text:
InterDesign Elephant Non-Slip Silicone Suction Divided Mini Placemat Plate for Kids/Baby/Toddlers – Lime
Out of stock!
✓ Genuine Products
✓ Secured Payments
✓ Easy Returns
Shop Quality Housewares in Kenya from www.vituzote.com Shop online with fast countrywide delivery to your home or office or opt to pick up in any of our retail shops.
InterDesign Elephant Non-Slip Silicone Suction Divided Mini Placemat Plate for Kids/Baby/Toddlers – Lime
Add some animal adventure to your child's snack time and meal time with the IDjr Silicone Mini Placemat by InterDesign. Featuring an elephant-face shaped pattern, this mat combines a plate and placemat into one! Integrated sections keep food divided while the suction function of the underside easily clings and strongly adheres to most flat surfaces like a high chair tray, kitchen table or a counter top. Great for travel, this mat features three eating compartments that accommodate hot or cold foods and finger snacks.
- silicone
- EATING STATION – A plate and placemat all rolled into one featuring a fun animal-shaped design! Great for home or travel!
- STRONG GRIP – Clings to clean, flat surfaces; Simply clean and dry the underside and apply it to an eating surface while firmly pressing it down and around the edges; Works best on flat, non-porous surfaces where air cannot get underneath; Suction function helps prevent sliding and tipping
- DIVIDED COMPARTMENTS – Integrated sections are deep enough to hold food but shallow enough for easy access by tiny hands and child's utensils
- DURABLE SILICONE – Made of 100% silicone in a teal color scheme; PVC-free, BPA-free, Lead-free; Phthalate-free; Dishwasher and microwave safe; Hypo-allergenic; Does not harbor bacteria
- CONVENIENT SIZE – Accommodates food and snacks in one compact unit; Small enough to accommodate most high chairs; Easily fits into a diaper or travel bag so you can take it anywhere; Measures 11.75" x 9.26" x 2.10"
Fast delivery by www.vituzote.com
Same day orders in Nairobi
Rest of country next day service
- Brand: InterDesign
- Product Code: 09981
- Availability: In Stock
- Condition: New
- Warranty: N/A
|This item is not available online at present but may be available in one of our shops. Please contact us.
|Warehouse - vituzote.com
|vituzote.com at Junction Mall
|vituzote.com at Yaya Center 1st Floor
|vituzote.com at Sarit Center
Tags: interdesign, elephant, non-slip, silicone, suction, divided, mini, placemat, plate, for, kids/baby/toddlers, –, lime, kitchen, and, dining all, new, arrivals shower placemats


text:
Strategy Storm Ops, Play Strategy Storm Ops Games Free Online Games Strategy Storm Ops Games fantastic and enjoy new games, you can play online or Download Strategy Storm Ops Games for PC
Play best Flash Games every day and other new games only at Gamku.com. find the most beautiful and play games online directly. without download
How to play: use the mouse and keyboard in game Strategy Storm Ops 4.8
Advertisement: Your game is loading
Waiting.... 10 Seconds for auto Play Online Free Game
Related Games:
Are You Playing Strategy Storm Ops For Free
Play Strategy War Ages Of Myths Free Game

subset: commoncrawl


text:
Over the past few months, I have written about the increase in pedestrian deaths in Fairfax County and surrounding areas. In September, I highlighted one tragic case in Loudoun County. A driver struck a stroller in a crosswalk, killing 5-month old Tristan Schulz and severely injuring his mother, Mindy Schulz. Now, the driver, John Miller IV, age 45, has been charged with involuntary manslaughter, reckless driving and failure to yield to a pedestrian in a crosswalk.
The human cost here is unimaginable. The legal issues are both straightforward and complex. Straightforward because a pedestrian in a crosswalk has the right-of-way, period. Virginia law is clear about this, and as drivers we all need to be mindful of it, all the time. Never try to "beat" a pedestrian through the crosswalk; it is illegal as well as extremely dangerous. The pedestrian has the right of way.
This case, however, is also complex – cases that involve a manslaughter charge always are. There is eye witness testimony to consider, as well as the design of the roadway, intersection, and crosswalk, the driving conditions, and more. If the case is not settled by a plea bargain, it will go to trial, and the defense will try to prove that there were mitigating circumstances that make this case more complicated than it seems in a headline. That's the attorney's job.
Two things to consider here. The first is that nothing could possibly have been more important than this child's life and the health of his mother. Imagine you are making that choice every time you drive. Slow down, yield, put the phone away. And second, consider that even if no one is injured, if you hit a pedestrian your own life will be complicated in ways you don't want to know about. The investigation, the indictment, the trial…even if you are ultimately acquitted, you will wish you had avoided the entire situation in the first place. You will wish you had added an extra few minutes to your drive by slowing down, yielding, putting your phone away. That would be nothing compared to the emotional and financial drain that inevitably comes with an accident.
To be clear, when I say "you," I mean me…and all of us here at BenGlassLaw…and our families and associates…and everyone who drives. We can't remind ourselves often enough because the stakes are so high. Slow down. Yield. Put the phone away. That's always the right choice – nothing complicated about it.


text:
Thursday, January 3, 2013
THE OPPOSITES_Ding Dong
From The Complete Book Of Doo Wop...
-Karen/Ding Dong. Columbia Records-1962.
To Listen or Download B Side,please visit; https://www.box.com/s/dpbjfnw3ex587hm4sv26
Actually The Opposites were The Rip Chords (see in this blog). I believe this is a mistake of the mentioned book why this recording is listed with the same record number (42641) as by The Opposites and The Rip Chords.
The Famous Rip Chord's started as a vocal duo named The Opposites, maybe they recorded some demo recording with the mentioned two songs and after were released as The Rip Chords. really I don't know. Any information will be greatly appreciated.
LISTEN_Ding Dong...
Posted by Whitedoowopcollector at 12:00 AM
No comments:
Subscribe to: Post Comments (Atom)


text:
Since the housing bubble burst, appraisers have come under intense pressure for failing to account for actual market conditions. And while a new home valuation code of conduct was enacted in 2008 by Fannie Mae and Freddie Mac, controversy over home values still exists.
On a national level, the public is aware of the high number of short sales and foreclosures. News outlets such as CoreLogic recently reported that the distressed property share of national home sales fell to 24 percent, an improvement from early 2009 where levels peaked at 35 percent.
Appraisers are tasked by the buyers' mortgage lender to provide an "opinion of value." "Any time you have a market in transition appraisals aren't going to keep up because the appraisal is based on historical data" commented Rob Johnson, vice president of lending at San Diego Funding.
Foreclosed properties which are usually discounted 30 percent or more below the market rate are driving values south within most markets. And while appraisers try to not take into account other short sales or foreclosures when evaluating a property, these types of sales are in some instances difficult to avoid.
Though it is not all doom and gloom as national news is not always in line with the local perspective. Since the appraisal landscape has come under intense scrutiny, it is critical that buyers in our local market be cautions when selecting a lending source. While internet services like Lending Tree and Quicken Loans may sound appealing with claims of speedy, stress-free and easy loans, the proof is always in the pudding.
The following example is an excerpt of a conversation between two local professionals, Tim O'Neill of Gulfside Appraisal Group and Will Dukes of Summit Mortgages;
"I received a phone call today from a local realtor calling about a loan falling apart in front of her. Her client was purchasing a home in Naples using internet lender Quicken Loans for financing and they contracted for the appraisal from an Appraisal Management Company (AMC) who sent an appraiser from out of county. With local data gleaned from the MLS/county records but no real feel for the town or for the community, this appraiser made time adjustments to the comparables indicating we are still in a declining market. As a result of these adjustments, the appraised value was below contract price and the deal was dead." This particular community where the appraisal assignment was performed has shown signs of stabilization for the past three quarters due to competitive pricing resulting in a decreased housing supply. Certain properties in this community had even generated bidding wars, which contributed to fewer days on the market and higher absorption rates which all pointed to a higher demand! In the end, this particular appraiser decided he would subtract 1% per month from each comparable (appraisers call this "aging the data") even if the comparables transferred from seller to buyer in less than 90 days for the subject's contract date!"
While it is evident that prices in our market can be soft, and true comparable properties may be scarce in certain neighborhoods, appraisers are still being pushed to be more conservative with their valuations. What better way to safeguard your future investment than by selecting to work with local industry professionals who not only understand the local market but are privy to the nuances and trends within the markets. Local appraisal companies want to engage sellers at an early point in the process to provide an actual snapshot of market value based on true comparables in their neighborhoods. Should the presence of short sales or foreclosed properties threaten to sabotage the sale or purchase, individuals can at least count on having a robust conversation with the lender or appraiser. Local lenders and appraisers are focused on client's best interest and are dedicated to keep the community moving forward in these uncertain times. Alternatively an on-line servicer usually will deliver less than positive news via email and will direct your frantic call to an outsourced call center.
Buying locally is all the rage for a sustainable environment. Applying that same practice to our home buying/selling practices may just save us all some heart ache, and be the key to working intelligently within the ever-changing system.
Source: Real Estate Economy Watch- S. Cook


text:
Texas State hosting annual Mayan hieroglyphics workshop
By Ann Friou
University News Service
September 3, 2010
The workshop will focus on heiroglyphics from Guatemala.
The Center for the Arts and Symbolism of Ancient America (CASAA), in conjunction with the Department of Anthropology at Texas State University-San Marcos, will conduct its annual Ancient Maya Hieroglyphics Workshop Oct. 1-3, from 9 a.m. to 5 p.m.
The workshop will be held in room 157 of Centennial Hall on campus.
The workshop, which will focus on inscriptions from Quirigua, Guatemala, is open to participants of all experience levels. Matthew G. Looper, epigrapher and art historian from California State University, Chico, will lead the workshop.
Workshop fees are $85 for the general public and $75 for students with a valid ID.
As part of the events, there will be a free public screening of the award-winning documentary Breaking the Maya Code (Nightfire Films, 2008, 120 min.) on the decipherment of the ancient script. The movie will be shown at 7 p.m. Friday, Oct. 1 in Centennial Hall 157.
To register for the workshop, please go to http://www.txstate.edu/anthropology/workshops-field-schools/hieroglyphic.html and download the brochure or contact workshop coordinator Kent Reilly, director of the Center for Arts and Symbolism in Ancient America, (512) 245-8272, email firstname.lastname@example.com.


