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Adorn your wrists with exquisite female bracelets online at Jumia Nigeria. Women have always worn accessories made from materials such as bones, stones and wood from as far back as the Egyptian ancient times. Now, you can adorn your wrists with fashionable bracelets that helps to complement your outfit and accentuates your overall appearance. Jumia Nigeria provides you with a vast array of bracelets which are made from a variety of materials with the most common being typical silver, gold and platinum. We also have available, designer bracelets made from attractive studs and high quality gems. Choose from a wide range of designs of bracelets for women; these fashion accessories are not restricted to special occasions, but can also be part of your everyday wear. Jewellery are very important in every woman's wardrobe, which is why have many available for you to choose from at best prices.
For that dinner, wedding or party, complete your outfit with quality bracelets from Jumia Nigeria. Whatever the occasion, you know you can find a bracelet to suit it. Jumia prides itself with a voluminous collection of jewllery for women ranging from designer bracelets to other bracelets from trusted brands like Scuup, Katrok, Bling Bling, Silky Soft and many more. Buy Charm Bracelets online at the best prices on Jumia. With various bracelet designs that are bound to suit any occasion, there is no reason for you to leave the house with an empty wrist; so give your wrists the sparkle and the adornment it so yearns for. Shop online on Jumia for your perfectly designed women's accessories to grace those special events with.


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Blast Wind, tecnosofts Masterpiece on the SEGA Saturn, its a very easy Shooter, everyone can finish it first try The vertical Highscore display is very unique and special. You can also choose the way of the game by pushing some switches. The price of the game raised alot during the last few months. Now its pricing around 200 bucks o_O. Good luck in getting your own copy its a must have for every saturn shmup collection!
VN:F [1.9.22_1171]Blast Wind,
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Clay Spörri
Author at akihabara.ch
Author at akihabara.ch for independent news in Shoot'em Ups. President of the swiss shmup assoziation. Swiss Puzzle Bobble Champion 2007-2010. First Videogame Contact: YM-105.
Latest posts by Clay Spörri (see all)
- Blast Wind - June 22, 2015
- Star Soldier - June 15, 2015
- Polygun - May 4, 2014

subset: commoncrawl


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How Our ED Treatment Works
One that treats the core issue for more than a few hours at a time.
Our treatment uses ultrasonic sound waves, a noninvasive treatment to improve ED.
The Treatment Equipment
During your 20 minute, in-office procedure, we use a small hand-held device to deliver small, high frequency acoustical (sound) shockwaves to the tissue. It feels like a light tapping sensation, but we apply a little numbing cream to ensure complete comfort. You can even feel it on your hand during your free consultation.
Under The Skin
These soundwaves regenerate blood flow and, over time, encourage the development and growth of new blood vessels.
Number of treatments
Every client is different in how many treatments they would need in order to obtain their goals. Depending on your age and medical conditions it may take more treatments in order to have an optimal outcome. To achieve optimal results, we recommend at least 6 treatments which can be given in as little as 2 weeks.
Proven Results
Any man seeking enhancement and better sexual performance will benefit. Statistics show that patients who have had at least 6 treatments said the results are better than the short term fix obtained with pills or injection-based erectile dysfunction treatment.
After Treatment
Men who receive this treatment report fuller, stronger, and longer erections.
No Side Effects
There are no significant side effects to our treatment. It does not affect a man's ability to have children and the majority of men have continued improvement through 2 years. And even if you're not suffering from ED, it will improve your performance with increased firmness and can increase libido along with improving your refractory period (The ability to have another erection after orgasm).


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Review of and EOTD with NYX Single Eyeshadow - Prune ES76
I have been out of action for the past few days. Reasons are many. Some personal, some professional. Just when you think everything is going straight and fine, life takes a big "U" turn along with couple of bumpy rides!! But isn't that life is all about!! Too deep!!
Depth of life can make us go bonkers, but depth of this radiant orchid Eye shadow from NYX is definitely going to sail us through.
Product Description/ Claim:
From the sensational color library of NYX's richly pigmented eye shadows. This pressed mineral eye shadow packs a color punch, blends easily and lasts for many hours.
Available At:
Beautykafe.com (this is a new cosmetic online shopping site I have discovered, review coming up soon)
(The eye shadow looks clumsy as I got it completely broken and damaged. Restored it with alcohol)
My Verdict:
- Shade: From beginning of the year, I have been in search of a budget option for a radiant orchid eye shadows. While I wanted the NYX Triple Eye shadow palette in Purple/ Deep Purple/ Prune. Seriously, I need not spend a bomb for getting a radiant orchid trio. Unfortunately this was out of stock so I went with single eye shadow with prune only. It's exactly a radiant orchid shade.
- Texture: The texture is mind-blowing, somewhere between matte and satin. Very smooth on the lids as well in the pan. T can be used both on the lids and in the crease as this blends well.
- Pigmentation: Superb is the word to describe. A little goes a long way. Shows well both on primed and unprimed eyes.
- Longevity: Easily lasts 8-9 hours without fading or creasing.
- Packaging: Comes in the standard NYX single eye shadow packaging with plastic black body and transparent lid. Wish the packaging was better as the case tends to look a bit used up in a very short time.
- Perfect radiant orchid shade
- Smooth blendable texture
- Finish is between matte and satin and thus can be worn both during day and night
- Excellent pigmentation
- Long lasting on eye without creasing or fading
(Applied on the crease and outer corner)
Overall Recommendation:
Highly recommended if you are in lookout for a radiant orchid eye shadow.


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The press screening from the hotly anticipated movie from JAF Alliance, Something Wicked held yesterday in Lagos. Directed by Yemi Morafa, the movie features Iretiola Doyle, Adesua Etomi, Okey Uzoeshi, Gabriel Afolayan, Beverly Naya, Ivie- Okujaye Egboh, Bisola Aiyeola and Timini Egbuson.
The movie which opens at the box office this Friday, February 17, 2017 was produced by Okey Uzoeshi, Isioma Osaje and Yemi Morafa for the JAF Alliance, a combination of Jack of Aces, Agency 106 and Filmboyz Inc.
Watch the trailer of Something Wicked here.
See pictures from the screening below.


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AUGUST 2, 2017 - Last week, communications and journalism students from Texas A&M University got front row seats to L.A. media's hot spots, courtesy of their hosts at Benztown. Each summer, Texas A&M Professor Billy McKim takes a group of students across the U.S. to meet communications and journalism professionals and to collaborate on projects with the pros. In addition to meeting professionals, the students applied the skills they learned in previous on-campus courses (in graphic design, strategic communications, market research, public relations, photography, and videography), while doing research and video production projects on the road.
While in L.A., Benztown arranged for the student group to tour their state-of-the-art studios in Glendale, CA, before taking them to visit: KTLA 5 TV, KROQ / AMP, the CBS Radio cluster in San Bernardino - Riverside (KFRG), and Joel Denver, President/Publisher/Co-Founder and the team at All Access Music Group. Benztown also provides access to its full catalog of highest quality production libraries to Texas A&M University broadcasting students on an ongoing basis at no charge.
Four of the students also spent two weeks in Nashville meeting with Warner Music Nashville, the Grand Ole Opry, Creative Nation Music, Jerry Duncan Promotions, Country Radio Seminar, Aloompa, All Access Nashville, and Thinkswell. In total, the Texas A&M students spent more than a month traveling, networking, and completing hands-on projects. The folks at Benztown were thrilled to plan the L.A. leg of their summer tour for the next generation of communications professionals, and a great (and educational) time was had by all!
Check out Benztown's photo album of the students' KTLA tour on Facebook at: http://bit.ly/2uXCXfT!


