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JOHN Kennedy is 83 now. He has pale blue eyes that sparkle with good humour and, in that spirit, he gives me his vision of his funeral. The coffin is being wheeled down the aisle of the church when a booming voice sounds out. It's the recording of him saying, ''DON'T THINK! DOOOOOOO!'' to his losing Hawthorn team at half-time in the 1975 grand final.
It is one of the most famous utterances in the history of football. It has a second, less well-known part which goes: ''DON'T HOPE! JUST DOOOOOO!'' His voice is the bellow of an old stag trapped in a forest of despair, refusing to surrender. Only with great reluctance had he agreed to wear a microphone that day: ''That was a big decision for me, because what I said to the players always stayed there!''
Kennedy is widely acknowledged as the finest orator in the history of the game. Classicists will point to the fact that he was a school principal who taught English and can still recite parts of Henry V's speech before the battle of Agincourt, as re-created for the stage by William Shakespeare.
His grandfather, James Kennedy, came from Tipperary in Ireland in the late 1800s. James Kennedy's son, the father of the subject of this story, was a cigar maker. During the depression, he was out of work and John Kennedy remembers hearing his mother say she could manage on two pounds a week. Her people, Cochranes from Dunfermline in Scotland, helped the family through.
Young John attended De La Salle College and was an industrious student. ''At school, you always try and excel and do your best.'' He played cricket and football, saying sport gave him ''the confidence to meet people''.
His father used to take him to see Camberwell in the old VFA. In the VFL, young Kennedy barracked for the Pies. ''That was a big deal, being taken to see them.'' He was at the 1945 preliminary final between Carlton and Collingwood. The grand final of that year, played six weeks after the end of World War II, is the most violent grand final in the history of the game and remembered simply as The Bloodbath. But the preliminary final was actually worse. Collingwood had brought in notorious hard man Len Hustler. ''All the talk,'' says Kennedy with his wonderful flickering grin, ''was about Len Hustler.''
He arrived at Hawthorn in 1950. The impression you get from contemporary reports is that he was a gangly, awkward ruckman who was totally uncompromising. He won the best and fairest in his first year but the Hawks lost every game. He won four best and fairests in five years but, in his words, his club was the joke of the competition. ''It drummed into me that the only success was team success.''
Early in his career, playing the Magpies, he saw a Collingwood player who was knocked down stay down. ''The Collingwood captain, Lou Richards, ran over to him and said, 'What's the matter with you?' He went crook at him. He spoke very harshly to him - I thought there's trouble at Collingwood. Then they came out and won the next week and I thought, 'This is a really tough game'.''
Melbourne was the power club of the era - Kennedy saw Barassi, the Melbourne captain, be equally demanding with one of his players who fell hurt.
As a player, Kennedy showed a remarkable ability to disregard pain, once staying on with a broken arm after the coach asked him to. As a coach, he is remembered for telling a player wiping blood from the side of his face not to worry about injuries above the neck. ''We'll point you in the right direction.''
He treated his players rigorously as a collective, rarely if ever speaking to them individually, and insisting on a radical selflessness. (I once saw him quote Karl Marx at a post-match press conference when journalists pressed him to praise a particular individual, saying: ''From each according to his ability.'')
He didn't tell his players to enjoy the game. ''Enjoyment wasn't an issue.'' He wasn't impressed with anything but winning, which he once described ''as a good feeling which lasts for an hour after the game''. Nor was he concerned whether his players liked one another. The game was about winning respect as footballers. ''It doesn't matter what you do - judge's son, bricklayer, caterer - the football field is where the respect comes from.''
Tactically, he was considered by some - most notably, Geelong coach Bob Davis - as crude. When he took over as coach of Hawthorn in 1960, his strategy was to radically increase the physical fitness of his players and then up the tempo of the game so that opposition teams were worn out.
His teams, known as ''Kennedy's Commandos'', won three premierships, the first in 1961. In 1964, his VFL/AFL coaching career was interrupted by the education department appointing him principal of a school in Stawell. He coached the local team. The first practice match, one of his best players didn't turn up, instead going rabbiting. When Kennedy fronted the player and demanded to know why, the player said: ''Because I prefer rabbiting to playing football.''
Then another player left the club because he didn't like the way Kennedy addressed the players during a loss. ''They were doing their best,'' the player said.
''My job is to make them better,'' replied Kennedy.
Of his time in Stawell, Kennedy says: ''I learned a bit up there. It got me to talk to the players a bit better, to adapt to particular players.''
Our interview becomes a rambling conversation, but what an excellent man to ramble with. All the great coaches I have met have been fully aware that, ultimately, the game is only a game.
As a young player, just after World War II, Kennedy attended a tribunal where a Hawthorn player who had been involved in hand-to-hand fighting in the Pacific fronted a tribunal headed by a man who had witnessed death and deprivation as a prisoner of war of the Japanese. The idea that ''knocking someone over on the football field'' should be treated seriously by people with such life experiences causes another of his ironic smiles.
Kennedy much admired Melbourne coach Norm Smith. Often, after Hawthorn played Melbourne, the pair would end up deep in conversation about the game. ''Norm Smith was such a strict disciplinarian but his players were still daring enough to do their own thing.'' Kennedy liked that. ''Otherwise, you'll only have robots playing.''
The single game he remembers most fondly is the 1961 preliminary final when Hawthorn finally overcame Melbourne, the great team of the era. ''It had everything you could want from a game of football.''
I take him to the subject of his oratory. ''People say to me, you said this and this. I didn't prepare anything but sometimes you just explode!'' Explaining his ''Don't think'' speech during the 1975 grand final, he says that Hawthorn team had ''quite a few academics in it''. The tape of the famous quote lay in a vault for 20 years before someone discovered it during the AFL's centenary year. Now, it has ''legs of its own'' and, all these years later, he has to ask himself if he really believes what he said. ''I think I do. Actions speak louder than words.''
Kennedy's actions include a four-year term (1993 to '97) as head of the AFL Commission.
His wife, Dulcie, was born in Australia of Italian parents. Their son, John jnr, an unspectacular but highly reliable footballer, played in four Hawthorn premierships. John jnr married Bernadette Russo, whose brother Peter, a highly skilful footballer, played in two Hawthorn premierships. John jnr and Bernadette's son Josh will play for Sydney in today's grand final. John Kennedy snr says he finds it ''a bit difficult'' watching his grandson play. Sometimes he finds it easier watching the games on replay after he knows the result.
Our conversation lasts 90 minutes. He talks with great fondness about David Parkin, captain of Hawthorn's 1971 premiership team and Kennedy's successor as coach. ''As a captain, he was such a great example, taking all the physical and mental risks.'' Unlike Kennedy, Parkin spoke to his players individually and incorporated them in team decisions. Parkin's fourth premiership team - Carlton in 1995 - basically ran itself. ''As a coach, he was ahead of his time.''
Our talk doesn't end, it terminates like a tram arriving at one destination among many. ''What are you going to do with all this stuff?'' he asks, waving his big hands in the air, a grin of disbelief on his face that anyone would find it of interest. As we are parting, he adds: ''You wrote a good line about me once: 'John Kennedy is impossible to interview.' And that's how it should be.'' Why does he believe that? Because the game is not about individual recognition.