text:
When you enter the Defining Beauty exhibition, you're instantly confronted by three very famous statues that have a significant meaning for anyone who's interested in Greek art - the Parthenon Illissos, the Doryphoros and the Discobolos. These three are examples of sculpture by three of the most famous Greek sculptors - Phidias, Polykleitos and Myron. It was a real joy to see these great statues together, and quite possibly the best moment of the exhibition. The rest of the exhibition looks at the statues by theme, linking them in with Greek society. A convincing link is made between the nude body and being kalos kai agathos ('beautiful and virtuous'), and this is a major theme of the exhibition. The other is the impact of Greek sculpture on our own perceptions of beauty, and walking through the exhibition it's easy to see that influence.
As with all the exhibitions I visit at the British Museum, I like to take the time to choose a favourite item that reflects what I've taken away from it. With the Pompeii and Herculaneum exhibition, this was the fresco of Terentius Neo and his wife, which adorns the cover of my favourite Latin grammar book. Quite oddly, the item that I chose for this exhibition wasn't even an ancient sculpture, but modern cast, a statue of Athena that'd been painted in its original bright colours. Under the dim lighting, as it would have been inside a temple, the statue was simply beautiful, and that's what I took away from the exhibition - a new way of looking at Greek sculpture, and an interest in something that never especially interested me before. This statue was on loan from the Munich Glyptothek, which I'll be visiting over the summer when I go on a trip to Germany (help, I don't speak German!), so I'm rather looking forward to getting the chance to see this again, along with the original statue which is also housed there.


text:
Restrictions Apply. Coupon code will be sent via email.Valid for new customers only.
Returnable Item: 30 Day Guarantee
Technical Features for Braun Silk-épil 9 9-579
The improved tweezer geometry removes more hair in one stroke, even the shortest hair (0.5mm) that wax cannot catch.
Braun Silk-épil 9 has a 40% wider head removing a lot more hair in one stroke for a faster epilation.* A new standard of epilation so you can enjoy long-lasting smooth skin for up to 4 weeks. *vs other Braun epilators
60,000 micro-touches per second gently exfoliate and visibly refine skin complexion.
Smoothly adapts to body contours for superior comfort and efficiency.
The Smartlight reveals even the finest hairs and supports extra thorough hair removal.
Speed 1 for extra gentle epilation, Speed 2 for an extra efficient epilation.
Works in bath or shower for a more comfortable epilation.
Charges in only 1 hour for 40 minutes of use. Use cordless in shower or bath.
Turns the epilator into a fully functional shaver.
Lets you trim hair where preferred.
Ensures maximum skin contact for faster epilation.
For the especially delicate facial skin.
The special Braun facial brush removes make-up and impurities pore deep - 6x better than manual cleansing. In addition, it refines and exfoliates the skin with micro-oscillations. 100% waterproof for comfortable use in the shower.
Never wait again for your body hair to grow so that wax can catch it. Braun Close-Grip technology catches hair as small as a grain of sand (0.5mm). No more in-between days, no more hassle.
No more stubble growing back after hours. Because epilation removes hair from the root, it takes weeks for the hair to grow back. Enjoy up to 4 weeks of smooth skin with Braun Silk-epil 9
Accessories for
Braun SE9579
Cleaning Brush
More Details
Scar Gel
Replacement Power Cord
Package Deals Buy together and save
Braun Silk-épil 9 9-579
All logos displayed on this page are registered trademarks with their respective organizations.
Disclaimer: FactoryOutletStore.com Copyright © 2005-2020 Privacy Policy
Coupon code will be sent via email.New customers only.
First Name* (Min. 2 Characters)
Review Title* (Min. 5 Characters)
Tell Us What You Think About This Product*
*Required Field Please Complete All Required Fields.


text:
Keep Brazos Beautiful, Inc. is a non-profit 501(c)3 organization, founded in 1980 by Jack and Dorothy Miller.
After hearing about the ugliness of litter in the community, Jack Miller and others created a week long beautification/clean up in April 1980. After a very successful clean up, the community wanted this beautification effort to continue. So, on June 5th of 1980, the organization started with the name Beautify Brazos County Association and Jack Miller as the first elected president. In August 1980, we gained our 501(c)3 status.
After a few years of cleaning and beautifying our community, we looked to incorporate and affiliate with Keep America Beautiful and Keep Texas Beautiful. So, on February 17, 1983 the organization incorporated. We changed our name to Brazos Beautiful, Inc. and became the 283rd Keep America Beautiful Clean Community. In 1993, we became a Keep Texas Beautiful affiliate. In November 2001, we changed our name to Keep Brazos Beautiful, Inc.
Since then, we have been keeping our community clean, green, and beautiful.
We are founded on the ideal that for a community to thrive, each member must honor a commitment to contribute to the well being of the whole.
Educate and engage Brazos County citizens to keep our community clean, green, and beautiful
Litter Control


text:
Wow terribly sorry to hear that Jody
Community News: STOLEN CAR - J10 DYA Abarth 595c
Before you get started, we need to confirm where you are from as Scooploop works by location.
Your exact postcode will never be shared with other users.
Your Country
Your Location
Scooploop wants to help those in need during the COVID-19 pandemic
If you would like to help then let your fellow neighbours know.
To get involved, click either of the options below: Yes I would like to help!
Skip for now to not see this message pop up again.


text:
What's in an name? Comments on proposed standardized nomenclature
Dear Editor:
I commend the initiative of Hank and Isabel Harris to address
the issue of nomenclature applied to swine production systems
(Swine Health Prod. 1999;
7 (3):101-102). The uncontrolled evolution of terminology
accompanying changes in production systems has certainly brought
confusion. Standard nomenclature should facilitate scientific
and commercial communication within the profession, and simplify
explanation of swine production to broader audiences. For Swine
Health and Production (SHAP), as a scientific journal,
to adopt
a system of standardized nomenclature for describing production systems, the system would ideally be:
- simple and understandable;
- comprehensive--applicable to all swine production systems;
- universal--consistent with formal American English; and
- durable--remain applicable in the face of ongoing evolution of production systems.
I believe the system proposed by Hank and Isabel approaches these goals, but see potential problems that warrant discussion. First is the question of what SHAP 'adopting' a system entails. Some options are:
- endorsement as an industry standard for swine veterinarians and other sectors of commercial industry, including publication in a glossary of contemporary swine production nomenclature (United States);
- preferred terminology for papers published in SHAP-- authors could elect not to use this terminology if they demonstrated that the manuscript would be improved; or
- adoption as strict editorial policy.
The merit of any system depends on its purpose. Language that is advantageous in one forum (e.g., communication among AASP members) may be problematic in another (e.g., communication with a general scientific readership). I offer these comments from the perspective of SHAP adopting standardized nomenclature as editorial policy for peer-reviewed papers.
Stages of production
The proposed three stages of production seem least problematic, but are not comprehensive. For example, field studies that include farms supplying replacement breeding stock need to be considered. The emergence of wean-to-finish systems provides an example of how industry innovations may require modification of any standardized nomenclature over time. Distinction of the "breeding" from "nursery" stages is based on a discrete event (weaning). However, differentiation of weaned pigs into nursery, grower, and finisher-stage pigs is an artifact of our management systems that is not founded on specific biological events (such as age or weight). Familiarity with current conventions makes us comfortable dividing the nursery and finishing stages in conversation. However, for written manuscripts (and thinking of readers 10-20 years from now), these stages have little meaning if not qualified by further information. To provide adequate clarity in manuscripts, detailed description of farm facilities and management cannot be substituted with standardized nomenclature.
The Random House College Dictionary defines site as "the area or plot of ground on which anything is or has been located." There is conflict between this common meaning of "site" and current industry jargon. Hank and Isabel propose that "a site number indicates the placement for the various stages of production" and that "pigs may be reared at one or more locations within a site." The dilemma arises when, for example, a "three-site" system (i.e., breeding, nursery, and finishing sites in the proposed system) is comprised of a number of "sites" (conventional English definition) other than three. If "site" were adopted in the proposed context by SHAP, it would preclude authors from using "site" in its conventional context. This raises a philosophical question: at what point does the acceptance of jargon that conflicts with the conventional meaning of the words it employs (for example, "three-site production" used to describe a number of geographical sites other than three) preclude the use of the words in their conventional context in scientific literature?
I do not support the adoption of 'Isowean' for the following reasons:
- Is a word necessary? Alone, the word Isowean (with or without inclusion of age at weaning) does not provide adequate information for a scientific paper. Hank and Isabel propose that "Isowean" would indicate that "at weaning piglets are placed in isolated accommodations...precautions are taken to assure that each group of Isowean pigs are not contaminated by other age-groups of pigs...[and] weaning age is variable." Without clarifying "isolated accommodations" and the specific "precautions," minimal meaning is conveyed by Isowean. If age at weaning, and a description of the geographical (e.g., distance) and other relationships between the breeding and nursery sites are provided, do we need a word?
- Universality: "Isowean" is not a word in formal English, but fits the definition of jargon (language peculiar to a particular trade, profession, or group). In this case, the language is not even shared with the general veterinary science community, nor with swine veterinarians in some countries. Foreign readers could not find it in a dictionary.
- Etymology: The prefix "iso-" means "equal" (e.g., isobar, isosceles, isohyet), which might be misleading to readers seeking to understand the word.
- I share the reservations of the Harris's about some of the 'synonyms' that have been in use. In reviewing their list, I believe MMEW (a mess), SEW (what is "early"?), and SDC (?) have little to recommend them. Segregated weaning is redundant (managed weaning is an act of segregation of piglets from sow), and age-segregated rearing is not specific to weaned pigs. If we do need a word, in my opinion both "isolated weaning" (but what is isolation?) and "offsite weaning" are preferable to "Isowean."
Types of production
I believe the terms one-site, traditional two-site, two-site Isowean, and three-site can be useful for communication within the AASP and the North American industry. However, they are inappropriate if SHAP is targeting a more general or international readership. Adequate description by authors should obviate the need for this type of terminology in manuscripts, while the terms alone provide insufficient detail to convey the variability that can be found within these categories.
I do endorse the adoption of "multisite" (syn: "multiple site") as a "blanket term." Etymologically, I have trouble accepting that "multisite" and "multiple site" can be considered as anything but strict synonyms. "Multisite" may be sufficiently ingrained in the swine vernacular to be formalized, provided that its specific definition is not at odds with the conventional meaning of the words. Some 'wordsmithing' of a formal definition is required. This also applies to other entrenched jargon such as "all-in-all-out," "continuous-flow," etc.
Alphanumeric notation
The proposed system for notation may provide a useful shorthand method for the North American industry. However, I have reservations that it will find application in SHAP manuscripts.
The Harrises have taken a bold step forward to slay the dragon of terminology. In the short term, I would be amazed if broad consensus, let alone unanimity, among swine veterinarians were to emerge on this issue. I have made these comments to provoke what I think is a necessary debate for the Editorial Board and others. The first, and possibly most important, step might be to identify a list of terms that are not acceptable for manuscripts in SHAP.
--Peter Davies, BVSc, PhD
North Carolina State University
"Isowean" could specify age
Dear Editor:
I have been reading about the campaign of Drs. Hank and Isabel Harris to make Isowean the name of the current rearing technologies we are all using and advocating. I am happy with the term and favor it over "all-in-all-out" if for no other reason than it is easier to type. Neither "SEW" nor "ASR" tell the whole story. However, if I am to use Isowean, I would like to have the maximum weaning age used after the name; for example, Isowean14 for the use of isowean technology in which the pigs are weaned with a maximum age of 14 days. This tells me exactly what kind of pigs I can expect and how they will be raised. The only thing left out is what type of biosecurity will be used in the rearing of the pigs, but Sandy Amass and the NPPC Biosecurity Committee does not have all the research needed to tell us what biosecurity means anyway.
--Kirk Clark, DVM, PhD
Purdue University
Isowean reply
Dear Editor:
Thanks for the opportunity to respond to the letters of Drs. Kirk Clark and Peter Davies. We concur with Kirk's idea to add weaning age (as an Arabic numeral) after the word "Isowean."
Peter has made some excellent comments regarding the development and use of standardized nomenclature. More specific responses appear, below:
Stages of production
We felt it important to adopt the terminology suggested by the National Pork Producers Council (NPPC). As stated in the second footnote of our letter to SHAP (May and June, 1999 pages 101-102), these terms for stages of production were recommended in the National Pork Production and Financial Technical Manual of the NPPC, edited by Will Marsh. We disagree with Peter's statement regarding the inadequacy of standardized nomenclature. We have proposed a standardized nomenclature that is used in conjunction with a dynamic and flexible alphanumeric notation system.
We believe our suggestions clearly allow for differentiation of wean to finish buildings from production systems with nursery, grower, and finisher rooms and/or buildings. It should be noted that the letter to the editor of SHAP did not contain our complete list of suggested terms (see Swine Practitioner, March-April, pages 4-8 and May-June, pages 20-26 [1999] and Multi-Site Pig Production by D.L. Harris, Iowa State University Press, in press, 1999). For example, we suggest that wean-to-finish buildings be called "NurFin."
The word "site" is currently used by those associated with pig production with several meanings. We simply suggested that it be clearly defined when referring to pig production facilities. In retrospect, it may have been better for multisite production to have been call "multitier production." Then, each location within a tier would be called a "site." We felt that the word "site" was so ingrained that it would be difficult to introduce the concept of tiers. Thus, Isabel came up with the word locus (loci) to describe a site(s) within a tier.
We feel that if "Isowean" is not used, the words "isolated weaning" be used (as suggested by Peter) to describe the concept of separating the piglets from the adult population at weaning. The word "Isowean" is easy to say and very descriptive, so why not use it? It is rather common for new words to be added to both conventional and scientific literature. Yes, we do think 'a word' is necessary. We do not endorse the use of the words 'offsite weaning' because they lack a clear meaning.
Types of production
We agree that terms such as "traditional two-site" and "three-site" do not provide sufficient detail to convey variability within these categories. This is precisely the point of suggesting standardized nomenclature used in conjunction with an alphanumeric notation. These terms are short-hand phrases that if standardized are adequate for conversation and even in a scientific publication. For example, one could describe in the methods section exactly what is met by a three-site pig farm by using the alphanumeric notation. Once the three-site farm is precisely described alphanumerically, the phrase "three-site farm" would only be necessary throughout the remainder of the text of the article.
We agree that "multisite" should be an accepted term.
Alphanumeric notation
We believe that alphanumeric notation may be useful for database input and retrieval, plus it can serve as a communication guide when it is difficult to produce detailed diagrams of production complexes. A journal such as SHAP may find this notation (or modification thereof) quite useful for space and cost savings.
We hope that our proposal for terminology creates more discussion but not necessarily consensus. Standardized terminology is a goal possibly only achievable by organizational committees as part of the AASP and/or NPPC.
- --Drs. Hank and Isabel Harris
- Iowa State University