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This is the third year I've sent the lovely and inspiring Dessa a list of questions and she has been so gracious as to answer them. As usual, I was blown away by the depth and thoughtfulness of her answers.
Here are links to the previous two Q&A's: 2011 and 2012
1. You mentioned in the interview you did with WCPN that the working title for the album (not the ACTUAL title, but the title that's on all the files) was Candy Falcon. What is a candy falcon? Is it a bird made of candy? Or is it someone who sees candy from far away and swoops in to nab some?
A year ago, I was working with the guys in the band: Sean, Dustin, and Joey. We'd come up with some ideas for the record and Dustin was ready to save them on his computer. He asked "Do you have a name for this one yet?" I didn't. So we figured that a working title was in order. I think I suggested "Falcon," but that sounded too simple. So we spent a few minutes making up a fake name that felt more sophisticated. Given my pretty incredible sweet tooth, "Candy Falcon" seemed like a great fake title.
Dessa's WCPN interview from 1/10/13 (includes performances of "Palace" and "The Man I Knew" (NEW SONG) ) (Dessa's portion starts at 28:35)
2. A recurring image in Doomtree lyrics that I've noticed is that of the burning candle. It appears in "If and When", "Little Mercy", and in the title "A Candle in Chicago" among others. Have any of you intentionally picked up on this image? And do you think there's any symbolic reason behind its repeated use?
I actually had to look up "A Candle in Chicago," turns out that's an interlude on a Doomtree release from 2007. Who knew? Very often, songs go by their working titles internally, so none of us remember what the things are actually called. There are a lot of themes and images that Doomtree seems to orbit--sometimes we all find
ourselves independently fascinated by the same thing. Sometimes, I'm sure we inadvertently infect each other with ideas.
3. Have you made any progress on A People's History of the United States since last year? If you're keeping score, I still don't have a copy, so you're already outpacing me!
4. Did your trip to Africa influence the writing of your new album in any way? New instruments? New images? New ideas?
My trip to Africa influenced my prose--after I came home I wrote an essay for the Star Tribune about how a safari challenged my ideas about the thoughts of animals--but it's probably too soon to know if any of what I saw will end up in a lyric.
5. Are you and P.O.S planning to co-headline a tour this spring/summer or are the sounds you'd be delivering too different to make a cohesive show?
This summer, I'll be touring my new record, which is usually a headlining endeavor. Meanwhile, P.O.S is still being mindful of his health--he's got a pair of lousy kidneys and is waiting for a transplant. I think it'll be a while before we're on a routing together, but I expect there'll be a few big crew shows that we'll play together this year.
6. When you're writing/recording an album, do you avoid listening to other music? Or perhaps do you listen to music that is the polar opposite of what you're writing/recording? I guess this question boils down to: Does listening to other music affect/distract your process?
I'm adamant about fending off obvious influences. When I'm working on something new, I try to avoid listening to artists who I might be tempted take cues from. Having just finished a record, I've been listening to music that's very different from my own: polyphonic Corsican music and some Parisian folk. (Until I wrote that sentence, I thought I was listening to those artists because they were working with different instrumentation and very different melodies--but it occurs to me that I can't understand the words in these songs, which make them pretty safe listening for someone who's anxiously fending off influence as a songwriter.)
6a. Obviously, I'm going to ask you for some examples of the polyphonic Corsican music and Parisian folk you've been listening to.
Ha, no sweat. The Parisian artist is Pauline Croze. Maybe she's better described by a word like rock. Or just pop. I don't know, I'm just lousy with those sort of distinctions. Maybe she's just really soft, slow, feminine metal.
Pauline Croze - T'es Beau
Pauline Croze - M'en voulez vous
Here's a link to Pauline Croze's self-titled debut album (from which both of the above songs are taken) to download on Amazon.
Here's a link to her second album to download on Amazon.
Here's a link to her third (and most recent) album to download on Amazon
Here's a link to her second album to download on Amazon.
Here's a link to her third (and most recent) album to download on Amazon
6b. And the Corsican music?
The Corsican stuff I'm going to play close to my chest--I still harbor a distant fantasy of working with them some day and I'm keeping that card in my sleeve.
Mike and Stef made a really incredible song when they wrote "Get Down." Every night we play it on tour, it's a demonstration of the degree to which human behavior is affected by music. It's like a tide--organic, irresistible.
P.O.S + Mike Mictlan - Get Down (Official Music Video)
P.O.S + Mike Mictlan - Get Down (Live at First Ave.)
My predilection for more melancholy sentiments makes "How We Land" an easy favorite--contagious, propulsive, aching.
8. Do you have a favorite publication/source for interesting/thought provoking articles?
Still looking. I make a lot of resolutions about reading, and I end up falling off the wagon as soon as the thing starts rolling. I'd like to be a little more consistent, but in practice, I'm a binger--binge study, binge writing, binge Nutella (fork of it in hand at the moment). That said, my brother just put me on to damninteresting.com. Can't vouch for it yet, but looking forward to my next doomed resolution.
9. What's the most difficult part of being on the road for months at a time? I would imagine it would be a close race between a) waking up in places other than your home (a concept presented to me by Jackson Browne in "The Load Out") and b) trying to find acceptable food in a new city each night.
First, it must be said, that I love hotels. Every time you slide the electronic key card and push the door open, it's like a scratching a lottery card. Will there be a full bed or a king? Will there be a minifridge? Does that couch pull out? Could that be a piece of choc-o-late on the coverlet?
For me the hardest part of touring is sleep deprivation. I know a lot of musicians who can function quite nicely on 5 or 6 hours a night. I am not a member of that set. Deep fatigue makes all the little stresses of tour tough to handle gracefully--the rush, the bodily pains, the detours, the late arrivals, rushed load-ins, lousy food, whatever. And after more than a couple of weeks of exhaustion, I get emotional. It doesn't take much to make me sad or angry--which is not a good starting position for a person who lives within 3 feet of her colleagues for 17 hours a day. All said, however, I've got a hell of team. If you're going to be encased in an speeding van for a great deal of your life, you've got to pick some great travel companions. And I ride with some incredible players, and some incredible people.
That'll do it for the Q&A. I'll tweet you the link when I've published it. Hope to see you in DC soon. Take care. Get some sleep! :)
Please do! I'm hoping to head your way soonish. Hard to sweep the same region too frequently, but I give us a 36% of heading through in May.
I will take those odds. You can find her published tour dates, as well as the tour activity of all of the other members of the Doomtree crew, HERE. Details of her SXSW appearances haven't been listed yet, but keep an eye on that page and you'll have that info soon enough. If Dessa is performing near you, you owe it to yourself to see her. Trust me.


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Without a doubt, the subject that about which most people I have encountered are the least knowledgeable is the insurance part of the pension. This is a huge shame because not only does ignorance of this subject lead to wasting thousands of shekels on unnecessary insurance, but it can also lead to people not having the right kind of insurance and suffering needlessly in the case of an accident.
There are three types of ways someone can collect money from his or her keren pensia:
(1) By becoming disabled (פנסיה נכות)
(2) By dying (פנסיה שארים)
(3) By becoming of pension age (called פנסיה זקנה)
Disability: Pensia Nechut (פנסיה נכות): If, God forbid, someone paying into a keren pensia meikifabecomes disabled before reaching retirement age, he or she is eligible to collect pensia nechut, or disability. In this case the person receives up to 75% of his or her salary every month, depending on how the insurance is set up. The money to pay for this insurance comes from the money saved in the pension fund, which means that you don't have to pay extra for it, but it gets deducted from the amount you're saving for retirement (from the תגמולים, not the פיצויים, which can never be touched.). The good thing about this is that it comes at the cheapest possible rate because no agent is getting paid for this (they get paid based on the fees of the pension, not the amount taken out for insurance). It is also of note that with some exceptions, most people are not covered for disability due to preexisting conditions for the first 5 years of paying into a pension. In most companies, you can get paid if you are partially disabled (at least 25%). Like most disability insurance, there is a waiting period of 3 months, although depending on the company, there are some way to get around this (ie extra large payment if you are still disabled in the 4th month). Also, this amount is reconciled against any coverage you'd receive from Bituach Leumi (National Insurance).
Death: Pensia Shearim (פנסיה שארים): If, God forbid, someone paying into a keren pensia meikifa dies before retirement age, his or her spouse will continue to receive a portion of the deceased's income (usually 60%, depending on the company and specific pension option) for the rest of her life (even if she remarries). In addition, each child gets a portion of the salary (usually up to 30%, depending on the company and specific pension option) until the child reaches 21. There is also an option to have coverage for a dependent parent for as long as they live. In the case of all of these, it is incumbent upon the individual to choose how much coverage he wants for each of these options based on a scale in accordance with the age when the person joined the pension. It is imperative that you ask for the different options and choose the one that suits you. Like pensia nechut, the money for this insurance is very cheap and is deducted from your savings for retirement. If you are single or without children, you need to inform your pension company about this and fill out a form every 2 years stating that they should not deduct for insurance for a spouse or children (you need to do it every 2 years because they are afraid that you'll forget to tell them when you get married, so the insurance goes back to the default every 2 years).
When you sign up for your pension, you choose what level of insurance you'll have with your pension. If you didn't choose, then you were given the default, which is usually but not alwasy maximum coverage. If you're unsure what you have, the amount you are covered for nechut and shearim is listed on your quarterly and annual reports from your pension. Alternatively, you can call your agent or pension company and ask what you have. If you find out that you are not insured correctly, ask the pension company to correct this as soon as possible. Remember, this insurance may not cost any additional money, but it is up to you to make sure that the company is giving you the right level of insurance. All you have to do is call and ask for the proper amount of insurance. As always, put everything in writing (send an e-mail after the conversation summarizing it) so that you have a record in case something happens.
Pensia Zikna (פנסיה זקנה): When one reaches pension age and begins פנסיה זקנה, he or she begins to receive his or her monthly annuity, or gamla (גמלא). Normally, the first 240 gamlaot are guaranteed, so if God forbid the person dies, the heirs will continue to receive the monthly annuity for the first 20 years of the deceased's retirement. A person can choose to have less guaranteed gamalot in return for a slightly larger annuity. In addition, the retiree can choose how his pension will be continued to be paid once he or she dies. For example, most people have it automatically set up that if the pensioner dies, the spouse of the pensioner will get 60% of the annuity for the rest of his or her life. Again, you can play around with this and get a larger or smaller annuity based on the amount of insurance you are getting with it. This kind of insurance is called she'irai pensioner (שאירי פנסיונר), literally the leftovers of the pensioner.
Some important observations:
(1) Usually, the only people who need additional life insurance are housewives and part time working mothers. Unlike their full time counterparts, these workers will not have their economic contribution to the household covered in the event of their death.
(2) Unfortunately, the law only allows disability to cover up to 75% of a workers' salary. The problem with this is that not only does a disabled have to replace his economic contribution to the house, but unlike if her were to God forbid die, being disabled costs money (hiring a caregiver etc.) In the past, i would advise people to purchase private disability insurance (which have a number of additional features – see here), but unfortunately, the law changed so that you cannot get additional private insurance if you pay into a keren pensia meikifa. The reason for this law is supposedly to avoid people paying unnescessary amounts for insurance (since you have to pay a minimal amount in the pension and you'd pay for the private insurance which covers the same), but in truth, it forces people who need better coverage to get bituach menahalim instead of a keren pensia, which means that they will end up paying hundreds of thousands of shekels in additional fees, much more than than the amount they would be willing to throw away on the unnescesary insurance from the keren pensia. In my more recent experience, this means that one must consider strongly the limits of his insurance coverage when considering opening a keren pensia, and if the need merits it, consider an alternative option.
(3) If you collect money from your pension for death (פנסיה שארים), you lose the money you saved for retirement. This usually isn't a problem because you'd prefer a spouse to get 60% of your salary than the lesser amount for the pension, but this is a huge problem for single parents, who could in some cases chance their kids getting very little (just the payout until they turn 21). In this case, it is advisable to switch to bituach menahalim or choose from among the kranot claliyot until the kids turn 21. After 21, since there is no insurance for the kids to be paid, the kids can split the pension in the event of the death of the parent and it will be worthwhile to return to the lower fees of the keren pensia.
(4) The system I outlined above only applies to a keren pensia meikifa and is optional in keren pensia clalit (meaning that for a keren pensia clalit you can choose whether or not to have it). Alternatively, bituach menahlim allows you to get any kind of insurance you want (that is the good part about it; the bad part is that the fees are higher).
The job of a good pension analyst or agent is to help you choose the right insurance based on your needs. But you need to insist on it – do not leave something this important to chance.