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turnpike, road paid for partly or wholly by fees collected from travelers at tollgates. It derives its name from the hinged bar that prevented passage through such a gate until the toll was paid. See also road.
Sections in this article:
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2012, Columbia University Press. All rights reserved.
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subset: commoncrawl


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Comments or corrections about an artist, act, gig or venue? Write us at firstname.lastname@example.com.
Musicians' Olympus.
From Ultimate Classic Rock:
Singer and musician Gary Pickford-Hopkins, whose extensive discography included appearances on some of former Yes keyboardist Rick Wakeman's most successful solo albums, has passed away following a struggle with cancer.
Wakeman, who used Pickford-Hopkins as a featured vocalist on his hit '70s LPs 'Journey to the Center of the Earth' and 'The Myths and Legends of King Arthur and the Knights of the Roundtable,' offered a personal remembrance on his website, calling him "one of the nicest guys you could ever wish to meet."
Lamenting that "It's been a rotten year for losing friends," Wakeman went on to list other collaborators from the period who have passed away, saying, "We have now lost David Measham (conductor), David Hemmings (narrator) and now Gary. Also we have lost Martin Shields from the late seventies English Rock Ensemble."
Remembering that he first saw Pickford-Hopkins perform with his band Wild Turkey (with whom he'd continue to record sporadically during the '90s and after), Wakeman mused, "We had so much fun both in the studio and on the road … I wish Gary all the peace that there is to offer him after his long battle with cancer and my heart goes out to his family and friends as indeed it does from all involved with the ERE."
Read more.


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Team leader / supervisor
Managing teams and projects to meet a private, public or voluntary organisation's goals.
Summary of this apprenticeship standard
- Level
3 (equivalent to A levels at grades A to E)
- Typical length
- 12 months
- Current funding band
Up to £4,500 per apprentice.
More information about funding
- Entry requirements
Set by employer.
Candidates will usually have 5 GCSEs at grade C (or above).
- What apprentices will learn
- team management principles - including team dynamics, motivation and managing resources and workloads
- leadership techniques - including coaching, decision making, role modelling and managing change
- performance management - including absence management, conducting appraisals, setting goals and objectives
- relationship management - including negotiation and networking skills and customer and stakeholder management
- communications - including active listening, chairing meetings, presentation and digital, verbal and written communication skills
- human resources (HR) and legal requirements - including equality, diversity and inclusion
- operational and project management - including planning and prioritisation, collecting, analysing and using data and risk management
- financial management - including controlling budgets, delivering value for money and governance and compliance
- Qualifications
None specified.
Before taking their end-point assessment apprentices must:
- achieve level 2 English and maths (equivalent to GCSEs at grades A* to C)
- Professional registration
Apprentices will be able to register as associate members of the Chartered Management Institute (CMI) and Institute of Leadership and Management (ILM).
- End-Point Assessment
View a list of end-point assessment organisations for this standard
- More Information
The Institute for Apprenticeships and Technical Education has more detailed information about this apprenticeship.


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Chokroverty, Sudhansu is the author of 'Clinical Companion to Sleep Disorders Medicine', published 2000 under ISBN 9780750696876 and ISBN 0750696877.[read more]
You can find lots of answers to common customer questions in our FAQs
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Learn about our return policy
Still need help? Feel free to contact us
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With our dedicated customer support team, you can rest easy knowing that we're doing everything we can to save you time, money, and stress.


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Duplicate accounts
Please help us make Online Book Club even better! Please post suggestions, feedback and ideas for new features. Wild brainstorming and potentially 'crazy ideas' are super-strongly encouraged!
For new members (or old members who run into an issue), please make a post in this forum asking any questions you have about using the site and how it works that are not answered in the FAQ. Not only are we happy help you, but also we can use your feedback to make the site better for tomorrow's new member! A lot of the instructions throughout the site and answers in the FAQ are there because someone else pointed out that it wasn't clear before.
IMPORTANT: The Public Suggestion Box is NOT for discussing issues with the Review Team. If you are a reviewer and need help, please first check the Review Team Page and then if you still need help use the Review Team Support Forum. If you are an author and need help, please first check the Author Dashboard and if that does not resolve your issue use the private contact form. For reference, there is a contact link on every page of the website.
To ensure the above procedures are used, posts by new members in the Suggestion Box will be held for moderation.
There are over 240,000 members at OnlineBookClub.org. Following the proper procedures to get help or make suggestions actually helps us help you much faster.
Please do not discuss issues related to the Review Team in the Public Suggestion Box, as we prefer to deal with Review Team issues privately. If you have an issue or question related to the Review Team, please first check either the Author Dashboard (if you are an author or publisher) or check the Review Team Page (if you are a reviewer). If you are a reviewer and you have a suggestion, you can post that in the special private Review Team Support Forum.
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I have received three emails concerning the above-stated issue. I am wondering why yet I use my house wifi.
Though I walk through the valley of the shadow of death I shall not fear.
For the Lord is my Shepherd.
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You should follow the instructions you got on those emails.
"In the case of good books, the point is not to see how many of them you can get through, but rather how many can get through to you." (Mortimer J. Adler)


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Hot Chip | 01/03/12
We're very proud to announce a majestic addition to the Domino family: Hot Chip will be releasing their highly anticipated fifth album, In Our Heads on Domino. Having put out consistently awesome records since 2004, we're sure you've been waiting with bated breath to hear what they're up to. Well, you won't have much longer to wait at all - the album will be released on LP, CD and digitally on June 11th in the UK (and the following day in the US). And immediately after that they'll be hitting the road, with several European dates already confirmed and more to follow.
Recorded right here in London and produced by the band themselves (with additional production and engineering by Mark Ralph), In Our Heads is the band's follow up to 2010's intoxicating and singular One Life Stand and their first LP for Domino.
Anyone who has listened to Hot Chip's output over the greater part of a decade can testify to the enormous collective talent of band members Joe Goddard, Alexis Taylor, Felix Martin, Al Doyle and Owen Clarke. They will also have noted how the band refuses to stand still, constantly evolving their sound to include a diverse mix of soul, R&B, gospel, Detroit House, disco and funk while maintaining an instantly identifiable and unquestionably unique "Hot Chip sound".
In Our Heads is an unadultered delight of an album bursting with dynamic dancefloor-movers, instant yet enduring hooks and verbose synth-fuelled love songs and fully cements Hot Chip's position as the world's most talented electro-romantics.
Here's the tracklisting:
1. Motion Sickness
2. How Do You Do
3. Don't Deny Your Heart
4. Look At Where We Are
5. These Chains
6. Night And Day
7. Flutes
8. Now There Is Nothing
9. Ends Of The Earth
10. Let Me Be Him
11. Always Been Your Love
And here are those European dates:
Confirmed UK & European live shows with ticket links (more dates coming soon!):
- JUN 15: London, UK - Lovebox
- JUN 16: Barcelona, Spain - Sonar
- JUL 27: Dorset, UK - Camp Bestival
- AUG 10: Hamburg, Germany - Dockville
- AUG 11: Saalburg, Germany - SonneMondSterne
- SEP 02: Stradbally, Ireland - Electric Picnic (on sale date TBC)
- SEP 06: Isle of Wight, UK - Bestival