text:
Brief Summary
Sterndrive lower units have faced serious challenges during the last 50 years as anyone who has owned one in saltwater can attest. Volvo Penta has introduced its solution to this problem -- its a new lower unit called "Ocean X." The whole unit has a titanium-ceramic coating which has been applied using a SOTA electro-deposition process. Volvo Penta says its new drive is up to four times more corrosion resistant than conventional drives in saltwater.


text:
Astronomicon 1
Wikidot is dying. This site has moved to http://fancyclopedia.org
Astronomicon 1 was a convention held Nov. 30-Dec. 1, 1991 at the Marketplace Inn in Rochester, NY. Writer GoH: Geary Gravel, Artist GoH: Courtney Skinner, Fan GoH: Larry Stewart.
|This is a convention page. Please extend it by adding information about the convention, including dates, GoHs, convention chairman, location, sponsoring organization, external links to convention pages, awards given, the program, notable events, anecdotes, pictures, scans of publications, pictures of T-shirts, con reports, etc.
Wikidot is dying. This site has moved to http://fancyclopedia.org
page revision: 3, last edited: 10 Feb 2018 08:29


text:
Your friendly neighborhood Spider-Man is now rich. In the comics, Peter Parker—once a schlubby, penny-pinching student, freelance photographer, and amateur scientist from the modest side of Forest Hills, Queens—is now the founder and CEO of Parker Industries, a global consumer technology company akin to Batman's Wayne Enterprises or Iron Man's Stark Industries. Like Tony Stark did for years with Iron Man (and Bruce Wayne more recently with Batman), Parker now even pretends that Spider-Man is his own bodyguard, as well as a Parker Industries company mascot/spokesperson.
Marvel's long resisted major changes to the Spider-Man template. But in The Amazing Spider-Man's relaunch this week, Parker's company is bigger than ever, with offices in New York, Shanghai, London, and San Francisco. Its main product, Webware, is like a cross between Facebook's Internet.org and the Apple Watch made good: inexpensive worldwide wireless access to the Internet via a wrist device that ever-so-slightly resembles Spider-Man's web shooters.
In his debut in Amazing Fantasy #15, Peter Parker learns that "with great power, there must also come — great responsibility." In the new Amazing Spider Man #1, the Stan Lee/Steve Ditko motto gets an update. "With great power…" Parker says in a Webware ad on the comic's first page, "comes greater speed, storage, and battery life." (Apparently, appealing to responsibility doesn't exactly move product.)
This same week also sees the release of the Danny Boyle/Aaron Sorkin film Steve Jobs—a film that Sony, the studio with the rights to Spider-Man, lost. It's almost as if the two characters have switched places: Spider-Man's recent movies haven't been great successes, so we turn to Steve Jobs; Jobs isn't alive to be a heroic inventor figure any more, so we have Peter Parker. Two orphans, two origin stories, two examinations of power and neurosis. Sorkin and Boyle admit Steve Jobs is not really about Steven Paul Jobs, the man who was born in 1955 and died in 2011, any more than Sophocles's Oedipus Rex is about the real royal family of ancient Thebes. Instead, it uses the character of Steve Jobs—the myth—as a vehicle to tell a story. Sorkin compares it to a painting rather than a photograph, but perhaps the better analogy is to a comic book. Steve Jobs is a reboot, a retcon; a fresh approach to the subject: a powerful, conflicted man with the ability to distort reality—sharing an actor with the X-Men's young Magneto. It is a superhero story, and the superhero's identity is Steve Jobs.
"With great power… comes greater speed, storage, and battery life."
That these two stories appear in the same week seems more than mere coincidence. It doesn't seem like an accident that Spider-Man now joins Iron Man and Batman in the ranks of the rich, making three of the world's most popular superheroes wealthy inventor-entrepreneurs by day, crime fighters by night. It seems like a symptom.
• • •
Every age gets the heroes it deserves—or rather, the heroes it needs to do a certain kind of cultural work. Superhero stories have become our Greek dramas — popular entertainment built around larger-than-life figures with rich histories playing out complex fables of power, morality, and democracy. We tell the stories over and over again, either taking their characters back to their roots or placing them in fresh scenarios. We use these stories to explore new fantasies and solve new problems.
There are many issues playing themselves out in contemporary superhero stories—race and gender representation, surveillance and militarization, LGBT rights and identities, to name just a few. It's strange, however, that one of the most important is one of the least talked-about: the disproportionate power wielded by the rich, whether wealthy individuals or wealthy societies. Wealth may be the buried theme of both contemporary comics and contemporary politics. Talking about superheroes and superpowers without talking about money misses an enormous part of the story—not least because the business of superheroes is bigger than ever, and the companies behind our most popular superheroes are some of the largest conglomerates in the world.
Now, it's true that many superheroes have been rich: Batman's Bruce Wayne and Iron Man's Tony Stark were created as millionaire playboys decades ago. And this makes sense. As Spider-Man's adventures showed for years, super-heroics don't pay the bills: it's difficult being a gadget-driven superhero (or any kind of superhero) without first having money to burn. But over time, Bruce Wayne stopped being just an idle heir and Tony Stark stopped being just an eccentric arms dealer, and both became hero figures much more recognizable to the 21st century: the genius entrepreneur. These characters are less Howard Hughes (the original model for Tony Stark) and more Elon Musk, less J. Robert Oppenheimer and more Mark Zuckerberg. They are brilliant futurists, larger than life—the people we ask to show us the future, and hope that they will help make the world one worth saving.
We don't have warriors and war heroes at the center of our popular consciousness any more. We have entrepreneurs and superheroes.
We don't have warriors and war heroes at the center of our popular consciousness any more; we don't have kings and queens, gods or monsters. We have entrepreneurs and superheroes: incarnations of a myth of the heroic individual. These are the titanic figures, at the junction of capitalism and futurism, whose actions have disproportionate effects on our world—actions and effects the rest of us are trying to grapple with. The Social Network, Steve Jobs (both the book and the movie), Ashlee Vance's biography Elon Musk, Sheryl Sandberg's Lean In—all are about businesses and entrepreneurship but also have a strong element of inspiration and self-help, and not just for budding business leaders but the larger public, to a degree we haven't seen since the days of Thomas Edison and Henry Ford.
They offer, in short, much the same appeal as comic books.
The sociologist Thomas Streeter argues in "Steve Jobs, Romantic Individualism, and the Desire for Good Capitalism" that these myths play an important role in contemporary culture. For Streeter:
The romanticized version of Jobs' life offers a story wherein one can imagine a capitalism with integrity, a capitalism where one's inner life, one's flaws, one's passions are appreciated and lead to good things. The Jobs narrative offers the appealing vision of an idealized, productive, humane capitalism contrasted with the speculative, predatory kind of capitalism, unconnected to useful objects or activities, that appeared in the headlines after 2008. The name of Steve Jobs has become the symbol for the opposite of a Wall Street financial manipulator. Jobs functions, not always but often, as a signifier of good capitalism, of industrial capitalism with moral integrity. And in a world straining awkwardly, perhaps desperately, for ways to reconcile capitalist production with political democracy, that signifier can seem immensely useful and attractive.
Now consider The Amazing Spider-Man #1. Peter Parker is still a superhero, a good guy—so the story's authors go out of their way to dot every I and cross every T to make sure we know that he's still a good guy, one still obsessed with "great responsibility." Parker explains that his goal with Parker Industries isn't to save the world—which superheroes do every day—but to "make a world worth saving." Over the course of the issue, we learn that his factories in China pay fair wages, that he's taken a minimum salary, and that along with consumer products, the company works on biotechnology and renewable energy. When SHIELD helps Spider-Man stop thieves who've made off with Parker Industries' customer data, Spider-Man strong-arms Nick Fury into handing the data back without the government taking a peek. He's even started an "Uncle Ben Foundation" with the vague but noble mandate of "going around the globe using Parker Industries technology to help the less fortunate and raise the quality of life wherever we can." It's half Gates Foundation, half Batman Incorporated.
The business of superheroes is bigger than ever, and the companies behind our most popular superheroes are some of the largest conglomerates in the world.
"We're not here to build a fortune," Parker says, "we're here to build the future." In short, as a businessman, a superhero, and a human being, the new Peter Parker, the world's greatest self-made superhero, is impeccably, improbably, offensively good. Peter Parker is what you get if you tally our persistent anxieties about the power and personality of Jobs, Zuckerberg, Bezos, et al—and then just alleviate them: the perfectly polished superhero entrepreneur. If the real Steve Jobs is not available to serve as our imaginary heroic capitalist—whether because his personality is too flawed, the businesses he built are too imperfect, or simply because we can't continue to tell new stories about him—Spider-Man is available forever.
This is not to say that all CEO superheroes are as perfect as Peter Parker. For Bruce Wayne, Tony Stark, Reed Richards, Oliver Queen, and other wealthy superheroes, exploring business gives the writers room to explore the characters' flaws and mistakes: their obsessiveness, their addictions, their immaturity. In fact, often these characters can sometimes seem barely likable. But in many ways—just as with Steve Jobs—this focus on flaws is still an act of reconciliation and never really jars the premise that the story being told is the story of a hero. The assumption remains that, barring a mind swap with a supervillain or a mystical personality reversal, these men (and it's almost always men) are fundamentally good.