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Traffic tips
Blount County drivers on the U.S. Highway 129 Bridge over Nine Mile Creek at log mile 3.15 should be alert U.S. 129 is reduced to one lane around the clock in this area and controlled by a temporary traffic signal as crews begin bridge repairs. The bridge is reduced to a single 9-foot travel lane. Traffic in excess of the 9-feet maximum width should follow the signed detour route. Drivers should be alert for changed conditions, be prepared to stop and use extreme caution in this area.
Read or Share this story: https://www.knoxnews.com/story/news/local/2016/04/15/traffic-tips/90892914/


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by Cindy
My jack russell suddenly will take short walks but would experience discomfort and pain and would immediately sit until I pick her up and carry her. She is constantly biting at her tail and bottom
Join in and write your own page! It's easy to do. How? Simply click here to return to Jack Russell Questions and Answers Forum.


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Director and Professor, Center for Excellence in Teaching and Learning
Office: East 256
- University of Missouri, St. Louis, St. Louis, Missouri Doctorate of Philosophy in Education (Ph.D.) Emphasis: Teaching and Learning – Early Childhood Dissertation Topic: Teacher Efficacy-The Impact of Field Based Experiences August 2004-May 2007, Graduated Summa Cum Laude
- National University, San Diego, California Masters of Education in Multicultural Education (M.Ed) Program emphasis: Linguistics, school reform, evaluation, and research. Thesis entitled: The Application of the Arts in an Integrated Curriculum August 2002-August 2004, Graduated Summa Cum Laude Northern Arizona University, Flagstaff, Arizona Bachelor of Science in Psychology (BS) Major: Psychology, Minor: Sociology August 1996-May 2000, Graduated Cum Laude
Professional Certification:
- California Teacher Certificate (current)
- Professional Clear Multiple Subject Teaching Credential (PK-8)
- Credential to instruct English as Second Language (ESL) Learners
Research Area/ Scholarly Interest:
- Media influences on child development
- Use of technology in the preschool classroom
- Urban teaching
- Preservice teacher reflection and mentoring
Recent Publications:
Peer Reviewed or Refereed:
- Catapano, S. & Huisman, S. (2008). Early childhood education: Issues and development, Chapter 3: A search for cooperative learning groups in urban classrooms. Nova Science Publishers, 47-59.
- Catapano, S., Huisman, S., & Song, K. (2008) Are we there yet? Perspectives from partners in a community of practice. Learning Communities: International Journal of Learning in Social Contexts, 1, 2-19.
- Catapano, S. & Huisman, S. (2009). What do families read to their children: Another look at home literacy support. Fascicula Psihologie, XV, 9-28.
- Robb- Singer, N, Catapano, S. & Huisman, S. (2010). The University's role in preparing teachers for hard-to-staff schools. Teaching Education, 21(2), 119-130.
- Catapano, S. & Huisman, S. (2010). Preparing teachers for urban schools: Evaluation of a community-based model. Penn GSE Perspectives on Urban Education, 7(1), 80-90.
- Huisman, S., Singer, N., & Catapano, S. (2010). Resiliency to success: Supporting novice urban teachers. Teacher Development: An international journal of teachers' professional development, 14(4), 483-499.
- Huisman, S. & Catapano, S. (2011). New teachers in challenging schools: A three-year case study. International Journal of University Teaching and Faculty Development, 2 (1) 1-15.
- Huisman, S. & Edwards, A. (2011). Experiential learning: An exploration of situated and service learning. AILACTE Journal, 8(1), 15-35.
- Huisman, S., Edwards, A., & Catapano, S. (2012). The impact of technology on families. International Journal of Education and Psychology in the Community, 2(1), 44-62.
- Huisman, S. (2012). Teaching efficacy: The examination of two different instruments. International Journal of University Teaching and Faculty Development, 2(4), 263-278.
- Huisman, S. (2012). Family Connections: Promoting Early Literacy Skills: Ages Birth to 5, Childhood Education, 88(6,) 398-399.
- Huisman, S., Catapano, S., Moody, A, & Gates, L. (2013). Families' perceptions on play in the early childhood setting. Journal of Psychological and Educational Research, 21(1), 28-48.
- Huisman, S. (2013). Family Connections: Every day math: Ages birth-5. Childhood Education, 89(4), 279-280.
- Catapano, S. & Huisman, S. (2013). Leadership in hard to staff schools: Novice teachers as mentors. Mentoring and Tutoring, 21(3), 258-271.
Conference Presentations:
*15 most recent presentations (peer-reviewed)
- NAEYC Annual Conference- Preservice Teacher Reflection, Washington, DC (November, 2013)
- Crucial Early Years- Redefining "Circle" Time, St. Louis, MO (October, 2013)
- RB-AEYC Spring Conference- Developmentally Appropriate Curriculum in the Preschool Classroom, St. Charles, MO (April, 2013)
- Conference on Higher Education Pedagogy- Experiential Learning: An exploration of situated and service learning, Blacksburg, VA (February, 2013)
- NAEYC Annual Conference- Preparing New Teacher Mentors, Atlanta, GA (November, 2012)
- Crucial Early Years- Integrating Curriculum in the Preschool Classroom, St. Louis, MO (October 2012)
- AEYC-MO Conference- Assessing the Center for Overall Care, Springfield, MO (September, 2012)
- AAFCS Annual Conference- Advocacy and Action-Empowering Future FCS Leaders, Indianapolis, IN (June 2012)
- NAEYC Institute- Future Early Childhood Teachers: Empowering with Advocacy Indianapolis, IN (June 2012)
- RB-AEYC Spring Curriculum Conference: – Integrating Curriculum in the Preschool Classroom, St. Charles, MO (April 2012)
- RB-AEYC Stepping Up to Leadership: -Assessing the Center for Overall Care, St. Charles, MO (April 2012)
- National Association of the Education of Young Children (NAEYC) Annual Conference, NAECTE Urban Education Researchnet Group: Parents' Perceptions on Play: The Data, Orlando, FL (November 2011)
- Parents as Teachers National Conference- Children in A Modern World, St. Louis, MO (November 2011)
- RB-AEYC Spring Curriculum Conference: – Balanced Literacy Approach in the Pre-School Classroom, St. Charles, MO (April 2011)
- AEYC Directors Institute, The Importance of Advocacy in the Early Childhood Field, St. Charles, MO (April 2011)
Professional Memberships:
- National Association of the Education of Young Children (NAEYC)
- Missouri Association of the Education of Young Children (MO-AEYC)
- River Bends Association of the Education of Young Children (RB-AEYC)
- Association for Childhood Education International (ACEI)
- American Educational Research Association (AERA)


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A trendy twist on a classic solitaire ring. This gorgeous ring inspired by Mother Nature herself is ideal for the woman who wants something highly unique to display her eternal love.
The large pale blush morganite stone is the star of the show in this piece. It brings a romantic charm to any ring which makes it a striking alternative engagement ring stone with timeless appeal. Formed from an actual twig this precious band captures the essence of nature with incredible detail.
Give her a one-of-a-kind ring truly worthy of her finger. Her custom handmade engagement ring will be delivered to you in a charming ring box for safe keeping until you're ready to present it to her.
Never miss information on our latest designs. Let's stay connected on Facebook, and Instagram.
If you'd like to customize this ring with a different stone, please inquire about your options here.
Band width 1-2mm
Band thickness 1mm
Setting height 6mm
Setting width 7-8.5mm
Morganite size 0.80 carats, approximately 6mm diameter
All morganite is ethically sourced.
Handcrafted in the USA from recycled and repurposed gold.


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*The Balm Nude 'Tude can be bought from Feel Unique
The Balm Nude Tude Retails for €32.50 / £26 /$36
Very pretty!!ReplyDelete
I got mine in the end of November on Sale and i'm so happy that i decided to do so, i've been loving it ever since! The shades are beautiful and easy to work and like you said this is so versatile that you can create the most subtle day look and something more intense in a night look :) xxReplyDelete
its a great palette. so happy i got it myself as I debated for awhile, as I really didn't need another palette lol xDelete
Oooh I love that second look you createdReplyDelete
thank you lovely xDelete
Such a lovely palette! Love the eye looks you created :) x
I want this I want this I want this!! I have to treat myself soon! Great post Lauren Marie!
I love this palette! I got it for Christmas a few years ago and I've used it a lot since then. My favorite shade in the palette is Sexy. I don't own any other color like it!


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I would be the sunlight in your universe
You would think my love was really something good
Baby, if I could change the world" - Eric Clapton
The evening news parades a host of video footage of the devastation in Alabama after tornadoes ravaged through the area a few weeks ago and the devastation of the Tsunami that struck Japan. We regularly see images of the homeless on the streets of the cities of our nation and the abandoned children around the world who are hungry and without a family to care for them. After a while it all becomes overwhelming and depressing. We cannot change the world and eliminate all the suffering that we continue to see.
We all grew up with teachers telling us things like, "did you bring enough for everyone?", and leaders telling us things like, "If I did that for you, then I would have to do it for everyone." And, we are left with the idea that we have to treat everyone exactly the same. If we invest in one person or group that it is not fair unless we do it for everyone. Leaders are left to feel inadequate because they cannot go the extra mile for one person needing help, because they cannot extend the same level of assistance to everyone they contact. Is it really more important to feel like we are being fair with everyone or it it more important to be working to change something for someone?
How does one change the world? How can we make a difference in the suffering, hurting, loneliness, and devastation?
We can make a difference - one life at a time.
Despite what we have had drilled into our skulls over the years of "it's not fair" and "If I gave this to you, I would have to do it for everyone." We can make a difference one life at a time, one person at a time, one neighborhood at a time.
Invest in one person that you have regular contact with, do for that one what you wish you could do for everyone. Invest in one organization that is making a difference in someone's world. Look around. Find something that is actively making a positive difference and take a part.
What can that look like for you? Volunteering at a soup kitchen? Volunteering at a Nursing Home? Adopting a child? Skipping this year's vacation and going on a short term mission trip? Donating your used car to a single mother instead of trading it in?
"Let us not become weary in doing good, for at the proper time we will reap a harvest if we do not give up. Therefore, as we have opportunity, let us do good to all people, especially to those who belong to the family of believers." - Galatians 6:9-10 (New International Version)
For more on this subject, I suggest viewing this message:
One, No Everyone