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US Navy hovercraft to land on San Francisco beach
A Navy hovercraft is set to land on San Francisco's Ocean Beach as part of a disaster response training exercise.
The amphibious military vehicle is scheduled to arrive around 10 a.m. Wednesday to help kick off this year's San Francisco Fleet Week.
The Navy will be showcasing the hovercraft and its mobile surgical center to city emergency management officials as well as Mayor Ed Lee.
Officials say the hovercraft, also known as Landing Craft Air Cushion, could deliver supplies, equipment and personnel to San Francisco if a major earthquake or other disaster takes out roads and bridges.
The Navy LCAC has been used to respond to disasters such as Hurricane Katrina.
Fleet Week continues through this weekend with popular events such as the Parade of Ships and Blue Angels Air Show.


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I have my first real job and my first real paycheck; What to do? The answer may actually be your first real job. The gents from Axiom Financial Strategies Group of Wells Fargo Advisors give us the inside track.
Money Matters: The Podcast is sponsored by Axiom Financial Strategies Group of Wells Fargo Advisors. This monthly podcast is in addition to a monthly article titled, "Money Matters," that is posted online at www.ExtolMag.com and www.axiomfsg.com.
At Axiom Financial Strategies Group of Wells Fargo Advisors we sincerely appreciate our clients making opportunities like this possible. Without their support of our business, we would not be able to support programs like this.
Axiom Financial Strategies Group
of Wells Fargo Advisors
101 W Spring Street, Fifth Floor
New Albany, IN 47150
P 812.542.6475 | F 812.948.8732 | www.axiomfsg.com
At Axiom Financial Strategies Group of Wells Fargo Advisors, our team caters to a select group of family-owned businesses, entrepreneurs, individuals, institutions, and foundations, helping them build, manage, preserve, and transition wealth. We accomplish this while providing top-notch service through a team approach that puts our clients' needs, goals, and interests first. To learn more visit our website at www.axiomfsg.com. Wells Fargo Advisors. Member SIPC.
The information provided is general in nature and may not apply to your personal investment situation. Individuals should consult with their chosen financial professional before making any decisions.
Wells Fargo Advisors is a trade name used by Wells Fargo Clearing Services, Member SIPC, a registered broker-dealer and non-bank affiliate of Wells Fargo & Company.
CAR # for the podcast is 0417-02947
CAR # for the video is 0417-02942


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Dispensing System from Dymax Has Long Life
- Published: August 02, 2012
TORRINGTON, CT | Dymax Corp. reports the Model 475 valve dispensing system utilizes a pneumatic, normally closed diaphragm valve to dispense accurately low- to high-viscosity fluids. The design of the internal diaphragm and adjacent parts prevents migration of fluid into the actuating section within the valve.
Company says the toughness of the diaphragm, along with the selection of appropriate materials for component construction, ensures long diaphragm and valve life between maintenance schedules, and these features also make valve systems ideal for dispensing light-curable materials as well as reactive materials such as cyanoacrylates, anaerobics, and solvent-based products.
Accurate, repeatable performance is said to achieved easily by utilizing the valve's stroke adjustment knob to precisely dial in a desired shot volume. The included 25-micron air filter regulator permits the passing of only clean, dry, particulate-free air, ensuring the system's long and continuous life. The regulator includes an integrated shutoff valve and pressure exhaust to depressurize the system quickly and safely, eliminating the need for the operator to open and close the regulator.


