants complain under Article 6 §§ 2 and 3(c) of the Convention that he did not have a fair trial in the criminal proceedings against him in that the principles of "nemo tenetur" and the presumption of innocence were disrespected in that - by the use of the "Zaanse verhoormethode" - he was forced to incriminate himself and in that that he was unjustly denied access to his lawyer.
Article 6 of the Convention, insofar as relevant, provides:
"1. In the determination of ... any criminal charge against him, everyone is entitled to a fair ... hearing ... by a ... tribunal ....
2. Everyone charged with a criminal offence shall be presumed innocent until proved guilty according to law.
3. Everyone charged with a criminal offence has the following minimum rights:
(c) to defend himself in person or through legal assistance of his own choosing ..."
The Court recalls that, although not specifically mentioned in Article 6 of the Convention, the right to silence and the right not to incriminate oneself are generally recognised international standards which lie at the heart of the notion of a fair procedure under Article 6 of the Convention. Their rationale lies, inter alia, in the protection of the accused against improper compulsion by the authorities thereby contributing to the avoidance of miscarriages of justice and to the fulfilment of the aims of Article 6. The right not to incriminate oneself, in particular, presupposes that the prosecution in a criminal case seek to prove their case against the accused without resort to evidence obtained through methods of coercion or oppression in defiance of the will of the accused. In this sense the right is closely linked to the presumption of innocence contained in Article 6 para. 2 of the Convention (cf. Saunders v. United Kingdom judgment of 17 December 1996, Reports of Judgments and Decisions 1996-VI, p. 2064, § 68).
As the guarantees in paragraphs 2 and 3 of Article 6 of the Convention are specific aspects of the right to a fair trial set forth in paragraph 1 of this provision, the Court will examine the complaints under the three provisions taken together (cf. Asch v. Austria judgment of 29 April 1991, Series A no. 203, p. 10, § 25).
The Court notes that the domestic courts rejected the applicant's argument that, on the basis of the unlawfulness of the use of the "Zaanse verhoormethode", the prosecution should be declared inadmissible. It was, however, accepted by the domestic courts that the manner in which this interrogation technique had been used in the applicant's case was contrary to Article 29 of the Code of Criminal Procedure, which prohibits the exertion of unacceptable pressure on suspects of criminal offences during the investigation, and that its use was contrary to the requirements of a fair trial. The Court further notes that the applicant's conviction was not based on any statements taken from the applicant during his interrogations on 1 and 2 November 1995, but on other evidence.
Having regard to the fact that the applicant has been convicted following adversarial proceedings, in the course of which he has been provided with ample opportunity to state his case, to submit whatever he found relevant to the outcome and to challenge the evidence against him, the Court finds no indication that the proceedings at issue fell short of the requirements of Article 6 of the Convention.
The Court is further of the opinion that, insofar as the applicant's complaint of having been denied access to his lawyer has been substantiated, the facts of the case do not disclose that the applicant's rights in relation to legal assistance in the criminal proceedings against him have been disrespected.
It follows that this part of the application must be rejected as manifestly ill-founded within the meaning of Article 35 § 3 of the Convention.
2. The applicant further complains that the manner in which he was interrogated in Zaandijk, in particular the use that was had of the "Zaanse verhoormethode" amounts to treatment contrary to Article 3 of the Convention.
Article 3 of the Convention reads as follows:
"No one shall be subjected to torture or to inhuman or degrading treatment or punishment."
The Court recalls that Article 3 of the Convention enshrines one of the fundamental values of democratic society. Even in the most difficult of circumstances, such as the fight against terrorism or crime, the Convention prohibits in absolute terms torture or inhuman or degrading treatment or punishment. Ill-treatment must attain a minimum level of severity if it is to fall within the scope of Article 3. The assessment of this minimum is relative: it depends on all the circumstances of the case, such as the duration of the treatment, its physical and/or mental effects and, in some cases, the sex, age and state of health of the victim. Acts which arouse in the victim feelings of fear, anguish and inferiority capable of humiliating and debasing him and possibly breaking his physical and moral resistance may be sufficiently serious to render such treatment inhuman and degrading within the meaning of Article 3 of the Convention (cf. Assenov and Others v. Bulgaria judgment of 28 October 1998, Reports 1998-VIII, p. 3288, §§ 93-94; and Selmouni v. France judgment of 28 July 1999, § 99).