On the outside they may be flaky, boorish, and arrogant. Still, they feel things, have powerful value systems, and ultimately want most of all to improve the world—if not save it. If they were not superheroes, Tony Stark and Bruce Wayne would be awful people. (They also resemble many young men in the worlds of business and technology.) Because we know Stark and Wayne are superheroes—and because we intimately know the history and personality traits that drive them—we forgive them everything. (Can you think of a better way to try to understand Elon Musk?) Despite their flaws, our superheroes are what we want our capitalists to be.
His goal with Parker Industries isn't to save the world—which superheroes do every day—but to "make a world worth saving."
More subtly, they also give us tools we can use to understand ourselves—to reconcile our own wealth and power relative to others, our own status as citizens of global superpowers in a world filled with injustice, a world needing to be saved.
• • •
Last May, venture capitalist and Netscape founder Marc Andreessen posted one of his famous tweetstorms, a multi-part Twitter essay on what he called "the 'superpowers' metaphor for how new technologies enhance human capabilities." After establishing a fairly familiar base—control of fire as a kind of magic, steam power as a kind of super-strength, the ability to fly or travel at super speed through the use of planes and trains, the analogies, focusing on the last 10 years and the near future, became increasingly specific and byzantine:
2/Google, Wikipedia = superpower to ask any question, get any answer, as many as you want, for free — from the world's total knowledge base
— Marc Andreessen (@pmarca) June 5, 2014
5/GPS + Google Maps + smartphones = superpower to never be lost, always be able to find anything, and always know where your kids are
— Marc Andreessen (@pmarca) June 5, 2014
10/AWS = superpower as a programmer to access a global supercomputer with miraculous power on demand for mere dollars
— Marc Andreessen (@pmarca) June 5, 2014
And in years to come:
3/Crowdfunding = superpower to instantly raise money from global customers and investors for millions of new ideas, products, businesses
— Marc Andreessen (@pmarca) June 7, 2014
4/Quantified self = superpower to understand one's own body continuously in real time, optimize health & wellness with high precision
— Marc Andreessen (@pmarca) June 7, 2014
Some of these examples are quite compelling, as is the whole of the essay—among other things, it touches on complex ideas about how technology disrupts the relationships between the individual, society, and the state. The superpower metaphor is a powerful way to understand both these new capabilities and the changes that they cause. Still, it is unsettling to see superpowers roughly equated with business plans for existing companies—to have a fantastic power, a magical, genetic, or scientific gift pinned to phrases like "for free" or "for mere dollars"—without acknowledging that this is a significant change in how superpowers work. (It's also hard to recall, at least without extending the metaphor so far it would break, any superhero who had the power of crowdfunding.)
Traditionally, superpowers have been gifts. Typically accidents of birth or circumstance, they were difficult if not impossible to repeat. Later, with characters like the Thing and the Hulk, comics added the wrinkle of superpowers as a kind of curse, something beyond the person's control, which cost them greatly and they would gladly be rid of but were willing to use for the benefit of others. These were not just dramatic conventions. They represented fundamentally different assumptions about power and responsibility.
Peter Parker is what you get if you tally our persistent anxieties about the power and personality of Jobs, Zuckerberg, Bezos, et al—and then just alleviate them: the perfectly polished superhero entrepreneur.
In recent years, there have been a handful of comic book stories where superpowers have become consumer goods. MGH (mutant growth hormone), Xperience, and Kick are all mutant-derived drugs that induce or boost superpowers. All of them are addictive and deadly in various degrees.
But in a recent storyline, Iron Man/Tony Stark suffers a magic reversal spell that changes his personality. "Evil" Stark moves to San Francisco, where he creates a smartphone application and nanobot stack that lets users change their bodies to whatever they want, including boosted intelligence, health, beauty, and even immortality. Initially, he gives away the powers for free, but when adoption peaks, he remotely shuts them down, charging $99.99 a day for continued activation. The wealthy continue enjoying superhuman life, desperate users turned to crime, and Stark's company makes a killing. Eventually, employee/love-interest Pepper Potts stops him, with the aid of a robot programmed with Stark's old "good" personality. When that fails, Potts—a talented and quite wealthy business mind in her own right—buys out media outlets and blackmails Stark with the promise to expose the scheme.
The Superior Iron Man is literally a story of good capitalist versus bad capitalist, masquerading as a critique of contemporary tech culture. But the funny thing is that the "evil" Tony Stark doesn't seem all that different from the "good" Tony Stark of past years. A little more craven, a little more louche, less evil than he is amoral. The difference between superheroes and supervillains turns out to be little more than a matter of perspective and degree.
It is tempting to think of our new capabilities as superpowers, because that makes us, in some way, superheroes. It is tempting to think of the inventors of our new technologies as heroes, icons, brilliant men and women of vision and ethics who overcame their own limitations and external opposition to save the day. It means that to cheer for them is to cheer for good. It means we live in a world that is both more magical and more ordered—even more human— than the one we know. It is much more distressing to ask ourselves, "What if we are not the hero in the story? What if we are not even the villain? What if the story was never even ours at all?"
Photo via Dennis Hill/Flickr (CC BY 2.0) | Remix by Jason Reed


text:
Venere Coupon Codes
Cool, can you share with other users how much did you save?
Cool, can you share with other users how much did you save?
Cool, can you share with other users how much did you save?
Cool, can you share with other users how much did you save?
Cool, can you share with other users how much did you save?
Get 9% OFF Your Booking
Enjoy 15% OFF Your Booking
About Venere
You find it hard to book a hotel at the destination that you're going to travel, especially, at the peak season. Do not worry! Just visit Venere, you can find whatever hotel all over the world that you want. Besides, you also enjoy the best prices by using a Venere coupon code. We – thedailycoupons.com always make the best effort to help all of you save as much as possible at Venere by providing tons of Venere coupons. By applying Venere promo code at the checkout, you will have a great chance to save up tp 70% on your booking or 40% on seasonal sales. Besides, you will also enjoy many other preferential treatments. Check out our latest Venere coupon codes to enjoy your trip fully at the best discount price.
Venere was founded in 1994 offering hotel booking services. At Venere, you can find all types of accommodation such as hotels, B&B's, vacation rentals and farmhouses in Europe and all over the world. Whether you travel or have a business trip, you will find the hotel that suits most for your budget and your desire. Enjoy every moment of your trip with Venere services. Do not forget to apply a Venere discount code to get the most affordable prices.
How To Use Venere Coupon Code
Get Venere coupon code and follow these easy steps to redeem your code:
1. Fill all information in Hotel Search box and click on the Book now button
2. Select the hotel you want to book
3. Enter your code and apply it
4. Fill all required information of Personal, Billing & Payment and
5. Click on the Book Now button to finish booking.
FAQs of Venere
1. What forms of payment can I use to purchase?
You can purchase your booking via these following forms of payment: Visa, American Express, Discover, MasterCard, and Diner's Club International.
2. How do I cancel my hotel booking online?
Go to Your Bookings. For bookings made after 10.06.15, insert your last name and either your itinerary number or the credit card number used to make the reservation. Once you have found your booking, click Cancel Booking, after having checked the hotel's change and cancellation policy in your online booking summary or in your confirmation email. If you cancel after the hotel's cancellation deadline, the hotel will charge a cancellation fee. Venere does not charge any penalties for modification or cancellations, but each hotel has its own policy which they're required to pass on. If you don't see the Cancel Booking option, please contact Venere.
For bookings made before 10.06.15 you will need to follow the instructions in the yellow box and click on the link that says Search Here where you will be able to see your reservation and cancel it.
3. Is breakfast included in my reservation?
Check your reservation details to see if breakfast is included. The hotel details page will also state explicitly if breakfast is available for free or at a charge.
4. Can I cancel my booking through Venere?
Each hotel have their own cancellation policy. You can see the policy of the hotel you booked in the room descriptions on the hotel page. Once you've booked a room, the policy will also be included in your confirmation email. The hotel's change and cancellation policy includes a cancellation deadline. If you cancel after this time, the hotel will charge you a fee. Some bookings are nonrefundable, regardless of when they're cancelled. Do not forget to read the hotel cancellation and change policy carefully before booking.
Venere Tips & Tricks: Money-saving Hotel Tips
The price of hotel rooms is always changing based on demand. Especially, at the peak season, hotel prices are always pushed very high. Here are some tips for you to save on accommodation when traveling.
Stay in a new hotel
Hotels often offer their rooms for a discounted rate when they first open. You can search online for news stories about new hotels opening in the city.
Step out for breakfast
Hotel room include breakfast always have the prices much higher than booking hotel exclude breakfast. You should opt for a hotel package without breakfast and dining at a local eatery instead.
Sign up for rewards programs
When you sign up for reward programs of a hotel that you often book, you will get a lot of benefits such as free wifi, 10% off a spa treatment, free breakfast. All the big hotel chains have these loyalty clubs and they're worth signing up for to get perks.
Always check the hotel's website
Please make sure to check the price of the hotel before booking to not to miss any offer. The hotel might offer discounts and deal. There are many trusted booking sites.