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Robocalls Won't Go Away
Automated calls can be legal and useful, but many are scams. Here's how to protect yourself
En español | If we could conjure a holiday miracle, we'd ask for a new kind of phone — one without robocalls and their ever-changing crop of scams.
Sign up for the AARP Money Newsletter
Lower credit card interest rate? Mortgage relief? "Free" vacations, medical supplies or home alarms? Changes in your health benefits or bank account? These are bait in current top robocall rip-offs, but new schemes constantly evolve, all seeking your personal or financial information. This year likely will end with another record for these automated and often illegal annoyances, says Federal Trade Commission official Lois Greisman, who oversees the National Do Not Call Registry.
Speak Out: Tell us about scams and fraud you've come across
"Our law enforcement actions have already halted billions of robocalls, but with today's technology, tens of millions can be blasted each day — at a per-minute calling cost of less than 1 cent," Greisman says.
The fact is, certain kinds of robocalls are legal and useful. Airlines can call with an automated alert that your flight has been canceled, for instance, and schools can phone with a message that students are being sent home early because of snow. Nonprofit membership organizations, including AARP, can call members with pertinent information, such as upcoming events about retirement planning, Social Security or consumer scams.
Flat-out commercial pitches are illegal unless you've given permission in writing.
When these kinds of calls come in, your caller ID usually displays "spoofed" numbers — outright fakes or those stolen from legitimate organizations or citizens — or just says "unknown."
"Dozens and dozens of spoofed numbers can be used per robocall campaign, and telemarketing scripts are shared as well," says Greisman, explaining why you may get the same rip-off recording from different incoming numbers.
And it's usually not personal. Although lists of real phone numbers are sometimes used, typically a sequence of phone numbers is programmed — say, dial X numbers with Y area code over Z period — and computerized systems start calling. The scammers often don't know who owns those numbers, whether they're on the registry, or even if the numbers are actually in operation.
Here's how to protect yourself
- Don't help them harass you. If you "press any key" as instructed — either to "opt out" or to be transferred to someone (if only to complain about the call) — you're logging your number as working … and ripe for future calls. Hang up without pressing any key.
- Block robocall numbers. To do this, contact your phone service provider. But think twice before paying for this protection, since the numbers displayed on caller IDs are changed frequently. Learn about a promising free alternative at nomorobo.com.
- File complaints. Although most caller ID-displayed numbers are spoofed, report them to ftc.gov/complaint or call 888-382-1222 toll-free. You'll be helping the FTC identify violators.
Sid Kirchheimer is the author of Scam-Proof Your Life, published by AARP Books/Sterling.
Also of Interest
- How to avoid holiday shopping scams and fraud
- 9 common ailments that drive you crazy
- Get free help with your taxes with AARP Foundation Tax-Aide
Join AARP Today — Receive access to exclusive information, benefits and discounts
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The Chicago Fire Soccer Club announced their annual team awards today naming midfielder Logan Pause the Fire's Most Valuable Player and defender C.J. Brown Defender of the Year. The Fire, in conjunction with Section 8 Chicago, will honor the impressive career of Fire Original Brown and the team award winners at a Supporter's Party at The Pitch (2142 N. Clybourn Ave.) on Tuesday, Nov. 9 at 6:30 PM CT. With seven goals, 22-year-old midfielder Marco Pappa takes home the club's Budweiser Golden Boot award. Dasan Robinson was selected as the Men in Red's MLS W.O.R.K.S. Humanitarian of the Year award for his charitable contributions within the Chicagoland area.
Brown, who rounded out his career with a stout performance in the Fire's 4-1 victory over Chivas USA last Saturday, was also named Fire Defender of the Year in 2006. The emblematic Fire back liner appeared in 26 matches, starting all of them, in the final season of his esteemed 13-year career with the Men in Red. Pappa's seven goals marked a new career-high, winning the Guatemalan midfielder his first Budweiser Golden Boot Award. This is the first time that Pause and Robinson were named MVP and MLS W.O.R.K.S. Humanitarian of the Year, respectively.
MOST VALUABLE PLAYER: Logan Pause has been named the 2010 Chicago Fire's Most Valuable Player, narrowly edging out fellow midfielder Patrick Nyarko for the award, which is voted on by local media and the Fire Technical Staff. The eight-year Fire veteran displayed his unwavering commitment to the club over the course of the 2010 MLS season. In 26 matches, the defensive midfielder showcased his ability to shut down the opponents offensive playmakers while distributing the ball effectively out of the midfield to help drive the Fire attack. Over the course of the season, Pause tallied one goal and three assists, however, his contributions to the team were more than what appeared on the stat sheet. The North Carolina product embodied the Fire tenets during his 2010 season – recognizing the Fire tradition while representing the club with honor and playing with passion.
DEFENDER OF THE YEAR: C.J. Brown was named Fire Defender of the Year for the second time during his unprecedented 13-year career with the Fire, edging Fire rookie goalkeeper Sean Johnson for the honor, which is voted on by local media and the Fire Technical Staff. The formidable center back helped the side to eight shutouts this season. In addition, Brown has started 290 of a possible 296 career appearances for the Men in Red, and has played 25,738 MLS regular season minutes during his impassioned run with the Fire. Brown is the longest consecutive tenured player with one MLS club.
BUDWEISER GOLDEN BOOT: Marco Pappa took home the club's Budweiser Golden Boot award as the Fire's top goal scorer. Pappa is the eighth different Fire player to be awarded the Golden Boot. The fleet Guatemalan led the team with seven goals in 25 matches. A creative offensive force with a booming left foot, Pappa tallied a number of his goals with long-range strikes. In addition to his career high goal output, the 22-year-old midfielder added a career high five assists while recently being named #6 on MLSSoccer.com's 24 Players under 24-years-old.
MLS W.O.R.K.S/CHICAGO FIRE HUMANITARIAN OF THE YEAR: Fire defender Dasan Robinson was named the MLS W.O.R.K.S./Chicago Fire Humanitarian of the Year for his contributions off the pitch. Robinson is an active board member for Urban Initiatives, a health and education soccer program based in Chicago. By actively engaging participants in extracurricular activities at a young age, Urban Initiatives empowers youth to live a healthy lifestyle, value education, and enhance their personal and social development. For the past two years, Robinson has served as the spokesperson for the Chicago Fire's School Supply Drive, which has collected over $2,500 worth of school supplies for Chicagoland students since the beginning of 2009. The Dayton, Ohio product shared the importance of good values with hundreds of fans at the Chicago Fire's Faith Night following the Fire's match against the LA Galaxy Sept. 4.
He is also active Athletes in Action, a global sports ministry organization that believes sports is a universal language with the powerful ability to shape a culture, heal a nation, break down political, racial and economic barriers and restore national pride. The five-year Fire veteran joined several teammates to lend a hand for the Earth Day Tree Planting at TOYOTA PARK, which created a continued awareness on the importance of maintaining a safe and clean environment. Robinson, in conjunction with the Chicago Fire Foundation, presented a check for $10,000 to the Boys and Girls Clubs of America, which will help serve over 13,000 Chicagoland children. The Chicago Fire defender has taken his time to be a leader for the area's youth by attending back-to-school events and coaching youth soccer teams for the Chicago Kickers.


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Google Developer Groups
Connect beyond the screen.
When you join a Google Developer Group, you'll have the opportunity to meet local developers with similar interests in technology. A GDG meetup event includes talks on a wide range of technical topics where you can learn new skills through hands-on workshops. The community prides itself on being an inclusive environment where everyone and anyone interested in tech - from beginner developers to experienced professionals - all are welcome to join.
GDG Chapters
Stories from the community
3 Ways DevFest is Solving for the Environment
February 2020
In 2019, powerful conversations on how to solve climate change took place all over the world. In that spirit, the DevFest community recently joined the discussion by looking at how tech can change how we approach the environment. For our new readers, DevFests are community-led developer events, hosted by Google Developer Groups, that take place all around the world and are focused on building community around Google's technologies.
DevKids: An inside look at the kids of DevFest
November 2019
After Aaron Ma, an 11-year-old DevFest speaker, recently gave his tips on coding, people kept asking us, "so what are the other kids of DevFest working on?" In response, we want to show you how these incredible kids, or DevKids as we call them, are spreading their ideas at DevFest events around the world.
Let the Kids Play: A young DevFest speaker and a DevFest organizer talk tech
November 2019
As over 400 community-led DevFest events continue to take place around the world, something is becoming clear: kids are taking over. We're not kidding. Many young students are taking the stage this season to speak on topics ranging from machine learning to robotics, and people are loving it.