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College Information Day on February 25th from 9:45 am to 11:00 am
RSVP Today!
Get the Information You Need to Make a Decision About Your Future
Come to our College Information Day on February 25th, and get a feel of what it's like to be a student at MIAT! Some of the things you'll be able to do are:
- Speak with instructors, staff members, and students
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- Take a tour of MIAT's aircraft hangars and equipment hangars
- Get information about the programs MIAT offers
and more!
The information you collect at this information day will enable you to make an informed decision about your career training, and your future.
Benefits of Becoming a MIAT Student
Some of the things that you'll benefit from as a student at MIAT are:
- Fast tracked technical training programs (programs range from 7-24 months)
- Nationally recognized employers hire MIAT graduates to fill technical positions for Aviation Maintenance, Energy, HVACR (heating, ventilation, air conditioning and refrigeration)
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Where and When is the College Information Day?
Come to MIAT College of Technology between 9:45 am and 11:00 am on February 25th and take the first step towards a brighter future. Located at 533 Northpark Central Dr., Suite 150 in Houston, TX.
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Other weirdness is that inside the yard—meaning someone threw it over the fence—was a black power hair pick, the cheap plastic sort that has a fist on the end of the handle.
People connect dots, but not always correctly. These things might not be related.
Why a vandal or a thief would throw away a hair pick is an idea for a story that I doubt I could write.
It'll be a handyman day. I already made the trip to Home Depot for plywood.


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PHU QUOC BEACH – PARADISE TROPICAL ISLAND (4-Day)
Hanoi/Hochiminh City - Phu Quoc Island
cicloferon aciclovir. Surrounded by more than 40 km of white beaches decorated with coconut palms, Phu Quoc, situated in the Gulf of Thailand near the Cambodian border, is Vietnamai??i??s largest island. Its western coastline is sparsely populated while the interior...View details


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People get into creative advertising for many different reasons. Some aspire to be creative, some crave fame, some think it sounds more fun or accessible or easier to get into than fields like architecture and engineering.
I got into advertising because I like challenges. For years, my personal mantra has been "Take the path of maximum resistance," which I openly stole from Deutsch CD and my former Chiat partner Jin Park. I loosely translate this to mean that the hardest way of doing something can often be the most rewarding, and at the very least there's more to learn along the way.
In advertising, every project presents a new and different set of challenges. Especially these days, between various platforms and channels, digital and social, mobile and experiential. The industry has never been more fragmented. When I went to portfolio school, there was print and there was TV. 99% of advertising was one of these two mediums. But in today's advertising environment, you can't just take what worked last time and apply it to the next brief. It's not just the piece of art that's different, it's the frame the art lives in.
A few years of doing traditional advertising taught me that I didn't find traditional challenging enough. I wanted to take on digital. So I freelanced on all sorts of digital projects for about a year, until I had the chops to join a strategic, tech-based agency that was all about ideas and innovations. That was over 4 years ago, which is just short of an eternity in advertising years.
After overcoming all types of digital challenges for the past 4 years, it's time to take on a new challenge. One I think is my second biggest challenge yet, well behind baby. I've gone and joined Leo Burnett NY, a small and growing outpost of the storied global network that focuses on branded arts and entertainment. I couldn't be more excited and scared.
I don't believe in ads, which is why I went digital in the first place. I believe in platforms that have a purpose and content that entertains. After having a hand in creating dozens of useful platforms, I'm ready to join a team that's all about producing amazing content that gets people talking.
After all, I didn't get into advertising to be comfortable. And I'm certainly about to start taking the easy route now. Here's to new things!
Here are some of the projects that made me want to join Leo Burnett NY in the first place:
Stage a Broadway play called 8 Million Protagonists.
Launch tech start-up FiLIP, a smartwatch for kids
Help the UN draw attention to World Humanitarian Day.
Collect the most interesting stories from people in the world's most interesting city.


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One of the best ways to test your limits, broaden your horizons, and learn more about yourself is to experience situations outside your comfort zone. And sometimes the most uncomfortable thing you can do is travel to a place with unfamiliar cultures, customs, and languages.
Culture shock, or feeling uneasy about experiencing a different culture, probably sounds like a bad thing at first, as being anxious and confused isn't exactly fun. But once you get past those feelings, you might find you've learned a lot about yourself and others in the process.
Work the World, an organization that sends students to countries all over the developing world for internships, created an infographic that lays out how culture shock can be beneficial. The infographic also shows how to get past the initial rough patch.
Check it out below:
(Header image via iStock)