text:
- Details
Expand your sewing skills. With Teach Yourself to Sew, Season 2, the second DVD in this breakthrough series from Threads, you'll learn a lot more basics along with must-know techniques. With these fundamentals under your belt, you can start sewing clothes you never dreamed you could make.
Sew smarter in minutes. Follow along as Threads Senior Technical Editor, Judith Neukam, walks you through engaging one-on-one demos. She shows you why turning perfectly finished seams doesn't have to be daunting. Takes the mystery out of inserting invisible zippers. And shares her tips for making what every sewer wants – your own custom dress form – the easy way to get a perfect fit.
Learn at your own pace. The beauty of this DVD is that it gives you a helpful overview. Yet it's easy to go back to review details when you are actually working on projects that involve inserting facings, making gathers, or adding patch pockets.
Show off your personal style. With Teach Yourself to Sew, Season 2, your dreams can come true. You can start sewing beautiful clothes you'll absolutely love right away.
- Additional Information
Additional Information
SKU THR73061092 Table Of Contents No Intro No Extra No Author From the editors of Threads ISBN 978-1-60085-481-1 Video Video Download No Minutes No Publication Year 2011 Other Formats 67116 Cover DVD Format DVD
- Reviews
Write Your Own Review


text:
At this time of year, its so fun to go through my local dollar store because they have the best halloween decorations for a dollar or less!! I was shopping the other day and found myself really inspired by these ravens. I immediately thought of Edgar Allan Poe, and thus this wreath was dreamed into existence.
These are all of the pieces I bought at the dollar store to create this wreath. I thought I may use the skeleton garland, but found it didn't need it once I started putting it all together. I used a pool noodle for the wreath base and taped the ends together with packing tape. They sell smaller wreaths there, but I wanted mine to be a little bit larger.
There were a couple things I already had on hand: some red fabric which I roughly cut into 3-4 inch wide strips and fishnets. I used one thigh high, which was a perfect fit. I started wrapping the strips tightly around the wreath base until it was completely covered. I used hot glue to secure the loose fabric pieces together. I did not directly hot glue the foam, only fabric to fabric.
Here is the loose end where I applied the hot glue to secure it.
I cut the top off of the fish net thigh high, and sliced it down the middle so I had a long flat piece.
Remember what it's like to pull and stretch pantyhose to get them on? That's exactly what you do with the wreath and fishnet. Just start working it around until the two end pieces match up, and secure with a pin.
Then, start securing the loose ends all the way around the wreath, and pinning towards the back.
Flip it back over to the front, and use thread to tie the two ends of the fishnet together. You do not have to be a seamstress to do this. You can even just tie it together in knots, its not going to show.
This is what the front will look like when you are finished.
If you want this to look really professional, you could go along with your thread and continue to tie the fishnet together all the way around the backside. I chose to just leave my pins in because they won't be seen on the back and they are very secure. Next time, I will just go ahead and get some pins to match the wreath fabric.
Next I stretched some of the spider webs across the front, and secured them on the back with the pins that were already in place.
Time to add the birdies!! These had little wires coming out of their feet, so I shoved them right into the foam when I figured out where I wanted them placed. I used a small dot of hot glue under each foot to make sure it was extra secure.
The base of the skulls were foam, so I added a little floral wire to the back of them to add extra security and shoved them into the foam wreath. I added hot glue to the back of the skull, also, for extra stability.
To create a hook, I made a loop with some ribbon and secured with hot glue. I then glued it to the center of the top of the back side of the wreath.
To create this sign, I used a piece of wallpaper that looks like old news paper. You could use real newspaper ( you may wanna support it with some cardstock on the back of it.) Or, you could even use book pages, perhaps from an Edgar Allan Poe book? I burned the edges to make it look old and I ended up free handing the letters, although my original plan was to print it with my computer. My wifi was down, but I think it still turned out okay! I used hot glue to secure the sign as well. I added a couple spiders, and called it a day!
I love that the eyes light up and flash on the skulls and change colors!
Very spoooooooky!