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Motown's brightest female star after Diana Ross, Martha Reeves was the earthy, gospel-infused counterpart to her rival Ross' uptown sophistication. With her backing group, the Vandellas, Reeves cut some of the brightest, most infectiously danceable R&B of her time. Unfortunately, she didn't fare as well after leaving Motown for a solo career in the '70s, and although she continued to perform for quite sometime, it was mostly on the oldies circuit, looking back over her past glories.
Reeves was born in Eufaula, AL, on July 18, 1941, and before she was even a year old, her family moved to Detroit. As a child, she sang in her grandfather's church and in school, and continued her vocal training through high school. After graduating in 1959, she joined a girl group called the Fascinations, and the following year co-founded the Del-Phis, whose membership included the future Vandellas. They cut a flop single for a Chess subsidiary in 1961; the same year, Reeves won a talent contest as a solo act and got a nightclub engagement performing as Martha LaVaille. There she was noticed by Motown exec William "Mickey" Stevenson, who invited her to stop by the label's offices. Reeves wasn't able to land an audition right away, but did parlay her visit into a secretarial job in the A&R department. She caught a lucky break when backup singers were needed for a recording session as quickly as possible, and so the Del-Phis wound up supporting Marvin Gaye on his first hit, 1962's "Stubborn Kind of Fellow." Stevenson was impressed enough to record a Del-Phis (renamed the Vels) single, "You'll Never Cherish a Love So True ('Til You Lose It)," and released it on Motown's Mel-O-Dy subsidiary. One day, Mary Wells failed to show up for a recording session, and musicians' union rules demanded that a lead vocalist be present on the mic — so secretary Reeves was hastily tapped to sing "I'll Have to Let Him Go." That song went on to become the first single credited to the newly renamed Martha & the Vandellas in 1963; their second single, the ballad "Come and Get These Memories," reached the R&B Top Five.
The rest, of course, was history. Martha & the Vandellas racked up an impressive slate of Motown classics that included the Top Five smashes "(Love Is Like A) Heat Wave" and "Dancing in the Street," plus "Nowhere to Run," "I'm Ready for Love," "Jimmy Mack," and "Honey Chile," all of which made the R&B Top Five. Despite the occasional personnel turnover, and the fact that rivals the Supremes had become Motown's female group of choice, Martha & the Vandellas' run of success continued through 1967. Unfortunately, feeling the pressure to keep up, Reeves developed an addiction to prescription drugs, and in 1968 a bad acid trip prefigured a nervous breakdown that slowed the Vandellas' momentum even further. Although they continued to perform and record for several more years, they never matched the success of old and disbanded in December 1972 after a farewell concert in Detroit.
Meanwhile, Motown decided to transfer its offices from Detroit to Los Angeles. Reeves adamantly refused to move along with them and sued for release from her contract; she eventually won her independence and signed with MCA as a solo artist. She entered the studio with producer Richard Perry and a top session cast, and cut a monstrously expensive album that mixed rock, pop, and R&B covers, both vintage and contemporary. Martha Reeves was released in 1974 and sold very disappointingly, especially given its cost. Reeves sank deeper into a host of personal problems until she finally cleaned up and became a born-again Baptist in 1977. That year, she signed with Arista for The Rest of My Life, which blended '60s soul with disco-era production; once again, it sold poorly, and Reeves moved to Fantasy for 1978's even more disco-oriented We Meet Again, which featured four of her own compositions. After 1980's Gotta Keep Moving, Reeves gave up the ghost on her solo career. She spent the early '80s working on various Motown package tours, and eventually put together a new version of the Vandellas. In 1989, she reunited with original Vandellas Annette Sterling and Rosalind Holmes and cut the single "Step Into My Shoes" for British producer Ian Levine's Motor City label. However, she mostly continued make her living on the nostalgia circuit. Reeves was inducted into the Rock and Roll Hall of Fame in 1995. ~ Steve Huey
A Love Like Yours (Don't Come Knocking Everyday) (Single Version / Stereo)


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Gov. Rick Scott said Monday he had reached a late-session deal with the Legislature to secure his priority of a sales tax exemption for manufacturing equipment. But the House and Senate said no such agreement had yet been reached, putting Scott in the position of prematurely declaring victory and forcing lawmakers to set the record straight.
"We came to an agreement with the House and Senate. They're going to eliminate that tax for a three-year period," Scott said Monday afternoon at a bill-signing event. "It's the right thing to do. We have a significant surplus this year."
Less than two hours later, Senate President Don Gaetz, R-Niceville, directly contradicted Scott and said no such agreement had yet been struck.
"I think we're in discussions, but I think the governor may be announcing an agreement to which all parties have not yet agreed," Gaetz said. "I don't believe any final agreement has been concluded among the House of Representatives, the Senate and the governor."
House Speaker Will Weatherford's office released a bland statement that said: "Our staff has been in contact with Gov. Scott's staff about his legislative priorities all session. We are mindful of his priorities and hope he has a successful session."
If the session ends Friday without the tax break becoming law, it wil be a stinging defeat for Scott, who entered the 2013 session with only two specific goals: the tax break and a $2,500 across-the-board pay raise for Florida teachers.