Court notes that, in the present case, the applicant was subjected to
the "Zaanse
verhoormethode" on 1, 2 and 3 November 1995. After having noted
the characteristic features of this interrogation technique and the
manner in which it was used in the applicant's case, the Court considers
that it is a sophisticated method from a psychological point of view
and therefore objectionable in the context of a criminal investigation
in that it is
apparently aimed at attaining, by seeking to create an atmosphere of intimacy between the suspect and the interrogators through mental stimulation, an optimal level of communication as a result of which the interrogated person is incited, on the basis of a perceived relation of trust, to confide in the interrogators in order to seek relief from a mentally burdensome memory.
The Court does not find it established that the use of this method has resulted in mental pain and suffering for the applicant to such an extent that it amounts to inhuman treatment within the meaning of Article 3 of the Convention. The Court therefore cannot find that this interrogation method, as such, or the manner in which it has been applied in the present case attains the minimum level of severity required under Article 3 of the Convention.
It follows that this part of the application must also be rejected as manifestly ill-founded within the meaning of Article 35 § 3 of the Convention.
For these reasons, the Court, unanimously,
O'Boyle Elisabeth Palm
Registrar President
47240/99 - 10 -
- 9 - 47240/99


text:
To the Editor:
I was pleased to read "Pollution in a Box," by Elizabeth Royte (Op-Ed, July 31), recognizing the high level of satisfaction with FreshDirect's products. Since we are constantly looking for environmentally friendly innovations, we welcome Ms. Royte's suggestion to print a recycling reminder on each box.
We'll do it. However, we take issue with certain facts, and with her conclusion.
First, she assumes we deliver five boxes per order, when the average is closer to three and a half.
Second, when a FreshDirect truck stops to make a delivery, it's our policy that the engine not be left idling. It's the refrigeration that keeps running, to preserve freshness and food safety.
If FreshDirect didn't exist, and our customers went to a traditional grocery store, the following would occur at today's level of business: Instead of three boxes, the customer would have to use five bags -- a large percentage of which are not biodegradable -- to bring the equivalent merchandise home. Instead of using computers to shop, New Yorkers would be making 60,000 additional trips per week to the store, many requiring taxis and cars.
Without FreshDirect, nearly one million additional items per week would have to be shipped into these grocery stores, requiring many more trucks and boxes on New York streets.
Factoring in these considerations, Ms. Royte's article might have been more appropriately titled "Pollution-Avoidance in a Box."
Dean Furbush Chief Executive, FreshDirect Long Island City, Queens


text:
Students can earn a Certificate with successful completion of this course. This program is designed to offer students with no professional grooming experience, an avenue to enter the market in a relatively short period of time. Students concentrate on basic pet grooming and handling of dogs, including brushing, combing, clipping nails, cleaning ears, preparatory clipping, bathing, drying, and basic finishing techniques for various long-haired, short-haired, and double-coated breeds. Upon successful completion of this program, students will be able to work competently at the approved level with minimal supervision.
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Canine First Aid: Groomer's Guide to Pet First Aid, Injuries & Health – Boyd Harrell, DVM
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text:
WEY releases an official shot for its new BEV concept model WEY XEV. The new model adopts the latest designing idea of WEY family, and the model shows a scientific and technological sense in body image. Besides, it's said that the model may become the safest alternative energy SUV model across the globe. The model will also make debut during Frankfurt Auto Show this year.
The model shows a modern image, with typical family design in details including the bar-shaped LED daylights and aggressive front faces. The brand LOGO also seems to show some changes.
The simple body line with gull-wing door also makes the model distinctive. It uses exaggerating design in tails.
It's known that WEY XEV will emphasize the safety configurations and explain the idea that "safety is the greatest luxury". Besides, the model will equip with matrix charging technologies and L4-level driverless technologies.
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