text:
Sep 22, 2012
Bad Poet, No Biscuit
Kimberly BrussI have a friend in the poetry program here who swears up and down, side to side, that he hates poetry. I'm not talking about the kind of hatred that accompanies respect for but frustration with a body of artwork--that is, I hate opera because I do not understand it and it makes me feel like the country bumpkin I most likely am. No, my friend has a good understanding of the workings of a poem and poetry in general--and he seems to hate it all the same. This whole I-have-a-friend-of-a-friend thing isn't meant to be a mask--I actually do have a poet buddy who claims to hate poetry. But I suppose I should come clean: more often than not, I hate poetry too. I know this is not wise, but I can't help myself. Sometimes I read Emily Dickinson and I want to pull my hair out. The Waste Land was a waste of my time. Wordsworth and Coleridge are, in my opinion, drug-free cures to insomnia. I want to like these poets because that would satisfy the bourgeois student part of my heart, but I just can't bring myself to be moved by their work. And, more importantly, I don't think it is my job to work at liking these artists and the myriad of others that I haven't listed. Isn't that what art is supposed to do? Isn't art's responsibility to pull something out of its audience? Sometimes when I read poems, I feel that I am working harder than the artist. And that pisses me off. This semester, I have the opportunity to teach an Introduction to Poetry class. I was told that teaching these classes is exciting because your students actually want to be there, as opposed to the university-mandated comp classes that everyone is forced to take. This is almost wholly incorrect. Out of my 30 students, about 6 have some affection for poetry. The rest of them don't care a stitch for poetry, simply biding their time in my class in hopes of getting that final humanities credit. I ask them, "Why do you dislike poetry?" I get several answers, all of which stem from the same root--the poetry we learned in school, the poetry that is being taught as representative of the genre as a whole is of the ambiguous, riddling variety. Yes, in school we all read "Dover Beach." Yes, we all read "Annabel Lee," and "Because I could not stop for Death," and "The Tyger." And they were all riddles--things we had to decode to get to the "real meaning" of the poem. By and large, this type of poetry doesn't excite me. I want art to teach me about life, not to provide some exercise, some opportunity to practice my critical thinking skills. Because, soon enough, that's all poetry becomes--a game to play, a riddle to decode. It becomes mechanical and cold, like it has for some of my students. I love Sharon Olds. She was my gateway poet, the person who made me care about poetry. I remember reading Satan Says and feeling so close to her speaker, like she had taken the words--not from my mouth, because they hadn't even formed there yet, but from somewhere deep within me. I'd like to thank Olds for her work, because I haven't felt that exhilarated about poetry since picking up her little red book. When I watch episodes of Intervention, which is frankly pretty often, I can understand when the addicts say their continued drug use is all in chase of that first high. I've been waiting a long time for something to get me as excited as Satan Says did. I've had to wade through a lot of muck without much reward. My point is that I'm sick of the academy telling me what I should and should not like, and I'm sick of teaching my students--the majority of whom hate poetry, anyway--the so-called canon when I could be spending my time teaching them poetry that excites. I've told professors before that I enjoy about 10 percent of the poetry that I read. I thought this admission would be a nail in my coffin--proof that I didn't belong here in this wonderful program among these beautiful, poetry-loving people. But I've discovered that we all only like about a small portion of what we read. When I say I don't like Emily Dickinson, I'm not arguing that she has nothing to offer or that she shouldn't be taught. When I say I love Sharon Olds, I'm not arguing that she's the be-all, end-all or that everyone should count her as an influence. I'm asking that my love of her be respected, as well as my aversion to Dickinson. It is difficult for people to accept that I'm not a fan of America's poetic mother; I've had many people try to reason with me, to convince me of her greatness: Her use of the dash is a way to maintain quatrains while still imposing a caesura that imitates a line break! "A narrow Fellow in the Grass" is brilliant because the poem's not really about the snake at all--it's about the unknown! But there is no reasoning with taste. Dickinson does not move me. I don't care to figure out what she's trying to say. Does that make me a bad poet? Perhaps. Or perhaps there are dozens of poets out there, loathing Emily Dickinson in silence, waiting for someone else to say it first.
Comments (7)
Wonderful post. I echo Brooke Passy's thanks for the honesty. As someone a decade out of my MFA program (oh my!) and a decade into teaching, I think it is important that we acknowledge the harm done by forcing the canon down the throats of students before they've encountered a "gateway poet," as you so wonderfully describe. Times change; the language changes. Yes, there is worth in studying the canon, but I've had much more success in working from the present backward than from the ancients onward. I think this is especially important in intro courses when we have an opportunity to show students the power of language. PS. I love Dickinson, but I certainly respect your preferences as well! It's a big ol' poetry world!
Thank you for being so honest! I loved this post because I have had so many of the same feelings about different areas of poetry and lit in general. I can appreciate all kinds of writing, but it doesn't mean that it all speaks to me. You've motivated me to own up to my taste, even if it's the minority at times. "Sometimes when I read poems, I feel that I am working harder than the artist. And that pisses me off." This made me laugh because I'm right there with you. Thank you for sharing!
Kimberly, You ask that your love of Olds be respected, as well as you "aversion to Dickinson". Sure, I can respect your personal tastes. I like Mozart, you like Justin Bieber. No foul. But if you're teaching poetry to others at a university, or writing for a literary journal, I would expect a more... intellectually open approach? The fact that a certain poet 'excites' you, that you 'feel so close' to whomever you think Sharon Olds' "speaker" is in her poetry, means nothing. You can't simply displace the canon by saying, 'that's just my opinion' or 'de gustibus non est disputandum' (in matters of taste there is no disputing). You're not making an argument, you're not challenging your students or your readers. You're just stating your personal preferences. Who cares. So you don't 'get' The Waste Land, fine. But I don't think this is something to brag about. If you have a rigorous argument as to why The Waste Land is overrated, that's one thing--and you have your work cut out for you. But the mere fact that certain canonical texts do not 'excite' you or your friends or your freshman students -this does NOT give any significance or value to credence your point of view. No, it's not your job to "like" Coleridge, Wordsworth, Dickinson, or Eliot; but glibly dismissing these artists, saying things like "The Waste Land was a waste of my time" is nothing less than a pledge of allegiance to philistinism. Feel free to revel in your lack of appreciation. It's a free country, as they say. But you're teaching at a university? If you loathe the thought of practicing "critical thinking skills," then what are you teaching, other than your personal and very limited preferences? You say "I want art to teach me about life, not to provide some exercise, some opportunity to practice my critical thinking skills." By this same logic then, you prefer 'exciting' art that requires of its readers little or no critical thinking? But how can you learn "about life" or anything else for that matter without thinking critically? Osmosis? Perhaps what you're really saying is that you want to read poetry that tells you what you already know in a way that's familiar, poetry that makes you feel secure by not challenging your values and beliefs? Luckily, there is plenty of poetry out there that does this. It's called "bad poetry." Finally, I very much doubt that you are "working harder" than the poets you mention disliking: Coleridge, Wordsworth, Eliot, Dickinson. In, fact I'm convinced the opposite is true. Love, Emily Dickinson, et al
I completely agree with Emily Dickinson, et al. There are two things that worry me. The way you present yourself in a light you don't really want to be in and the fact that you are teaching poetry to undergrads with this attitude. Your job as an instructor is to teach the canon, because it develops and structures taste (you know, when you choose what you like and dislike). I understand your concern though, it's hard to teach something you don't understand. Poetry isn't here to serve anyone, it is actually vice versa. A utilitarian perspective is the worst thing that could happen to any art, especially poetry. You are screaming, Kim, but there are no words, just wails.
So I'm going to wade in here, at great length (be prepared!), in my guise as poet and teacher as much as Online Editor, and single out two aspects of these arguments that seem to me to be important and may be getting confused with one another. Or, perhaps they aren't and I just want to jump in! Because I love a good poetry scrap on a weekend morning. But the two aspects are, namely: 1) our personal aesthetic and its influences; and 2) our teaching of poetic craft and literature. I understand Ms. Mexina as saying that (to paraphrase Marianne Moore a bit) she, too, dislikes Emily Dickinson. But that she takes her personal taste as relatively unimportant to teaching; she believes we as teachers must serve a higher cause than our mere individual preferences. And I will admit that I had this response to some degree myself, as I laid out Ms. Bruss's piece, which I intuit she's deliberately written to be polemical and fiesty. (I also know her to be more of a Lady Gaga fan than a Justin Bieber one). (Full disclosure: I drank with both writers last night, and consider them friends as well as colleagues; and, I wrote one of my master's theses on Dickinson. Even as I type this working on an academic paper on her inestimable influence on contemporary poets such as Karen Volkman and Mary Ruefle, among others.) Again, I think where the questions become interesting and/or divisive for me are along the two lines already mentioned: personal poetic taste versus passing along some knowledge or discourse which the community of all writers living and dead has anointed as canonical. As far as the first, I'm personally upset-verging-on-enraged that Ms. Bruss has had such an inadequate education. Bear with me. When I encounter students who hate a particular poet of name/note, I invariably discover that's because they were taught that poet very poorly. (Cf. Shakespeare-hating undergrads who have never actually attended a performance or read the play aloud, at pace, unencumbered by some kind of ugly, unwieldy glossary. Who mistakenly believe they need Shakespeare's English to be "translated" for them. Put away your dictionaries and study guides, high school teachers! Throw them straight into the deep end of a play; I promise they will swim, not drown!) So transitioning a poetry-ardent student clutching her copy of _Satan Says_ into a realm of more challenging work, into loving poets who require some unpacking and some instruction as to how to read them--well, for starters, I certainly wouldn't plunk Wordsworth in front of such a reader (Wordworth himself famous for wanting poets to write in plain language, of course--oddly enough, for someone who then bursts out into the _Prelude_). But Coleridge's unfinished creepy ersatz-lesbian vampire epic "Christabel"? Absolutely. Not Blake's "Tyger," perhaps, but what about his proverbs of heaven & hell? We must be alert enough to offer our students the shiniest red apples, the most tempting lures into (out of?) paradise. And then, once we've earned their trust, how about "He fumbles at your Soul--" or "I got so I could take his name"½those are among the Dickinsonian gateway drug-poems, as far as I'm concerned. My late Russian professor said it this way: some books are like stepping onto a ladder. And some are like stepping into a ditch. If I were trying to transition young poets (as I often am) from (more random names) Billy Collins and Olena Kalytiak Davis to Wallace Stevens or Lucie Brock-Broido, there are a whole set of techniques to get them to want to put in the overtime that those poems are going to require of them. Here I think of Dana Levin quoting Wallace Stevens: "A poem has to resist the intelligence almost successfully." The key word, Levin says, is "almost." Or Alberto Ríos, noting that the poet has to be doing 51 percent of the work for the reader to want to do her 49 percent. Then, as far as personal taste--we all know that the canon of American contemporary poetry is broad now, and includes Lyn Hejinian and Fanny Howe and Anne Waldman as much as Galway Kinnell or Donald Hall or WS Merwin. (NB that all examples are completely random and extracted from an undercaffeinated Saturday morning brain.) We are blessed with profligacy: the post-avant, the skittery poem of our moment, and much-maligned quietism (which is often pretty noisy). The time is long past for the flarfernuttier to lie down with the iamb; and I think for the most part, the beauty of American contemporary poetry is that we are able to do this with such wild success. Poets don't break out into fisticuffs during AWP (about poetic schools, anyway--maybe there are fistfights about other things, I don't know); and poets of all stripes and tribes can now get tenure. Ms. Bruss will find colleagues in her life (e.g., Ms. Mexina!) who also dislike Dickinson. I'm personally sad that she's denied the pleasure of hearing Emily's angry, ghoulish, lovewracked, mordant, dry-writted, hilarious voice in her head--but for my money that's because she's not heard the right poems at the right moment. Finally: Should Ms. Bruss teach Dickinson? Not if she hates her. I was a Dickinson indifferent myself, despite attending her alma mater, Mount Holyoke College, until I read a notoriously non-scholarly, in fact highly trashy essay by Camile Paglia (from _Sexual Personae_) which places Dickinson firmly on the side of Satan (along with poor Milton). Paglia reads Dickinson as a decadent, as thoroughly late Victorian and obsessed with St. Sebastianesque tortures of the body, metaphoric for mental and romantic anguish. This essay led me to Susan Howe and Heather McHugh's work on Dickinson, as well as Brock-Broido's controversial _Master Letters_ (which Ms. Bruss would love, I think) and thence eventually to some really first-rate scholarship. And these studies have also led me to be unable to read most Dickinson (like Tsvetaeva, like Hopkins) without weeping, because through those scorching poems I feel a skin's-breadth away from her, over the separating century-and-a-half between us. In short, I'm glad Ms. Bruss wrote this post, and that we published it, to start and continue the endlessly looping polylogue about (to quote Chris Kraus's _I Love Dick_) WHO GETS TO SPEAK AND WHY. If you're reading, and you have a thought, please add your comment! And thanks to everyone for playing so nicely--
Oh, and one more: "I cannot live with You - / It would be Life - " ½I defy anyone with half a soul, anyone who's yearned unrequitedly and been torn away from her beloved, to read this aloud, excruciatingly slowly, and not come *completely apart* during the last stanza. Dickinsonian last stanzas often seem like a conceptual or metaphysical puzzle to be learnt, at first, it's true. But I say just get married and then divorce, and those last stanzas will melt, unravelled by the solvent of pure unadulterated pain.
I'm not going to weigh in too much here, but anyone engaged in this conversation may also be interested in an article Dorthea Laskey recently wrote for The Atlantic : http://www.theatlantic.com/national/archive/2012/10/what-poetry-teaches-us-about-the-power-of-persuasion/263551/


text:
Quite a while back, you would should be in a studio and utilize those huge, massive and costly machines just to record and alter music. These days, anybody with the correct PC can make music wherever they might be – on account of sound altering programming items.
What are sound altering programming projects?
A sound altering programming is a PC program used to control sound documents utilized as a part of music inspecting and recording and video generation and after creation. It forms music a similar way conventional music blending and sound building have accomplished for a considerable length of time. These product items empower its clients to download tests from the Internet, record gushing sound, and change over documents from MIDI to advanced organizations. They can likewise reestablish sounds from old or harmed recordings, tidy up static and foundation commotions, and cut and glue sound clasps.
Picking the correct sound altering programming for your venture
Before choosing to purchase a sound altering programming, make sense of your motivation for getting it. Possibly you're keen on making a soundtrack for your home motion picture, or maybe you're anticipating copying your most loved band's collection on a CD. Knowing precisely what you have to will help you limit your decisions.
You should likewise assess your level of information with respect to the utilization of sound altering virtual products. On the off chance that you are a first-time client, it is best for you to buy a product that accompanies a substantial number of preset impacts and channels. In any case, on the off chance that you are as of now educated in client applications, you might need to consider purchasing programming items that takes into consideration more individual controls and courses of action.


text:
Principal's Desk
M Vijaya Nirmala
Managing Director
It's one thing to learn a theory from lectures and textbooks. It's something else entirely to learn how to make decisions in the face of conflicting data, complex politics, intense time and fiscal pressures – then defend your choices among peers as motivated and intelligent as you are. That's exactly what you'll do at NBS, not once but over 300 times through two years of in-depth, case-method learning that puts you in the role of the decision maker. Field studies, career treks, in-depth Immersions under faculty guidance take students to the frontiers of new markets, practices and technologies across the globe. Our high expectations demand exceptional commitment. For every hour of class time, an NBS faculty member dedicates many hours of preparation that includes individual case review, writing notes, lessons plans, and collaborative analysis among colleagues. While instructing classes, teaching takes priority over every other obligation including research, writing, administrative duties. Faculty dedication is motivated by its reward: an exciting, energized classroom that's thoughtfully choreographed, yet open to unexpected insights and understanding.