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Conversations in Time: A Dialogue with Haroon Mirza
I was asked to be in dialogue with the visual and sound artist Haroon Mirza for the just released series of conversations that forms part of the Aarhus 2017 Capital of Culture-year programme. They are launched online now and feature many interesting dialogues and recordings.
Conversations in Time is a series of new dialogues inspired by Suzi Gablik's important book, Conversations Before the End of Time (1995).
Taking off from the prescient dialogues transcribed in Gablik's book, contemporary artists, writers and cultural thinkers ruminate on the question:
What is the purpose or role of art in an age of accelerating social change and environmental uncertainty?
New conversations will be added throughout the duration of the Aarhus European Capital of Culture 2017 Public Programme.
You can listen to our dialogue with Haroon here. Besides an engaging conversation partner, I was reminded that he is also a Winchester School of Art graduate (BA in Fine Art)!
And we are in excellent company: the other dialogues feature people like Marina Warner, Adrian Searle, Lara Pawson and several other influential writers, scholars, artists, etc.
On Lunacy – a radio piece
I was one of the Nordic artists (even if as a theorist) commissioned for the 2017 Works for Radio for the radio station The Lake. Based in Copenhagen, and transmitting via the Internet, the station asked the four commissioned artists to produce a piece between one and eight minutes in length and to relay the invite to four other Nordic artists.
The works are launched on Saturday 14th of January in Copenhagen and can be then listened as part of the programme flow at http://www.thelakeradio.com/.
You can download my piece, On Lunacy, here.
The original call for artists described the idea behind the commission:
"Radio art as a genre has a long tradition in the European public service institutions. Especially in the 1960s, the different national broadcasters commissioned new works from artists, writers, and composers made specifically for radio. This practice has declined over the years, and in Denmark it is almost lost. As a radio station The Lake wants to revive this tradition! Furthermore we want to bring more sounds into the aether, that are not necessarily music. How can art for radio sound? Through the project Works for Radio, The Lake is commissioning eight new sound pieces from Nordic artists."
A short context for my piece is described below.
On Lunacy
The piece is a speculative theory performance for radio. Jussi Parikka's text and reading together with artist, researcher Dr Jane Birkin (Southampton) starts with a reference to the German media theorist Walter Benjamin's (1892-1940) radio play Lichtenberg (1933). On Lunacy is less a commentary on Benjamin's play than an attempt to bring some of the themes into a discussion with contemporary issues of politics, technology and ecology. It starts with the roar of approval at the Tory conference in October 2016, after the prime minister Theresa May dismisses the work of human rights lawyers and activists. This roar is chilling and it resonates across many countries as a wave of populist, destructive contempt that takes different, varying forms in Europe, the USA, Russia, Turkey, etc.
On Lunacy discusses the media technological conditions of politics of voice and lack of voice, of what is heard and what is too painful to listen to. It enters into a discussion with a range of current debates about media technological transmission and interception, as well as nods to many relevant contexts in the history of radio too – from Orson Welles' War of the Worlds (1938) to the satellite broadcasts since the 1960s. I also had in mind the various sonic and artistic voices of past decades; from Gil Scott-Heron's Whitey on the Moon (1970) to the various sounds of Afrofuturism since the 1970s to name some even if they do not feature as explicit references in this work.
Radio is approached not merely as a medium of entertainment but one of military communication as well as the tactics of misinformation, confusion and mind control. Radio persists and is constantly reinvented, and the signal worlds persist in and out of the planet. The narrative trope of the moon and the interplanetary play a key role in this theoretical voice piece, but also offers a way to resurface back to the contemporary politics that features the return of the mainstream acceptance xenophobia, racism and politics of violence against particular ethnicities as well as the ecocide that haunts the contemporary moment.
On Lunacy ends with the recurring, burning question of politics (that also for example the French philosophers Gilles Deleuze and Felix Guattari posed): why do people desire their own enslavement?
Stephen Cornford offered assistance in editing and post-production of the sound. Thank you also to Ryan Bishop, the co-director of AMT research centre, who offered key thoughts on the cold war contexts of satellites and sound transmission.
The work stems from the new research and practice platform Archaeologies of Media and Technology (AMT) at Winchester School of Art.
Cue in Gil Scott-Heron, Whitey on the Moon.
Earwitnesses of a Coup Night
Update: This text is published inGerman in the Zeitschrift für Medienwissenschaft's blog, translated by Florian Sprenger. It is also published in Turkish in Biamag, translated by Doğan Terzi. Here is the original English version, which is also published on the Theory, Culture & Society journal's blog.
Earwitnesses of a Coup Night: The Many Media Infrastructures of Social Action
The particularly cruel scenes in Ankara and Istanbul from July 15th and 16th circulated quickly. From eye witness accounts to images detached from their context, media users, viewers and readers was soon seeing the graphic depictions of what had happened with the added gory details, some of them fake, some of them not.
Still and moving images from the hundreds of streams that conveyed a live account of the events left many in Turkey puzzled as to what is going on. Only later most were able to form some sort of a picture of the events with the coherence of a narrative structure. By the morning the live stream on television showed military uniform soldiers raising their hands and climbing down from their tanks. What soon ensued were the by already now iconic images of public punishment: the man with his upper torso bare and the belt as his whip, the stripped soldiers in rows shamed and followed up by the series of images of expressions of collective joy as most of Turkey was relieved again. The coup was over. The unity in resisting the coup was unique. As it was summarised by many commentators: even the ones critical of the governing AK Party's politics agreed that this was not a suitable manner of overthrowing an elected government.
However, what became evident immediately in the wake of the actual events was the quick spread of narratives and explanations about the coup night and its extent. As one journalist aptly and with a healthy dose of sarcasm put it:
The flux of commentaries on social media and in newspapers, columns and television deserved its own name: "coupsplaining" as @shokufeyesib coined it.
Also some rather established organisations like Wikileaks got quickly on the spectacle-seeking bandwagon of the coup attempt's repercussions. Turkish journalists and activist soon read and revealed that the so-called "AKPleaks"-documents were not really anything that interesting as it was advertised to be. As Zeynep Tufekci summarised: "According to the collective searching capacity of long-term activists and journalists in Turkey, none of the 'Erdogan emails' appear to be emails actually from Erdogan or his inner circle" while actually containing information that could be considered harmful to normal Turkish citizens instead.
Of course, besides commentators inside and outside Turkey, there was no lack of people with first-hand experience. Besides the usual questions that eyewitnesses were asked in many news reports about "how did things look like", another angle was as pertinent. How did it sound? The soundscape of the coup was itself a spectacle catered to many senses: the helicopters hovering around the city; the different calibre gunfire that ranged from heavy fire from helicopters to individual pistol shots; individual explosions; car horns; sirens, and the roaring F-16 that descended at times so low so that its sonic boom broke windows of flats. Such sonic booms have their own grim history as part of the 21st century sonic warfare as cultural theorist Steve Goodman analysed the relation of modern technologies, war and aesthetics. As has been reported for years, for example Israeli military has used sonic noise of military jets in Palestine as a shock technique: "Palestinians liken the sound to an earthquake or huge bomb. They describe the effect as being hit by a wall of air that is painful on the ears, sometimes causing nosebleeds and 'leaving you shaking inside'."
In the midst of sonic booms, a different layer of sound was felt through the city: the mosques starting their extraordinary call to prayer and calls to gather on the streets. The latter aspect was itself triggered by multiple mediations that contributed to the mobilization of the masses. Turkish President had managed to Facetime with CNN-Turk's live broadcast and to call his supporters to go on the streets to oppose the coup attempt. By now even the phone the commentator held has become a celebrity object with apparently even $250,000 offered for it.
But there was more to the call than the ringtone of an individual smartphone. In other words, the chain of media triggers ranged from the corporate digital videotelephony to television broadcasting to the infrastructures of the mosques to people on the streets tweeting, filming, messaging and posting on social media. All of this formed a sort of a feedback-looped sphere of information and speculation, of action and messaging, of rumours and witnessing. Hence, there was more than just traditional broadcast or digital communication that made up the media reality of this particular event.
The mosques started to amplify the political leadership's social media call by their own acoustic means. Another network than just social media was as essential and it also proved to be irreducible to what some called the "cyberweapon" of online communications. As one commentator tried to argue commenting on the events in Turkey: "But, this is the era of cyberpower. Simply taking over the TV stations is not enough. The Internet is a more powerful means of communication than TV, and it is more resilient — especially with a sophisticated population." However, there were also other elements in the mix that made it a more interesting and a more complex issue than merely about the "cyber".
Turkish artist and technologist Burak Arikan had already in his earlier work mapped the urban infrastructure of Istanbul in terms of its mosques, malls and national monuments. "Islam, Republic, Neoliberalism" (2012) employs his critical mapping methodology to visualise how structures of power are part of the everyday whether we always realise these relationships or not. Based on his research, Arikan devised three maps of those architectural forms and how they connect. According to Arikan, the "maps present a comparative display of network patterns that are formed through associations linking those architectural structures that represent the three dominant ideologies –Islam, Republic, Neoliberalism– in Turkey."
During the coup weekend, it was the network of the mosques and their minarets that became suddenly very visible – or actually, very audible. While the regular praying times have become such an aural infrastructure of the city that one does not necessarily consciously notice it, the extraordinary calls from imams reminded how dense this social, architectural fabric actually is. The thousands of Istanbul mosques became itself an explicit "sonic social network" where the average estimated reach (300 meters) of sound from the minarets is too important of a detail to neglect when one wants to understand architecture as solidifying social networks in contemporary Turkey. In the context of mid-July it was one crucial relay of communication between the private sphere in homes, the streets and the online platforms contributing to the mobilization of the masses. The musicological perspective has highlighted how sound and noise negotiate conflict across private and the public and we can extend this to a wider media ecological perspective too. This is where art and design practices can have an instrumental role to play in helping us to understand such overlapped media and sensorial realities.
Artists such as Arikan have investigated the ways how online tools and digital forms of mapping can connect to issues of urban planning and change. The visual artwork helps us to also understand how there are other social realities, less front of our eyes even if they are in our ears. This expands the wider sense of how media is and was involved in Turkey's events, and it gives also insights to new methodologies of artistic intervention in understanding the coupling of media, architecture, visual methods and the sonic reality of urban life. And in this case of the bloody events of the coup weekend, much of the personal experience of "what happened" is now being narrated in Turkey in terms of what it sounded like – another aspect of the media reality of the coup attempt's aftermath.
White Stripes to Zombie Media – A Theme Tune
Jack White might not agree but White Stripes' "Rag & Bone" goes at the top of my list for the theme tune for zombie media and media archaeology. Listen to it.
If you don't want it, we'll take it; if you don't want to give it to us, we keep walking by.
Keep going, we're not tired.
Got plenty of places to go, lots of homes we ain't been to yet.
West side, southwest side, middle-east, rich house, dog house, outhouse, old folks house, house for unwed mothers, halfway homes, catacombs, twilight zones.
Looking for techniques, turntables to gramophones.
So take a last lick of your ice cream cone.
And lock up what you still want to own.
But please be kind.
And don't rewind.
All of your pretty, your pretty little rags and bones.
All that obsolete stuff and junk, piled up, ready to be used, reused, modified and reappropriated – your rags and bones that fill the attic, the junkyard, the garage.
Of course, this applies to Jack White/White Stripes more generally too. He might not acknowledge that also the pre-digital is technological but still, this is where it actually gets interesting. For instance recording in non-digital studios (Elephant was recorded in London, at Toerag Studios):
"Microphones, a piano, drum kit, reel-to-reel recorders, lots of tape and a carefully wielded razor-blade."
It's all tech, and scholars of music technologies and sound recording could tell much more about that. For Kittler, of course, it was about the reuse of war technologies in the studio, from Stockhausen's late 1950s use of "the pulse generator, indicating amplifier, band-pass filter, as