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Ron Block, long regarded as one of the leading lights of contemporary acoustic music, released Walking Song, his third solo set for Rounder Records, this week. While Block is best known as a two-decade veteran of Alison Krauss & Union Station, he is also a highly regarded songwriter, singer and producer. In recent years, he has also come to prominence for his writings about Christian theology and spirituality.
Block has written many a gospel song for Alison Krauss and Union Station, and has had songs recorded by Union Station band mate Dan Tyminski, Michael W. Smith, Rhonda Vincent, Randy Travis, The Boxcars, April Verch, The Cox Family, Sierra Hull, and The Forbes Family. He's also an in-demand sideman, who has contributed to albums by everyone from Dailey & Vincent, Bill Frisell and Andrew Peterson to Dolly Parton, Alan Jackson and Vince Gill.
For Walking Song, Block enlisted the help of a newfound co-writer, award-winning poet Rebecca Reynolds, whom he first encountered through his non-music writings. Block explains, "I would write posts on the theological topics that I tend to write about, and Rebecca would be one of the commenters. Whenever she'd write something, I'd think, 'Man, she's smart. Smart without trying to be smart, with a very poetic way of putting things.' I don't know how it actually ended up happening, but she said, 'Hey, would you ever want to try to write a song together?'"
Interestingly, Reynolds wasn't aware of Block's prominence in the bluegrass world. She recalls, "We were a little ways into making songs," she continues, "when I was Googling him, and I saw a Ron Block guitar. Then I saw a Ron Block banjo. I wrote him and said, 'This is YOU, isn't it? You have instruments named after you?' I had that rare and beautiful joy of finding out that a dear friend and co-creator was Bluegrass Superman in disguise."
After two decades as part of Alison Krauss' band, Union Station, with whom he's earned a collection of Grammy®, IBMA, and Dove awards, as well as many years as a songwriter and sideman for the likes of Rhonda Vincent, Randy Travis, The Boxcars, The Cox Family, Dailey & Vincent, Dolly Parton, and Vince Gill, Block now presents his third solo album, 'Walking Song.'
Block and Reynolds embarked on a highly unorthodox yet extremely fruitful co-writing process that yielded some 50 songs, including all eleven of the originals on his new album.
"Let There Be Beauty," a Celtic-tinged waltz-time meditation on "stepping into creative freedom," came to life when he wrote music to her lyrics. The same goes for "Summer's Lullaby," except that time he happened to be backstage at the venerable Ryman Auditorium when inspiration hit. While visiting his in-laws in Canada, he came up with the sprightly, fetching tune to "Ivy," sent it to Reynolds, and received lyrics from her the very same day. He says, "Almost everything else was done sitting down there in my studio, and she's on Skype and we're going back and forth: 'How about this?'"
To the songs that he and Reynolds co-wrote, Block added his arrangements of three instrumentals: the fiddle tune "Devil In the Strawstack," inspired by Tommy Jarrell's version and executed at perfect Appalachian clogging tempo, the equally danceable "Shortnin' Bread" and a spare, contemplative reading of the old hymn "What Wondrous Love Is This."
When it came time to record, Block holed up in his studio and laid down every lick of banjo and guitar himself, a departure from what he's done on his other albums and from Union Station's increased emphasis on live tracking. The experience took him back to sonic exploration of his youth.
"Since I was 15 or 16 and I got a four-track recorder," he says, "I was always recording on my own, and I was always layering and then getting other people to play on the stuff. I have all kinds of recordings from those years of doing what I did on this record. So it seems really natural to do it that way."
Block then called on his Union Station band mates, Krauss and Tyminski for backing vocals, Jerry Douglas for dobro and Barry Bales for bass, and an array of other musicians who'd be familiar to any modern bluegrass fan, such as mandolin players Hull, Mike Compton and Sam Bush, fiddler Stuart Duncan and singer Suzanne Cox. Block even sent a few songs overseas so that British folksinger Kate Rusby could contribute delicate harmonies. He'd played on her twentieth anniversary recording, and she was only too happy to return the favor.
Walking Song shows just how easily Block can move between various branches on the family tree of acoustic music, presenting his polished takes on Scots-Irish balladry, Appalachian fiddle tunes, bluegrass romps, singer-songwriter narratives and, for good measure, grooving newgrass. And unlike his previous album, DoorWay, this one's entirely unplugged.
Block long since secured his reputation as a deeply thoughtful musician. On Walking Song, he's gotten back in touch with his music-making roots, and it's a joyous occasion indeed.
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For Immediate Release
Patricia Kiernan Johnson;
13 Participants From U.S., Canada and Europe to Gather in Vancouver and New York
New York, NY—
OPERA America
, the national nonprofit service organization for opera, is pleased to announce that 13 participants from the United States, Canada and Europe have been selected for its
2013 Leadership Intensive
program. These future industry leaders were chosen through a competitive selection process.
The Leadership Intensive exemplifies OPERA America's firm commitment to identify and nurture leaders who will advance the creation, presentation and enjoyment of opera for years to come. This program seeks to identify the most promising emerging leaders in a range of opera administration fields and provide them with the skills and contacts needed to advance their careers.
The 2013 Leadership Intensive participants are:
Jamie Andrews
, community education director, Minnesota Opera;
Jennifer Bradner
, executive director, Opera Memphis;
Garrett Collins
, communications coordinator, Los Angeles Opera;
Peggy Kriha Dye
, general manager, Opera Columbus;
Carolyne Hall
, assistant to the artistic & general director, The Glimmerglass Festival (Cooperstown, NY);
James Hampton
, artistic services manager, The Dallas Opera;
Zackery Hayhurst
, associate artistic administrator, Arizona Opera;
Bert Huffman
, director of development, The Atlanta Opera;
Christopher Powell
, music administrator, Pittsburgh Opera;
David Rubeo
, manager of external affairs, Gotham Chamber Opera (New York, NY);
Katherine Semcesen
, associate director, education and outreach, Canadian Opera Company (Toronto, ON);
Michael Mori
, associate artistic director, Tapestry (Toronto, ON); and
Audrey Jungers
, manager, Opera Europa (Brussels, Belgium).
OPERA America's sister organizations, Opera.ca and Opera Europa, each selected their own participants, giving the program an international dimension.
The first meeting of the 2013 Leadership Intensive will take place during
Opera Conference 2013
in Vancouver in May. During a series of seminars, participants will explore the opera industry, establishing a baseline of knowledge that will be built upon during the core of the program: a week-long workshop in New York City in July.
That session, taking place at OPERA America's new National Opera Center, will focus on advanced leadership development and will give participants access to decision-makers from within and outside the opera field. The series of diverse training activities will prepare these developing leaders to become successful executive and senior-level leaders, contributing to the strengthening of opera companies across the country.
"There is a steep learning curve when new staff take their first positions guiding departments or opera companies because there is no formal training process for these high-stakes situations," stated Marc. A. Scorca, president/CEO of OPERA America. "The interest that has been generated by this program in just its first two years is evidence that our industry's emerging leaders are hungry for this combination of valuable knowledge, skills and contacts."
Thanks to a generous gift from
American Express
, Leadership Intensive participants pay no registration fees and receive a generous subsidy for travel and accommodations.
For more information about OPERA America and its services,
Leadership Intensive 2013 Participant Profiles
Jamie Andrews
, featured by
Musical America
as one of the "Top 30 Under 40" arts education administrators in 2012, serves as education director for Minnesota Opera, a position he has had for 10 years. In this position, he has developed award-winning programs that engage teens in performing opera, like Project Opera and Summer Opera Camp, vocal training programs for students ages 8-18 and
, an opera education-specific website for teens. For K-12 students, he has developed coOPERAtion!, an interactive in-school residency program that includes
Through the Eyes and Ears of Mozart
, an introduction to opera for elementary students. Prior to working at Minnesota Opera, Andrews was a public school music teacher in Forest Lake and Lester Prairie, MN. Andrews earned a bachelor's degree in music education at the University of Wisconsin–Eau Claire, which awarded him the "Distinguished Recent Alumni" award in 2008.
Jennifer Bradner
is a native of South Carolina but a long time Memphian. At Opera Memphis, Bradner has implemented a number of innovative strategies to help the company control costs and generate increased revenue. Bradner is a published author and a frequent organizational consultant. She has lent her expertise to nonprofits including Natural Learning School, Folk Alliance International, Blue Grace Music (Ireland) and Southwest Tennessee Community College. In fall 2012, she was nominated for the
Memphis Business Journal
's "CFO of the Year Award" in the nonprofit category. In December 2012, Bradner was promoted to executive director of Opera Memphis.
Garrett Collins
is the communications coordinator at Los Angeles Opera, where he implements and manages a variety of audience development programs for young professionals, college students, families, community groups and newcomers to opera. Before joining the marketing team, Collins managed a number of community outreach initiatives within the education and community programs department, including programs for seniors, adults and college students. He also oversaw the company's team of 65 volunteer community educators. Collins participated in the Los Angeles County Arts Commission's Arts Internship Program, and served as a grants panelist for the county's Organizational Grant Program. He received his bachelor's degree from UCLA in flute performance and obtained a master's in arts management at Claremont Graduate University. An enthusiast of chamber music, Collins also serves on the board of directors for Pacific Serenades, a self-presenting chamber ensemble based in Los Angeles.