text:
Hershey Writes Haiku
A smorgasbord of dog-ness
Adrenaline high
Grumpy canines here
No one wants to be my friend
In spite of my love.
Momma wrestles me
Gives Heart-felt apologies
To canines and peeps
A wild furry child
Grinding nails makes me feisty
I deserve big treats.
Drained and in need of Cheetos
Mommy and I nap.


text:
Al-Marzouq: KD 169.1Million Net Profit for KFH shareholders until the End of Q3 2018 – an increase of 22.7%
Earnings per Share 27.04 Fils, an increase of 22.6%
Chairman of Kuwait Finance House (KFH) Hamad Abdulmohsen Al-Marzouq said that "KFH has, by the grace of Allah, reported a KD 169.10million net profit to shareholders until end of Q3 2018 compared to KD 137.87million for the same period last year i.e. an increase of 22.7%.
Net Financing income until end of Q3 2018 reached KD 404.82million i.e. a growth of 25.4% compared to the same period last year. Total operating income until the end of Q3 2018 reached KD 589.61 million, i.e. a growth of 12.3 % compared to the same period last year and net operating income reached KD 367.47million, i.e. a growth of 17.9% compared to the same period last year.
Earnings per share reached 27.04 fils, compared to 22.06 fils for the same period last year i.e. an increase of 22.6%.
Despite a real growth in the business, the decline in the Turkish currency rate against Kuwaiti Dinar during the third quarter of the current year has a negative impact on the consolidated balances as at the date of the interim condensed consolidated financial information. After excluding this effect, the total assets of the Group increased by 4.3%. The financing portfolio increased by 6.8%, and depositors' accounts increased by 4.4% compared to year ended 31 December 2017.
Al-Marzouq explained that the realized profits are attributed to the efficient execution of the Bank's strategy approved by the Board of Directors and the long-term plans implemented by the executive management by focusing on diversifying sources of strength, mitigating risk, rationalizing cost, increasing operating income resulting from core banking business and achieving harmony among Group banks to ensure sustainable profitability.
He added in a press release, that the indicators of the balance sheet are all positive, which demonstrates the robust financial position of the Bank, not to mention reinforces the stable and sustainable growth in profits over 4 years of outstanding performance, and 3 consecutive quarters until the end of the 3rd quarter of the current year. All key indicators recorded growth. Return on average equity (ROAE), return on average assets (ROAA) compared to the end of year 2017, and the earning per share (EPS) all surged. Also, Net financing income increased, the operating income of banking business grew compared to the same period last year, as this represents a major source of the group income. Further, cost to income ratio (C/I) has decreased compared to the same period last year, which reflects the improvement in the Group's performance despite the difficulties in the operating environment. This confirms the sound performance of the Group as KFH continues its prudent investment policy, effective risk management while maintaining improved asset quality as per the best practices in this field.
Al-Marzouq illustrated that KFH has developed many scenarios to deal with the developments in the banking sector on the regional and global levels, and the prospects for the future of banks at all levels, most notably the increasing competition in the banking industry. He said that the emergence of several mergers and acquisition deals confirm that a new banking world is underway heading to establishing large banks that enhance the capacity of these entities to secure local and international funding sources at a competitive cost, while enhancing the credit limits of those banks, thus increasing profits.
Al-Marzouq pointed out that KFH's overseas operations are characterized by the geographical diversification that contributes in increasing liquidity, improving financing capability and asset quality, thus boosting profitability. KFH Group banks in Turkey, Malaysia, Bahrain and Germany have continued their successful performance in accordance with the set plans and strategies to benefit from the elements of strength in each market in which they operate. KFH Group Banks achieve further coordination and collaboration in different joint ventures.
Al-Marzouq expressed his confidence in the Bank's strong financial hedge and the resilient mechanisms to deal with the economic conditions and the regional developments in their markets in an efficient manner. This reduces the effects of market fluctuations in the long and medium terms.
He continued: "Despite the sharp fluctuations in the Turkish lira, the position of KFH-Turkey is strong. This is attributable to the credit facilities granted in Turkish lira, the credit facilities granted in hard currency as well as the good credit growth and the increased credit margin of financing which enabled the Bank to overcome the impact of these fluctuations and mitigate risk.
Moreover, He said that KFH pays great attention to the technological side of rolling out high-end services, indicating Fintech is in line with KFH strategy of offering round the clock high-quality, cost-effective, advanced and innovative services. During Q3, KFH uniquely provided several Artificial Intelligence AI services. KFH signed a partnership agreement with Ernst & Young (EY) to launch an ambitious Robotic Process Automation (RPA) program as the first Bank in Kuwait to integrate Artificial Intelligence into operation. This increases productivity and reduces operational costs, yet allows the Bank to keep abreast of the international trend of utilizing AI, the most influencing element in the modern technology. KFH launched chatbot built on Microsoft technologies, in a move that promises to drive digital transformation by improving customer engagement. The chatbot is available to customers 24/7, on KFH's most popular engagement channels, including the website KFH.com and mobile app KFHonline. KFH launched a centralized SWIFT network system for global payments at the group level. The Bank rolled out new system on its ATMs that accelerates the process of customers' claims transactions, while minimizing error as it is an automated system. KFH offers "request Financing online" for its customers in efforts to save their time and efforts.
Al-Marzouq stressed KFH keenness on financing major and infrastructure projects in line with its strategy in supporting the national economy. This allows the banking sector to diversify its financing portfolio, indicating Kuwaiti banks enjoy high degree of liquidity and high solvency ratios. KFH succeeded in closing several credit facility deals in oil and gas, infrastructure, transportation, energy and real estate sectors within the framework of achieving the comprehensive development. The most recent deal was a contract of credit facility with Kuwait Integrated Petroleum Industries Company (KIPIC) where KFH participated in financing the company's $2.3 billion Liquefied Natural Gas (LNG) import. KFH was selected to lead the deal of the Islamic banks for their share in the $500 million. KFH is currently studying different other projects to finance.
KFH continues its efforts in financing Kuwaiti companies and supporting them in improving their businesses and expansion plans as per credit regulations. KFH pays great attention to the small and medium enterprises SMEs. The Bank enjoys great share in financing SMEs as they play a significant role in supporting the youth segment and improving the performance of the entrepreneurs. This contributes in diversifying income resources, creating new jobs while building national expertise in business.
KFH has strong retail activities thanks to its role as a leading provider of Shariah-compliant financial products and services, which is a fundamental pillar of the Bank's business. Efforts have been exerted to promote market share by establishing cooperation and partnership agreements with many local companies in various fields, and by organizing marketing and promotional programs to energize the market. KFH continues to provide the highest level of service quality, while paying great attention to customers, and innovating new products and services.
At the level of deposits, KFH offers wide range of investment deposits with competitive yield. This contributes in attracting new segments of customers, while providing the best savings programs that help customers to financially plan for their lives and the future of their children. KFH uniquely offers a range of diversified banking cards, accompanied by a wide range of discounts and prizes. This differentiates the Bank's customers, and increases the usage volume of the cards locally and globally. This also contributes in achieving a secure payment system across the world.
Al-Marzouq reiterated that the positive ratings of KFH by international rating agencies, and the prestigious international awards from global institutions, most recently the Safest Islamic Bank award in the GCC- 2018 by Global Finance Magazine affirm KFH role in leading the international development of Islamic financial services. The ratings and the awards represent an impetus for maintaining growth, indicating KFH will continue its prudent policy to face any local and global challenges. KFH strengthens its precautionary provisions and its financial position by focusing on core banking business while improving its asset quality.
He stressed the significant role of the human resources at the Bank, indicating KFH works tirelessly on qualifying and honing the skills of its human capital; mainly the national youth. This paves the way for creating leaders who are able to deal with the future challenges, while coping with the growth of the Bank in the regional and international markets, which adds genuine value to the capacity of the national economy.
He mentioned that KFH achieved great success in the social sustainability strategy in different initiatives including education, health, youth, and people with special needs to confirm the leadership of the Bank in social responsibility.
Al-Marzouq concluded by conveying his sincere thanks to all shareholders and customers for their continuous and valuable support and trust in KFH activities and business. He extended his appreciation to all regulatory authorities for their support. He appreciated the efforts of KFH staff and the executive management for their distinguished performance, emphasizing the importance of maintaining the pioneering position of KFH in all fields.