well as the sine and square wave oscillators ", all remnants " discarded U.S. Army equipment" (1999: 97) to Abbey Road . Microphones and tape technologies, all points to the primacy of the studio as this set, place of experimental modes of time axis manipulation and hence reality manipulation. Continuing with Kittler: "Berliner's primitive recording technology turns into a Magical Mystery Tour. In 195 4 , Abbey Road Studios, which not coincidentally produced the Beatles' sound, first used stereo audiotapes; by 1970 eight-track machines had become the standard; today discos utilize 3 2 or 64 tracks, each of which can be manipulated on its own and in unison.226 "Welcome to the machine, " Pink Floyd sang, by which they meant, "tape for its own ends-a form of collage using sound ." In the Funkspiele of the Abwehr, Morse hands could be corrected; in today's studios, stars do not even have to be able to sing anymore. When the voices of Waters and Gilmour were unable to hit the high notes in "Welcome to the Machine," they simply resorted to time axis manipulation: they dropped the tape down half a semitone while recording and then dropped the line in on the track." (109)
Similarly, it's the operative technics that allows Jack White to do his rag & bone sort of technicity, completely technological too, and why not even a bit of zombie mediaesque in some of its valorisation of the media archaeological moment. Obviously, part of the narrative of rock is the insistance on the authencity which itself is consolidated through technical media.
And that is the trick. In the perceptive note by Ryan Bishop and John Phillips, in their book on avantgarde aesthetics and military/modern technologies they write of this constitutive role of media as environments for such a narrative that keeps on recurring — and is itself recursive in relation to the technological platform sustainining it: " […] recording technology – like military surveillance technology – is designed to reduce the evidence of the technology itself, bringing the performance into your living room or bar, replacing "live" music, perhaps to the detriment of live performers." (2011: 89).
Humm your code, "dah-dit-dah-dit"
Media amateurism has been an integral part of modern culture way before social media kicked in with its own DIY spirit. The electronic hobbyists and tinkerers of 1970s were themselves too preceded by so many earlier forms of learning communication and building circuits. Code-based culture does not then begin with software as we know it – from the emergence of computing and the much later emergence of computer languages as separate entities that relate to the mythologies of coders, hackers and controlling the hardware through the magical language of code (for a wonderful recent excavation into ontologies of software, see Wendy Chun's Programmed Visions).
"Thousands of Radio Amateurs find it easy to Learn Code", read a main title in Popular Science (March 1932), describing the process of getting a radio amateur license and the earlier technological discourse concerning machine-knowledge. Radio amateurism and wireless DIY of the earlier decades of 20th century represents itself perhaps one of the most important media archaeological reference points when thinking about contemporary technological DIY culture, and one can find interesting ideas from that discourse. The way knowledge about machines, code and the professionalism is standardized and practice is itself fascinating – DIY as a crash course into key scientific discoveries of modernity, practically applied. Electrical functions needed to be internalized into a hands-on skill, as the article describes: "You must first master the elementary principles of electricity as given in the simpler textbooks on the subject. Then you must apply the principles of magnetism and electromagnetic action plus an understanding of the radio vacuum tube to mastering simple radio transmitting and receiving circuits. […] You don't have to know all the ins and outs of complicated radio broadcast transmitting circuits, nor do you require a detailed knowledge of elaborate receiving circuits such as the heterodyne." (72)
This class of amateurs was however someone who was part of a nationally regulated standardization process flagging the importance of this system of transmission – this regulation had to do with technical knowledge, ethics and legalities as well as speed of communication, or skills more widely: The amateur operation license test was the way to become an operator – the mythical figure still living in such discourses as The Matrix-film(s), the one in charge of the communication field – what message goes where, interpreting of code, sending of things, packets, people to addresses.
But it was grey, this area of knowledge – or at least reading through the regulations. Take paragraph 9 of the Radio Division Regulations for Operators: "Amateur Class. Applications for this class of license must pass a code test in transmission and reception at a speed of at least 10 words per minute, in Continental Morse Code (5 characters to the word). An applicant must pass an examination which will develop knowledge of the adjustment and operation of the apparatus which he desires to use and of the international regulations and acts of Congress in so far as they relate to interference with other radio communications and impose duties on all classes of operators." Speed – speeding up of communication as part of modernity – was something that was still tied to the skills of the operators, and slowed down by the human needing to be trained.
Code, as indicated in the passage, meant of course Morse Code. Dit-dit-dit-dah. A tip given in Popular Science relates to a sensory approach to code as not only abstract pattern but something that relates to your ears and mouths: "In memorizing the code, try to think of the letters as different sounds rather than as so many dots or dashes. Think of the letter C, for example, as "dah-dit-dah-dit" and as dash followed by dot, followed by dash, followed by dot." (73) Carnal knowledge? Code in the flesh sounds much too poetic, but at least we could say, code in your mouth, ringing in your ears, feedback to your fingers tapping. Code, signal processing, transmission share so much with cultures of music, rhythmics, sound and voice.
(Forthcoming and related: a podcast interview with Paul Demarinis about hands-on, carnal knowing of technical media and media archaeological art.)
Ghostly reincarnations: an interview with Katy Price
This one-question mini-interview with Dr Katy Price (Anglia Ruskin University) is a follow-up on the interview I did with Aleks Kolkowski. Katy has collaborated with Kolkowski on the old sound machine remediations, and has herself done various projects on sound and word art – as well as being a researcher interested in the interchanges between science and literature. I find her take on materialities, appropriation of science and tech, and experimental, playful and inventive take on these themes fascinating. I asked Katy to elaborate a bit how she sees working with obsolete technologies, and how does her word art intertwine with media archaeological themes and Kolkowski's work with old recording tech:
Katy, you have recently collaborated with Aleks Kolkowski on a project that involves working with old media, appropriating old recording technologies such as Edison wax cylinder discs for creative practice, creative writing. Already before you have been interested in your word art (see for instance here) in working with sound, and creative music technologies, but what specifically makes working with these kinds of "obsolete" technologies interesting? Could you elaborate a bit on your artistic methodologies and interest in these themes (old media, co-curation with audiences as the project now with Science Museum, etc)?
Dr Katy Price: Thanks for asking about this Jussi. For me it is all about the relationship between our use of the latest consumer items and our making through history. A heightened awareness of this relationship – and ways to share this as entertainment.
The past informs how we use and think about our bodies and their companions or additions or substitutes. One way to experience this is through reading about the past and receiving inspiration from historians. Somebody like Paul Fussell points out that memory of the First World War – mud, wire, slaughter and filling in surreal forms – shapes everyone's identities, even if we weren't born yet. Or Paul Théberge traces how we assumed the identity and practices of consumers: not just of music but consumers in the act of music-making. All the way from the pianola to MIDI and sampling.
Those are both stories that begin around the start of the twentieth century and there is a great appeal for me in this period because you can almost see, taste, hear the past and the future washing up against each other on the street and in people's homes: bowler hats and horse-drawn carriages collide with illuminated advertising, cinema, 'noiseless' typewriters. I think we would laugh so hard if we suddenly found ourselves on Piccadilly in 1925. And instantly want one of everything. People had a lot of hopes and vision – you could dream about inventing anything, from a new type of escalator to a new society. At the same time there was a lot holding people back – no such thing as maternity leave; lots of brothers, fathers, lovers, left behind in the mud in France or falling apart at home. Under those circumstances, dreaming about the future is both necessary and tough, even impossible. I think we could do with knowing how to be a bit like that now.
The audience for academic books is quite restricted and also the mode of experiencing messages from / about the past is limited to reading the book and perhaps making images in your mind or writing some notes. I found a different angle from the experience of musical artefacts on display and in performance. At the Science Museum in London there is a brilliant case in the Making the Modern World gallery. It is a jumble of items (actually organised by inspiration from a curious thinker called Patrick Geddes) and in one corner you have a Stroh violin next to an ammoniaphone – for use by opera singers and the clergy, to improve their voice before performance with a gust of ammonia – phew! Nearby there is a prosthetic arm. Because the case isn't directly telling me how to relate these items or how to think of their place in history, I feel almost the privilege of having come across them in a curiosity shop.
But you can't play with the items in the museum case, or see them in use.
Aleks Kolkowski has collected and restored the only working Stroh quartet: two violins, viola and cello. Instead of wooden bodies they have a metal horn (enormous on the cello). Completely mechanical: no electricity! The horn is attached to a diaphragm which picks up the sound – you play it with the bow as normal, but it sounds almost reedy, and much louder in the direction of the horn. It was used until the 1920s to make the strings audible on early gramophone recordings, before microphones. The group Apartment House played a concert on the Strohs in Cambridge a few years ago, including a piece by Aleks which incorporated two cylinder phonographs. They were all attached together with plastic tubes, which struck me as a mechanical parody of electronic connectivity. It got me thinking about how artefacts in performance can give the audience a chance to think about today's technology in our lives by seeing an amusing or strange performance with obsolete items.
The next thing I saw was a concerto for Pianola and iPhone composed by Julio d'Escriván, which he performed with Rex Lawson. Rex is a great showman and he is happy to show the audience how the pianola works. Julio is interested in how audiences perceive the minimal gestures of laptop musicans, and he works with the iPhone in ways that make us aware of our own need for a correlation between gesture and output sound. The combination made me think that performances like this can invite us to see the new gadgets as artefacts for a moment.
I am now working a little bit with the Science Museum on how to use creative writing as part of the process of co-curation / co-creation. This means that audience groups are invited to select objects and tell stories about or through them, for display in an exhibition. So far we spent 2 days with a group of young people. Aleks showed them his phonographs and gramophones, and talked about these mechanical objects. I got them to write monologues and poems. For example: what the gramophone said to the ipod and the other way round. Then we recorded these works onto wax cylinders and gramophone discs. They were captivated by the items from Aleks' collection: the look and feel, the sound of themselves coming back in this ghostly form. They found the mechanical process mysterious and intriguing – which it is. How can sound be captured and played back without electricity?They learned a bit about the history of sound recording and we had a lot of fun. Their writing was amazing and I think there is a lot more we could do with speaking through these artefacts: unlike other forms of object writing, you have the opportunity for double voicing when it is recorded and played back using this item.
Aleks is building up a phonograph archive of wax cylinder recordings of contemporary artists and musicians. I won't say too much about this for now but prepare to be amazed when it is launched… I have heard some of the cylinders and the effects are stunning. They will be digitised and online soon. For the archive I wrote a poem in two voices: Thomas Edison and Charles Cros, who had the idea for the phonograph at the same time but Edison got it on the market first. We recorded one voice on the cylinder and the other one over the top, so that they weave in and out of each other. When Aleks told me about Cros, his interest in language and plans for communication with extra-terrestrials, I recognised him as one of those hopeful impossible figures of his time. He clearly deserved to be reincarnated on a wax cylinder, interfering with Edison's confidence.
The Creative Technologies Review-podcasts
One of the highlights of my pre-academia career as a freelance journalist when during a phone interview the interviewee, a female at a telecommunications company marketing department or something of approx. 35 years of age, interrupted me: "Oh I am sorry to interrupt the interview but I just have to say you have an amazing telephone voice."
I blush, stutter, and for a second wonder if my future career is somewhere where I could put my voice into better use, such as in some of those dubious 0800-numbers that offer services of very wide variety.
Instead, I end up as an academic.
Despite the shortness of the flirtation with the idea of using my voice to make money, I have been drawn into something again where I need to talk – publicly. The shock horror at first, but then realizing its actually enjoyable despite the fact that there is always a tiny region in your brain that is probably trying to say something very inappropriate.
Anyhow, CoDE-institute and me with Julio D'Escrivan (whose original idea this was) present: the Creative Technologies Review-podcasting series that commenced in August 2010.
We label it as
"A podcast on technology and creativity, technology mostly misused, unintentionally artistic technology and music technology with the odd splattering of digital economies" and hope it to be usually a 30 min aberration into the interminglings of technology, net culture, a slight dash of political economy, academic stuff and lots of media arts.
It features interviews of creatives, techs and academics, and aims to throw a spotlight both on the work done at CoDE institute in Cambridge but also more widely (as in globally) on creative technology and arts. I am suspecting it turns out to be quite focused on sound, knowing Julio's interests and expertise in sound art, sonicity, but it will definitely splash into other fields of expression too and I am sure to throw in a nice dose of media theoretical meditation.
Its hopefully soon available on Itunes, but meanwhile episodes can be downloaded here.
Please get in touch if you have feedback, or suggestions for themes, sites, projects, etc. to be featured!