Peggy Kriha Dye
, soprano, has performed over 30 roles with opera companies and orchestras worldwide. After attending The Juilliard School, Kriha Dye became an Adler Fellow with San Francisco Opera. Over the course of her career, she has performed the role of Stella in
A Street Car Named Desire
with San Francisco Opera, Washington National Opera and the Pittsburgh Symphony, along with many other roles with Houston Grand Opera, Tulsa Opera, Shanghai Opera, Opera Atelier and others. During 2012, Kriha Dye sang the title role in Lully's
first with Opera Atelier in Toronto, followed by performances at the Royal Opera House in Versailles and The Glimmerglass Festival. While continuing her singing career, Kriha Dye is pursuing artistic administration. She was recently appointed general manager of Opera Columbus after leading their educational program and mainstage programming during the 2012-2013 season.
Carolyne Hall
is a young arts administrator from Iowa. She received her B.A. in music from Simpson College and has completed her coursework for an M.A. in arts administration from the University of Cincinnati College-Conservatory of Music. She has worked with Des Moines Metro Opera and Cincinnati Opera, and is currently the assistant to the artistic & general director at The Glimmerglass Festival. In her free time, Hall enjoys researching operas, experimenting with recipes and playing board games.
After a successful career in bank management,
James Hampton
earned his D.M.A. from the University of Texas, and he now serves as artistic services manager for The Dallas Opera (TDO). In addition to his deft management of the operations of TDO's artistic department, he recently wrote an English translation of — and is stage director for — TDO's production of Bizet's
Doctor Miracle
. Prior to joining TDO's staff, Hampton was the orchestra manager and production coordinator for Austin Lyric Opera and an instructional faculty member at Angelo State University. Creatively, he has received critical acclaim as both a stage director and singer.
The Washington Post
applauded his "pungent" and "tightly paced" direction of Ned Rorem's
Our Town
; and he has been praised for his "mellifluous tenor" (
The Towson Times
) and his "flair for comedy" (
The Washington Post
Zackery Hayhurst
serves as the associate artistic administrator for Arizona Opera, and as company manager for Wolf Trap Opera upcoming in the summer of 2013. He previously served as assistant company manager at The Glimmerglass Festival, and has completed apprenticeships and internships in various departments with organizations such as The Glimmerglass Festival, Wolf Trap Opera, Washington National Opera, Washington Performing Arts Society and The Choral Arts Society of Washington. He has written for Americans for the Arts'
, and created a guest blogger event on
in conjunction with the fourth annual Emerging Arts Leaders Symposium at American University. Hayhurst has a B.A. in interpersonal communications, and recently graduated with his M.A. in arts management from American University, where he completed his master's thesis,
From Centralized to De-Centralized: The Ongoing Story of Opera's Adaptation to the Changing American Cultural Landscape
Audrey Jungers
has lived close to the stage since she could walk. She confirmed her love for the performing arts while devoting her free time as a teenager to creating the European young opera friends group Juvenilia, in parallel to her university marketing studies in Brussels and professional theater and dance course in London. She went on to join the communications department of the Théâtre Royal de la Monnaie in Brussels, first as press officer, then as young audiences manager. In 2003, she joined Opera Europa, the European association of opera companies and festivals, where she has contributed to expanding to the network to 127 members in 35 countries and professionalizing the services offered. Among others, she has initiated several projects such as the European Opera Days and the Opass European Opera Passport.
Bert Wesley Huffman
currently serves as the director of development for The Atlanta Opera in Atlanta, GA. Born into a family of musicians and artists, Huffman earned an undergraduate degree in musical theater before beginning a career in performance which eventually led him to fundraising and community relations. The bulk of his career has been spent in the field of higher education development, holding positions at both of his alma maters and Emory University. Huffman came to The Atlanta Opera in August 2011 with the goal of combining a passion with his specific skill set. Since that time, he has systematically reformed the development operation around relationship building, major gifts and goal attainment. In his spare time, Huffman is an avid fan of movies, musical theater and spending time in the mountains of northern Georgia.
Michael Mori
has lived in New York, Basel, Vancouver and Toronto, working as a performer in opera, musical theater and contemporary music for the last 20 years and more recently working as a staging director and artistic administrator for Tapestry in Toronto. He is an ardent champion of modern playwrights and librettists working with living composers to bring relevancy, cultural currency and new audiences to the operatic form. His work as a stage director with Tapestry has been innovative and pushes the genre through Tapestry's Studio and Workshop Series. As an assistant director, Mori has worked closely with director Tim Albery, and will be assisting him again at The Dallas Opera this year. Before moving to Toronto, Mori was co-artistic director and artistic coordinator for the a capella ensemble musica intima. During his leadership, musica intima won the Westcoast Music Awards for Best Classical Album, and was nominated for two Juno awards following three tours to Europe and numerous feature performances at the American Choral Directors Association Conference in the U.S. and Canada.
Christopher M. Powell
is currently in his 12
season as the music administrator for Pittsburgh Opera. Concurrent with his Pittsburgh Opera employment, Powell was the personnel manager for both the Tanglewood Music Center in Lenox, MA (2005-2009) and the Spoleto Festival USA in Charleston, SC (2011-2012). In addition, he has served as an adjudicator for the artist residency program at the Pittsburgh Center for the Arts and as a member of the board of directors for the Pittsburgh Chamber Music Society. Powell received his B.S. in music education from Duquesne University (Pittsburgh, PA) in 1993, an M.M. in french horn performance from the University of Miami (Coral Gables, FL) in 1995, and will complete his M.B.A. in international business management in April 2013 at Point Park University (Pittsburgh, PA) where he serves as the school of business chair for the Graduate Student Association Board.
David Rubeo
began working for Gotham Chamber Opera as a volunteer in April 2010 and was hired full-time in August of that year. He comes to Gotham with 18 years' experience in New York's nonprofit market, primarily in classical music and the performing arts. Rubeo worked for nine years at the Metropolitan Opera both in artistic administration and marketing. He was the tour manager for the Metropolitan Opera in Japan in 2001 and 2006, and for the Metropolitan Opera Orchestra in Europe in 2002. His work in marketing coincided with Peter Gelb's first seasons, and he managed the advertising campaign that first appeared in subways, on street signs and phone booths all over New York City. Before working for the Met, Rubeo was marketing director for the Sylvia and Danny Kaye Playhouse at Hunter College, and prior to that worked for Boosey & Hawkes Music Publishers. Rubeo enjoys all forms of culture including opera, theater, jazz and visual arts. He is also an avid runner and has completed six marathons in New York City, Philadelphia and Chicago.
Katherine Semcesen
is the associate director, education and outreach at the Canadian Opera Company and has worked in the education and outreach department since the opening of the Four Seasons Centre for the Performing Arts in 2006. Her love of opera began as a student at Queen's University while completing her B.M. Some of her most memorable projects at the Canadian Opera Company have included the expansion of their popular After School Opera Program, and most recently, GrimmFest, a week‐long celebration of the 200th anniversary of the Grimm's first published book of fairy tales and the 500th performance of the Canadian Opera Company's opera for children,
The Brothers Grimm
. As an active member of the arts education community in Toronto, Semcesen is also a board member of the Professional Arts Organizations Network for Education.
OPERA America leads and serves the entire opera community, supporting the creation, presentation and enjoyment of opera.
Artistic services help opera companies and creative and performing artists to improve the quality of productions and increase the creation and presentation of North American works.
Information, technical, and administrative services to opera companies reflect the need for strengthened leadership among staff, trustees and volunteers.
Education, audience development and community services are designed to enhance all forms of opera appreciation.
Founded in 1970, OPERA America's worldwide membership network includes nearly 200 Company Members, 300 Associate and Business Members, 2,000 Individual Members and more than 16,000 subscribers to the association's electronic news service. In 2005, OPERA America relocated from Washington, D.C. to New York as the first step in creating the first-ever National Opera Center. With a wide range of artistic and administrative services in a purpose-built facility, the Opera Center is dedicated to increasing the level of excellence, creativity and effectiveness across the field.
OPERA America's long tradition of supporting and nurturing the creation and development of new works led to the formation of
The Opera Fund
, a growing endowment which allows OPERA America to make a direct impact on the ongoing creation and presentation of new opera and music-theater works. Since its inception, OPERA America has made grants of nearly $11 million to assist companies with the expenses associated with the creation and development of new works.