text:
April 4, 2012
Cemetery Added Cemetery 96 {Immaculate Conception Catholic Cemetery - Town of Wilson}, including 1,243 photos of the tombstones & 5 Cemetery stones. Thanks to Shirley Horn & Ken Martin for all of the work put into this.
Horn, Mary E.
Horn, Melvin
Horn, William Peter
March 24, 2012
Cemetery Added Cemetery 85 {St. Mary's Catholic Cemetery - Sheboygan Falls}, including 1,606 photos of the tombstones. Thanks to Shirley Horn & Ken Martin for all of the work put into this.
Gall, Helen Marie {with Photo}
Lorenz, Mark {with Photo}
Lorenz, Richard C.
Majerus, Mary F.
Mauer, Beverly J. {with Photo}
Wallner, David J. {with Photo}
February 29, 2012
1910 Directory Added the 1910 Directory Listing for the following surnames not already listed & the acres of land owned at the time.
Bi - Bz
February 27, 2012
1910 Directory Added the 1910 Directory Listing for the following surnames not already listed & the acres of land owned at the time.
Ba - Be
February 21, 2012
1910 Directory Added the Cheese Factories from the 1910 Directory Listing.
February 17, 2012
1910 Directory Added the following villages and settlements to the 1910 Directory Listing.
Howards Grove
St. Anna
Scott {Batavia}
Silver Creek
February 12, 2012
Newspaper Articles - Churches Reorganization of "Greenbush Brick Church"
Newspaper Articles - Funeral Trips
Mr. and Mrs. John Orlebeke attend funeral in Oostburg
Abler, George
Abler, Gordon Herman
Bemis, Harry Frederick
Bradford, Marjorie I.
Bradford, William E. Sr.
Gady, Peter {var. Goede}
Gallon, John Race
Gallon, Robert Lea
Garside, Henry
Geele, Minnie
Gehrke, August
Geltch, Etta
Gerend, Mrs. John
Goldapske, Walter
Greger, Child
Guelzow, Rose
Gunderson, Auguste
Hageman, Marie
Hasse, Alfred A.
Hennen, Clarence
Hennen, Danny Ray
Hennen, Lillian
Hennen, Myrtle M.
Hennen, Patrick A.
Hennen, Raymond E.
Hillyer, Merton E.
Juschowski, Adam
Kohli, Andrew L.
Kohli, Catherine I.
Kohli, Henry J.
Kohli, Margaret A.
Koppen, Fred
Kroeten, John
Lampe, Louis
Lindemann, Marie
Loersch, Mrs. Edward
Lucas, Mary Esther
McGlaughlin, Catherine
Michels, Ambrose J.
Michels, Florence F.
Michels, Isabel M.
Michels, Jeanette W.
Michels, Leo L. J.
Michels, Robert Louis
Miller, Jacob
Monk, Clarence J.
Odenbrett, Willa
Odenbrett, William Frederick
Reschke, Charles Gordon Sr.
Reschke, Janet Marie
Robb, Roland Isaac
Rowland, Caroline
Scharpf, Sr. Perfecta
Schikelenski, Mrs. Robert
Schuri, Mrs. Carl
Shaw, Ray
Sorensen, Kelly Lynn
Steffes, Clara
Stieber, Herman
Stolz, Margaret
Thomas, R. H. Sr.
Van Akkeren, John
Van Allen, Margaret
Van Allen, William J.
Vogds, Mathilda Elizabeth
February 7, 2012
1910 Directory Added the following villages and settlements to the 1910 Directory Listing.
February 5, 2012
Newspaper Articles - News Articles Son Accidentally Shoots Mom in Forehead
Newspaper Articles - Funeral Trips
R. Martin going to Cousins Funeral in Two Rivers
Bolens, Frances
Daehn, William
Davis, Abel
De Braal, Lena
De Troy, Leonard
Degen, Wilhelmine
Degenkolbe, Frank
Degenkolbe, Fred Sr.
Dehling, Charles
Demidawich, Mrs. William
Denison, James H.
Deutsch, Solomon
Devine, Ruth
Devoy, Edward M.
Dickau, Arthur
Dieckmann, Louis
Doe, John
Donovan, John
Dorschel, Susan
Dose, Fred J.
Dose, Mrs. Fred
Dowsett, William
Dunn, Duncan
Dye, Julia
Eberlein, Louise
Eernisse, Mrs. Abraham
Eichstaedt, Arno
Eimermann, Casper
Erbstoeszer, Christ's Daughter
Ernisse, Samuel
Faas, Zema
Fanning, Daniel
Farnsworth, Fannie
Feistel, Alfred
Feltzmann, Killian
Felzmann, John
Flaig, John
Foley, Helen
Folz, Margaretha
Fredricks, Fred
Friedrichs, Clara
Frost, Alfred
Gilboy, Mrs. Thomas
Odenbrett, Goerge
Walgenbach, Joseph Mathias
February 4, 2012
Newspaper Articles - Missing Parents Seeking Long Lost Son
Newspaper Articles - Wills
Clark Bowers about Vincents Bowers Will
Bachausen, Johanna
Bade, Infant
Bakuns, Charles
Bauman, Lenora
Baumgartner, Frances
Bedford, Amanda
Behring, Regina
Bennink, Genet
Bentley, John A. {Judge}
Berlin, Bertha
Beson, Louis
Bienert, Paulina
Binder, Alvina
Biwersi, Mrs. John
Bloedel, Jacob Sr.
Bonasky, Otto
Bondewege, Mrs. Jacob
Bormann, Sophie
Bort, Oriel L.
Bragg, General Edward St.
Brandt, Fred
Brasure, Sarah
Brechtel, Augusta
Breeke, Minnie
Brehm, August
Breitzman, Dr. Leo
Brethouwer, Delia
Brickner, Mary
Brienkle, Catherine
Brockman, Henry
Brockmann, Albert
Bruckner, Andrew
Burgess, Margaret
Burkhardt, Arthur
Butler, Ella
Byrum, O. H. {George Henry}
Campbell, Matthew
Canisius, Katharine
Chapin, Adelbert
Christenson, Mrs. James
Clandermann, Gertrude
Clark, Mrs. Almond
Cook, Byron {Benjamin}
Hennen, Albert
Hennen, Raymond Clarence
Michels, Frances
Michels, Frank P.
Michels, John Nickolaus
Michels, Joseph
Michels, Margaret
Odenbrett, Margaret
Quackenboss, Ida
Schreiner, Ralph J.
Vogds, Alois
Walgenbach, Anna
Walgenbach, Roman Peter
February 3, 2012
Adrianse, Adam
Adrianse, Martha
Albrecht, G. A.
Almann, Elwood
Andre, Frank
Apel, Mrs. Louis
Ash, Mike
Atkin, Thomas
Augspurger, Louis
Canniff, James T.
Clark, Maude
Howell, Paul E.
Johne, Wilma
Lau, Rudolph
Nelson, John
February 2, 2012
Family History
Dumas, Agnes
Jaeckels, Anna
Karnopp, Louise
Margoile, Joseph
Schuehardt, Magnus William
Vogds, Mildred
February 1, 2012
Kay, Caroline L.
Kerber, Gustave F.
Markgraf, Sophie
Noetzel, Michael A.
Return to the Sheboygan Page


text:
Your message will be sent to Foundation Sports Football Camp
(You must complete all the fields)
Please type and check your email address carefully. If you make a mistake the business will not be able to respond to you!
© 2012-2020 Mum's Guide To Limited (All rights reserved)
Registered in England & Wales No.8045592
"Mum's guide to Hertford", "Mum's guide to", and the "Mum's guide to" Logo are trade marks of Mum's Guide To Limited
Please be aware that this website uses a mixture of paid-for advertising from local and national businesses, as well as pay-per-click programmes and affiliate marketing.


text: Lennart_T 151 Report post Posted July 1, 2008 Sometimes I can't launch Retrospect. The error message is: Retrospect cannot start. You must be an administrator to back up your data with Retrospect Well, I AM the administrator (and logged in as administrator). This started when moving all our computers to a new domain, but it's not consistent. Today I updated from 7.5.x to 7.6.x and also installed a few "Windows update" items. Restarted the computer and launched Retrospect without problems. However, one NAS server didn't mount, so I quit Retrospect mounted the NAS server and restarted Retrospect. Now Retrospect refused to start with the above error message. I tried rebooting the server twice, but to no avail. This also happened a few weeks ago but I forgot about the details. I remember it suddenly started to work again, But I had NO idea how I fixed it. Share this post Link to post Share on other sites


text:
When Limerick composer Bill Whelan heard that the Crescent College Comprehensive past pupils orchestra wanted to play MacArthur Park at their celebratory concert last weekend, he rang Jimmy Webb, who actually composed the song. Jimmy Webb (composer of other classics such as Wichita Lineman, Galveston, and By the Time I Get to Phoenix) subsequently sent Bill Whelan an email which contains an amusing story about the song and Richard's Harris' ...Read More »
Tag Archives: 20091013
Making a difference at Knock
In summer 1989 Des Fahey, a priest from Knock, came to Manresa to seek help. 'Something' he said 'is missing at Knock, and unless we identify it, the Shrine will lose its popularity.' Von Hugel held that a religion needs three dimensions to thrive: institutional, intellectual and mystical. Des and Brian Grogan (then director of the Manresa Centre) agreed that ...Read More »
Big moves for Michael
Michael O'Sullivan has been appointed Head of Theological Studies at All Hallows College, and Head of the Systematic Theology Department. He will also assume responsibility for the Moral Theology Department for the time being. He will continue for this academic year in his post as Director of the Higher Diploma and MA programmes in Applied Christian Spirituality at Milltown Institute, ...Read More »
Europe as a missionary hub
John Guiney and Murt Curry from the Irish Mission Office are just back from two meetings in the Jesuit Retreat House, Rainhill, Liverpool, aimed at enhancing the sharing and cooperation between European Jesuit Mission Offices (MOs) and NGOs. They spent 1 October with other Western European MOs reflecting on their work over the last year – listed below are the ...Read More »
Pioneer matters
The Pioneers have launched "Pioneer Matters", the Association's first CEO newsletter. The primary purpose of this publication is for Padraig Brady, the PTAA Chief Executive, to ommunicate with all PTAA members on the work the Association is undertaking. However, we thought employees from other Jesuit works might also be interested in receiving our newsletter. "Pioneer Matters" focuses on the more ...Read More »
Straight paths for Belvederian boys
Gardiner Street's parish priest Donal Neary works with Belvedere Religion teacher Helen Barden in lending variety to her 5th Year class. Donal introduced the boys to Ignatian Spirituality in the church. He showed paintings of the early years of the Jesuits, and explained Ignatian slogans and principles like 'For the greater glory of God', 'Finding God in all things'. The boys ...Read More »
Richard is felled
Richard O'Dwyer SJ set out for Africa this time last year, to work with the JRS, first in Ethiopia, and then in Southern Sudan after Christmas in Kenya. He has combined the know-how of a trained quantity surveyor with the eye and pen of a reporter in email after email of vivid experiences. His first experience was in Addis Ababa, ...Read More »
JESUITICA: Jesuits to the frontiers
Ray Howgego's "Book of Exploration", warmly reviewed this week, is the story of over 7000 travellers who have contributed to our knowledge of this earth. It reveals how often Catholic and Jesuit missionaries were to the forefront of exploration. The travels of St Francis Xavier, to India, South East Asia, Japan and the coast of China, are an example. After ...Read More »
Short Notices
Gerry Foley, principal of Belvedere, welcomed the meeting of Pastoral Coordinators from Jesuit schools who met in Belvedere House on Thursday and Friday 8-9 October 2009. The meeting was convened by Brian Flannery, Education Delegate, to coordinate pastoral and RE programmes in the JesuitsSchools. Present were (L t R), Brian Flannery, Gerry Foley (Belvedere), Danny McNelis (Gonzaga), Helen Barden (Belvedere), ...Read More »
Forthcoming Events
Slavek Kwi, a composer and sound artist, will set up an installation of the compositions he worked on with the children of St Declan's School, in the John Field Room, National Concert Hall. The installation will run continuously for 48 hours, through Friday 16 and Saturday 17 October. All are invited. Gerry O'Hanlon SJ will speak about the recession and ...Read More »