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Greensboro Library, NCHome Menu
McNairy Moonlanding Festival
- Date: 07/20/2019 2:00 PM - 5:00 PM
- Location: Glenn McNairy Branch Library
4860 Lake Jeanette Rd.
Greensboro, North Carolina 27455
- CostFree
Join us for a celebration of the 50th anniversary of the Moonlanding! Enjoy games, crafts, and activities for all ages commemorating space exploration, the moon, and the last fifty years of American history!Return to previous page >>


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S0122: Combination Chemotherapy, Radiation Therapy, and Vaccine Therapy in Limited-Stage Small Cell Lung Cancer
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT00045617
Recruitment Status : Terminated (Closed due to lack of drug availability.)
First Posted : January 27, 2003
Last Update Posted : June 13, 2012
- Study Details
- Tabular View
- No Results Posted
- Disclaimer
- How to Read a Study Record
RATIONALE: Drugs used in chemotherapy use different ways to stop tumor cells from dividing so they stop growing or die. Radiation therapy uses high energy x-rays to damage tumor cells. Vaccines may make the body build an immune response to kill tumor cells. Combining chemotherapy and radiation therapy with vaccine therapy may kill more tumor cells.
PURPOSE: Phase II trial to study the effectiveness of combining chemotherapy and radiation therapy with vaccine therapy in treating patients who have limited-stage small cell lung cancer.
|Condition or disease
|Lung Cancer
|Biological: monoclonal antibody 11D10 anti-idiotype vaccine Biological: monoclonal antibody GD2 anti-idiotype vaccine Drug: cisplatin Drug: etoposide Radiation: radiation therapy
|Phase 2
- Determine the efficacy of cisplatin, etoposide, and thoracic radiotherapy followed by cisplatin, etoposide, monoclonal antibody 11D10 anti-idiotype vaccine (TriAb), and monoclonal antibody GD2 anti-idiotype vaccine (TriGem), in terms of overall and progression-free survival of patients with limited stage small cell lung cancer.
- Determine the immune response to each of the 2 anti-idiotype vaccines when used in this regimen in these patients.
- Determine the qualitative and quantitative toxicity of this regimen in these patients.
- Determine the response rates (confirmed and unconfirmed, complete and partial) in patients with measurable disease treated with this regimen.
OUTLINE: This is a multicenter study.
- Induction therapy: Patients receive cisplatin IV over 1 hour on days 1, 8, 29, and 36 and etoposide IV over 1 hour on days 1-5 and 29-33. Thoracic radiotherapy is administered 5 days a week, beginning on day 1 of chemotherapy, for 5 weeks. Patients then undergo radiotherapy boost for 1.5 weeks.
Patients with stable disease or at least partial response proceed to consolidation therapy.
- Consolidation therapy (begins within 3-5 weeks of the last dose of induction chemotherapy or radiotherapy): Patients receive cisplatin IV over 1 hour on day 1 and etoposide IV over 1 hour on days 1-3 of weeks 11 and 14. Patients also receive monoclonal antibody 11D10 anti-idiotype vaccine (TriAb) and monoclonal antibody GD2 anti-idiotype vaccine (TriGem) intradermally on day 1 of weeks 11, 13, 15, and 17 (4 injections) and then monthly subcutaneously for 2 years. Treatment continues in the absence of disease progression or unacceptable toxicity.
Patients who achieve complete response after consolidation chemotherapy undergo cranial radiotherapy 5 days a week for 3 weeks.
Patients are followed every 3 months for 2 years and then every 6 months for 3 years.
PROJECTED ACCRUAL: A total of 90 patients will be accrued for this study within 18 months.
|Study Type :
|Interventional (Clinical Trial)
|Actual Enrollment :
|9 participants
|Intervention Model:
|Single Group Assignment
|None (Open Label)
|Primary Purpose:
|Official Title:
|A Phase II Trial of Patients With Limited Stage Small Cell Lung Cancer Treated With Thoracic Radiation Therapy and Chemotherapy With Cisplatin/Etoposide Followed by Cisplatin/Etoposide and Anti-Idiotype Monoclonal Antibody Vaccines
|Study Start Date :
|January 2003
|Actual Primary Completion Date :
|May 2003
|Actual Study Completion Date :
|May 2003
Experimental: cisplatin and etoposide followed by vaccine
standard chemotherapy with cisplatin and etoposide followed by cisplans and etoposide with an anti-idiotype monoclonal antibody vaccine
Biological: monoclonal antibody 11D10 anti-idiotype vaccine
Biological: monoclonal antibody GD2 anti-idiotype vaccine
Drug: cisplatin
Drug: etoposide
Radiation: radiation therapy
- overall survival [ Time Frame: up to 5 years ]time from date of registration to date of death
- immune response [ Time Frame: at Week 10 ]T-cell proliferation and HAMA testing
- toxicity assessment [ Time Frame: 22 weeks ]assessment of qualitative and quantitative toxicities
- response [ Time Frame: 25 weeks ]RECIST partial and complete response
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|18 Years and older (Adult, Older Adult)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
- Histologically or cytologically confirmed limited stage small cell lung cancer (SCLC)
- Evidence of disease by CT scan of the chest
- Measurable or evaluable disease outside of area of prior surgical resection
- No malignant pericardial or pleural effusions (cytologically positive effusions or exudative effusions not attributable to other etiologies)
- No CNS disease by chest CT scan or MRI
- 18 and over
Performance status
- Zubrod 0-1
Life expectancy
- Not specified
- Absolute neutrophil count at least 1,500/mm^3
- Platelet count at least 100,000/mm^3
- Not specified
- Creatinine no greater than upper limit of normal OR
- Creatinine clearance at least 60 mL/min
- No prior hypersensitivity or contraindication to monoclonal antibody 11D10 anti-idiotype vaccine (TriAb), monoclonal antibody GD2 anti-idiotype vaccine (TriGem), or aluminum hydroxide
- No known sensitivity to rodent proteins (i.e., anti-OKT-3, ONCOSCINT scan)
- No grade 1 or greater symptomatic sensory neuropathy
- No other malignancy except adequately treated basal cell or squamous cell skin cancer, carcinoma in situ of the cervix, adequately treated stage I or II cancer in complete remission, or any other cancer for which patient has been disease free for 5 years
- If significant clinical hearing loss already present, must accept risk of further hearing loss
- Not pregnant or nursing
- Negative pregnancy test
- Fertile patients must use effective contraception
Biologic therapy
- No prior biologic therapy for SCLC
- No prior TriAb or TriGem
- No prior murine antibodies
- No prior mouse proteins
- At least 30 days since prior immunotherapy
- At least 30 days since any prior immunization
- No prior systemic chemotherapy for SCLC
- No concurrent cyclophosphamide or methotrexate
Endocrine therapy
- At least 30 days since prior systemic corticosteroids
- No concurrent systemic corticosteroids (except as an antiemetic)
- No prior radiotherapy to the thorax or neck region
- No concurrent intensity modulated radiotherapy
- See Disease Characteristics
- At least 2 weeks since prior thoracic or other major surgery and recovered
- At least 30 days since prior investigational agents or devices
- No other concurrent investigational agents
- No other concurrent immunosuppressants (e.g., cyclosporine)
- No concurrent chronic systemic antihistamines
- No concurrent amifostine
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT00045617
|Study Chair:
|Abdul-Rahman Jazieh, MD, MPH
|Barrett Cancer Center
|Responsible Party:
|Southwest Oncology Group
|ClinicalTrials.gov Identifier:
|Other Study ID Numbers:
S0122 ( Other Identifier: SWOG )
U10CA032102 ( U.S. NIH Grant/Contract )
|First Posted:
|January 27, 2003 Key Record Dates
|Last Update Posted:
|June 13, 2012
|Last Verified:
|June 2012
limited stage small cell lung cancer
Lung Neoplasms
Small Cell Lung Carcinoma
Respiratory Tract Neoplasms
Thoracic Neoplasms
Neoplasms by Site
Lung Diseases
Respiratory Tract Diseases
Carcinoma, Bronchogenic
Bronchial Neoplasms
Antineoplastic Agents, Immunological
Antibodies, Monoclonal
Immunoglobulin Idiotypes
Immunologic Factors
Physiological Effects of Drugs
Antineoplastic Agents
Antineoplastic Agents, Phytogenic
Topoisomerase II Inhibitors
Topoisomerase Inhibitors
Enzyme Inhibitors
Molecular Mechanisms of Pharmacological Action


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Research, it's how we learn about the things we need to know. I recently came across an article reporting a woman's unfair dismissal for bringing food to work that was not halaal. Now do I really have to point out the discrimination here? Whats next forcing employees to convert? And the idea that a boss knows what the chick flipping the chips out the fryer has brought for lunch sounds like creepy crazy communism. Further reading I find out that KFC is in fact a Islamist vibe. Ok, all good but what is the deal with Halaal food? What makes it so special?
Halaal, from what I can gather, can be translated, as closely as possible, as meaning permitted or lawful. It's not about blessings or prayers or some holy man sprinkling water anywhere. From what I understand the animal is basically kept the way I would imagine organic livestock is kept. Free to roam, graze, a somewhat happy life for what is essentially just food for us. So yeah, I am all down for that else why am spending the little extra on organic (well except wine, organic wine is cheap and fantastic-balls) goods every month.
The slaughtering method is also better. A few tests measured the pain an animal slaughtered the Islam way and then on one slaughtered the western way, and the Halaal method proved to be kinder to the animal. Ok, so cool stuff, I dig that too, show my food my humanity before I take its life.
So at the end I realized that I would bye Halaal food in the way that I buy organic food, I agree completely with the method.
However, then I came across a section on how evil pork is. Admittedly I don't eat pork other than bacon, no gammon, no chop, no steak… No pork product other than bacon. Now all that is said about the filthy pig is true to some degree, the severity may be over exaggerated a bit, but this one section just made me piss myself out loud…
The pig is the most shameless animal on the face of the earth. It is the only animal that invites its friends to have sex with its mate. In America, most people consume pork. Many times after dance parties, they have swapping of wives; i.e. many say "you sleep with my wife and I will sleep with your wife." If you eat pigs then you behave like pigs. We look upon America to be very advanced and sophisticated. Whatever they do, we follow after a few years. According to an article in Island magazine, this practice of swapping wives has become common practice in South Asia
It made me laugh for so many reasons, because pigs love group orgys, Americans are all busy swopping wives after dinner parties and Muslims all of a sudden care about woman. And never mind that the piece on pigs started off by saying: to non-Muslims and atheists that even they could reason with logic, and the reasons for not eating pork is logical.
Pig orgy…? Logic? As if dogs are monogamous.
Then by the end they really hit the nail on the head by finishing with…
This proves that the more science advances the more Islam is shown correct as a religion of God.
… Since when do Jews eat pork, and correct me if I am wrong but hasn't the Jewish ideals been around far longer than the Islamist? Just saying, if the science around the filth of pork proves a religions theory was right then isn't it the first one to cross the finish line wins?
So by the end there is one thing left to ask, how does KFC manage to give all those chickens a "happy" life. In my minds eye a mass production of food requires a massive supply of product, where are all these chickens running around so free… Something smells fishy…?


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AsGUARD® Exceed I.V. Dressing
The range of AsGUARD® Exceed I.V. dressings are constructed from a High MVTR film, which allows for excess moisture to evaporate, combined with a laminated non-woven border for securement and enhanced fixation.
Suitable For:
- I.V Access Sites
Product Features:
- Clear film for insertion site monitoring
- Insertion date label supports maintenance of procedure documentation
- May assist in minimising the risks of CLABSIs when managing PICC and central lines
- Fixation strips to secure cannula I.V. lines and ports
- Reorder: ISB312
- Brand: AsGuard® Exceed I.V.
- Size: 8.5cm x 10.5cm
- Sterility: Sterile
- Colour: -
- Feature: High MVTR
- Pcs/Unit: 100
- Units/Ctn: 16


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Lindsey's 2! ....and I am love struck! People always said it is different when you have a girl, "she will have you wrapped around your finger", they said. I think there may be some truth to that. She is all personality and full of spunk. She isn't nicknamed "Linz monster" for nothing. For Lindsey's 2nd birthday we produced a video to capture her beautiful and joyful personality. After watching this video you may ask where are the terrible twos? Well stay tuned for the outtakes, there are plenty...."I want MOMMY!!!!"...."No!"....not on tape, but her latest favorite, shaping her hand like a gun...."freeze sucka". I don't know where that came from, but she does have 2 older brothers.
Well so far I am keeping up on my promise of creating videos for my kids....coming soon...Ethan turns 8....stay tuned. Until then you can see more birthday & family videos here: Lindsey's First Video, Everyday Superhero - Jordan Turns V, Everyday Superhero Outtakes & the now famous We are Family which is still our top viewed video at 289 views in the past month and a half.
Lindsey, thank you for allowing me to create this video for you, you are an amazing little girl. I can not wait to see what the future holds for you. Your bubbly personality and beautiful heart has won me over. You are truly a sweetheart. Keep approaching life with your passion and reckless abandoned. I love you! -Dad


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Upstairs Downstairs
Rose Buck returns to TV
Jean Marsh co-created and starred in the classic British drama in the early 1970s. Now back with a sequel, she tells Bill Newcott what it's like to return to her most famous role.
Join the Discussion0 | Add Yours
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Things are getting really tough for the aam aadmi. Now according to official data reports , the Petrol prices in the country have touched their highest levels since 2014. In the last three years, the petrol price hit its highest at Rs 81.75 per litre in Mumbai on 1 August 2014.
Meanwhile, under the daily revision of fuel prices, petrol in Mumbai on Wednesday cost Rs 79.48 a litre, breaching the level it last touched in August 2014.
According to various media reports, petrol per litre cost Rs 70.38 in Delhi, Rs 73.12 in Kolkata and Rs 72.95 in Chennai while diesel price was Rs 58.72 in Delhi, Rs 61.37 in Kolkata, Rs 62.37 in Mumbai and Rs 61.84 in Chennai.
Petroleum products do not come under the Goods and Services Tax (GST) and prices vary at locations according to state taxes.
Congress media cell chief Randeep Surjewala in his tweet lashed out at the fuel hike and wondered how it will hit hard the common man .
'BJP's Fuel Loot' continues as Petrol-Diesel prices are 3 yr high!Burning holes in the pocket of common people is the sole aim of Modi Govt pic.twitter.com/YiBgSMODvn
— Randeep S Surjewala (@rssurjewala) September 13, 2017
The Indian basket, comprising 73 percent sour-grade Dubai and Oman crudes, and the balance in sweet-grade Brent, closed trade on the weekend on Friday at $53.63 per barrel, according to the Petroleum Ministry.
The oil basket had gained over a dollar at the start of last week on Monday to close at $51.34 for a barrel of 159 litres.
Earlier this month, Petroleum Minister Dharmendra Pradhan said the dynamic pricing regime would continue despite petrol prices going up by over Rs 7 per litre since the scheme was introduced pan-India from mid-June.
He said dynamic pricing ensures that the benefit of even the smallest change in international oil prices can be passed down the line to the dealers and the end-users.
"Daily revision in prices is good. When we started daily revisions on June 16, rates dropped in the first fortnight. Thereafter, it has increased mainly because of rise in global oil prices," he said.
Daily revision allows any fall in international oil rates to be passed on to consumers immediately rather than having to wait for 15 days as in the old system, he added.
"Should prices be hiked by Rs 2.50 or Rs 3 per litre in one go or they should be spaced out in small doses," he asked.
Earlier, the state-run oil marketing companies used to review and revise retail fuel prices every fortnight on the basis of global crude oil prices, while the revision took effect from midnight.
Dynamic fuel pricing is followed in many developed countries and India opted for it as a response to the recent volatility in global crude oil prices.
The basket of crude oils of the 13-nation Organisation of Petroleum Exporting Countries (OPEC) breached the psychologically-important $50-a-barrel-mark also last week, to close at $50.36 a barrel on September 4. As per latest data, the OPEC basket closed on Friday at $52.53.
Last month, two of OPECs biggest members — Saudi Arabia and Iraq — expressed their commitment to abide by an agreement to cut oil production that was signed earlier between OPEC and 10 other nations.


text: You can save a lot of money by buying second-hand items and resisting the urge to buy unnecessary products. By Cameron Huddleston, Former Online Editor April 26, 2010 My neighbors are about to have their first child, so I'm using the opportunity to unload -- er, donate -- baby gear my children no longer use. I'm glad these items will get more use, and my neighbors are delighted to receive costly products for free. The fact that it's second-hand doesn't bother them a bit.That's the attitude more first-time parents need to take because it isn't worth it to spend big bucks on items baby will use only for a couple of years -- or doesn't really need. Sure, it's better to buy some items new (car seats, for example). But you'll save a lot by buying second-hand products, making some items do double duty and bypassing unnecessary baby gear. Just be sure to check for recalls before buying used items. Sponsored Content Don't buy … Play mat. Just toss a thick blanket on the floor and let baby look up at you because he craves face time with mom and dad most. Besides, once baby starts sitting, he won't be interested in this toy geared toward infants who can only lie on their backs. Advertisement Exersaucer. These are for babies who can sit but can't walk yet. My pediatrician told us to keep our daughter out of the Exersaucer because it was forcing her to stand on her tiptoes too much (not good for hamstring development). If you need to confine baby – while you make dinner, for example -- let your portable crib do double duty as a playpen. Changing table. This somewhat pricey piece of furniture serves one purpose, which will be obsolete in about three years when baby starts using the potty. Set up a changing station on top of a low, sturdy dresser instead. Diaper-disposal bin -- especially the kind that doesn't let you use standard trash bags. A trash bin with a lid will work -- at a much lower cost. A lot of fancy clothes. Baby grows so fast in the first year that she may only wear that fancy dress once. You're better off sticking to cheap onesies and second-hand clothing. Advertisement Diaper bag. A large purse will do the trick, will likely be cheaper and more fashionable, and can be used beyond the baby years. Don't go without … A budget so you don't go into debt outfitting the nursery. Life and disability insurance to provide for your family if you no longer can. Advertisement Health insurance to make sure baby is covered. A will to designate a guardian for your child. See Your Most Important Baby Gear for more information about these four financial items every parent needs. And in the reader comment box below please share your advice on what baby gear new parents shouldn't buy.


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As the book opens, Streeter is in pursuit of a very sexy woman named Story Moffatt. She's the hard-charging owner of an advertising agency, and she's claiming debilitating injuries suffered in an accident. She's hoping to cash in on a big insurance settlement, but her plans go down the tubes when Streeter snaps pictures of her playing a mean game of squash with no apparent difficulty at all.
Story is disappointed, of course, but she's also a realist. And she could use a man like Streeter. Her boyfriend, a realtor and drug dealer, has recently died in a car crash. His will left everything to Story and she knows that he had a huge stash of cash concealed somewhere. She's been unable to find it but figures that someone as resourceful as Streeter might be able to get the job done. She offers him a third of whatever he can find.
Streeter agrees. The problem is that he and Story are not the only ones looking for the missing loot. Also on the hunt are an impossibly sleazy lawyer, his scheming and sexy receptionist/girlfriend, the lawyer's thuggish "investigators," and a seriously bent cop.
It's a great cast of characters and Stone really puts them through their paces. The story moves along swiftly and there's plenty of action along with a fair bit of wry humor. This book should appeal to readers who enjoy authors like Elmore Leonard and Tom Kakonis--all in all, a very pleasant way to spend a long evening.


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Guitar designer is a visualisation tool where you can modify and move the various components of your guitar. It is a powerfull tool to create and customize the guitar you really want at a very low price. You can watch this video if you want to know more about the way to use the guitar designer application: Use Guitar designer.
Once you have imagined your futur guitar, you can click on the button forward to the expert. Your query will be then transmit to us and we will provide you a quotation according to your expectation. For most of the case, the price is in between 200 and 400 pounds, a lot cheaper than a conventional luthier. It is also possible to provide us specific query: paint, specific form of the guitar body, choice of particular machine head (shape and color), etc. With our strong experience and our various partners, it is possible for us to create any custom guitar.


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Shore fishing. Boat fishing. Ice fishing. Indiana Dunes Country offers plenty of options for those looking to make a big catch. Every season offers something different, from salmon runs in spring and fall, to winter ice fishing on inland lakes, to deep offshore fishing in the summer. Bring your boat, rent one, or hire a charter for an unforgettable experience fishing in the waters of Indiana Dunes Country. Browse local fishing spots
"Northwest Indiana and the easy access to Lake Michigan fishing is something only a few states can offer. Being able to fish on such a vast fresh water fishery that allows so many different types of fish, from pan to sport fish, is an unbelievable experience. From the beginner to the avid sportsman, Northwest Indiana offers much more than just your ordinary pond or inland lake!"
Check out some fishing highlights before you plan your trip, and stay updated on the latest water and weather conditions
Use discount code Indiana Dunes fishing at time of booking (Two-night stay minimum) to receive 20% off the standard hotel rate. Our hotels can also provide you an extra-early breakfast, snacks to go, coffee for your Thermos and well-lit parking lots for your boat.
Photographs Copyright: Lynea Hinchman, Brad Bumgardner, Christine Livingston
Did you know the Indiana Dunes has a 15-mile coastline with sandy beaches, more than 70 miles of hiking trails, and more than 350 species of birds? Explore the Indiana Dunes, then shake off the sand south of the dunes with great lodging, dining, shopping, and attractions.