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Bloomburg University's Model United Nations (M.U.N.) club focuses on the actual works of the United Nations (UN) and current affairs in international relation. MUN is a great opportunity for students to develop their public speaking skills, negotiation skills, make connections, and become involved with the community. We learn about other countries and their contribution at the UN. This club provides many opportunities for every member, regardless of their major. Each semester we have a busy schedule and always strive to improve our knowledge of the world and personal skills.
Some of the events that we focus on each year are:
Typically held in Washington D.C., this conference is our main focal point for the semester. This is a great chance for our members to showcase their skills in international affairs as well as connect with other students from all over the world.
Held on campus, we invite High School students from the area to come and showcase their skills in our one- day conference. This is conference is a great insight for the high school students to view how the U.N. operates and a chance for them to ask questions about a Political Science degree and the various other aspects M.U.N. is involved in.
Contact us ... email@example.com
Student Officers:
Faculty Advisor:
Diana Zoelle, Ph.D., associate professor of political science


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Interesting facts about San Francisco
One of the most popular destinations in America, California's laid-back San Francisco attracts many visitors year-round. Planning a trip? Book your flights to San Francisco with Cathay Pacific, an efficient and friendly carrier with an excellent reputation and high standards of service.
Best of San Francisco
The famous red Golden Gate Bridge is San Francisco's most recognisable sight. Visit Union Square for historic architecture, drive a car down the notoriously steep and twisting Lombard Street, and stroll along the atmospheric Pier 39. Fishermen's Wharf is a great place for families, with its resident sea lions basking in the sunshine, delicious seafood, and fun museums. Ascend to the top of Coit Tower or ride the famous cable car for panoramic vistas. Experience the area's diversity in Chinatown and the peaceful Japanese Gardens, and take a boat ride to the infamous island of Alcatraz.
Tips for Visiting San Francisco
Walking is a great way to take in the city's ambiance, but be prepared for very hilly terrain. San Francisco has one of the best public transportation systems in the US, with the MUNI network of trams, buses, streetcars, trolleys, cable cars, and metro connecting almost all parts of the city centre. Travel well when you choose Cathay Pacific for your San Francisco flights.


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Thornton completes deal with Yanks, who cut Wells
Recommended Video:
NEW YORK (AP) -- Left-hander Matt Thornton completed his $7 million, two-year contract with the New York Yankees, who cut outfielder Vernon Wells.
Thornton gets $3.5 million in each of the next two seasons under the deal, which was agreed to Dec. 17 and announced Friday. His contract raises the Yankees' luxury tax payroll for next season to $175.7 million for 13 signed players.
Including a pending $2 million, one-year deal for second baseman Brian Roberts and an estimated $11.5 million per team for benefits, New York's tax payroll is at $189.2 million -- above the $189 million tax threshold for the upcoming season.
However, Alex Rodriguez's $27.5 million luxury-tax salary would disappear if his 211-game suspension is upheld by an arbitrator.
The 37-year-old Thornton replaces Boone Logan, who left for a $16.5 million, three-year contract with Colorado. A 10-year big league veteran, Thornton was 0-4 with a 3.74 ERA in 60 relief appearances last season for the Chicago White Sox and Boston, which acquired him in July for minor league outfielder Brandon Jacobs.
Wells, who was designated for assignment, was acquired last March from the Los Angeles Angels and hit .233 with 11 homers and 50 RBIs in 424 at-bats. The 35-year-old, a three-time All-Star, became superfluous when the Yankees signed Jacoby Ellsbury and Carlos Beltran to join an outfield that already included Brett Gardner, Ichiro Suzuki and Alfonso Soriano.
New York is responsible for just $2.4 million of Wells' $21 million salary in the final season of his $126 million, seven-year contract, with the Angels paying the Yankees $18.6 million as part of the trade last March.
A team that signs Wells would be responsible for just $500,000, the major league minimum.


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'Plants vs. Zombies 2' Is Even More Addicting Than the First
Plants vs. Zombies 2 Review
Plants vs. Zombies 2: It's About Time officially launched worldwide on Thursday. The highly anticipated sequel to PopCaps' insanely successful Plants vs. Zombies takes you on a quest to find Crazy Dave's taco — you may remember Dave as the guy who kept selling you things from the trunk of his car.
Since Dave ate the taco in the original version of the game, you have to travel back in time, through ancient Egypt, pirate times and the Wild West, to search for it.
See also: The 15 Best Free iPad Games
As a huge fan of the original, I've been playing the beta version of Plants vs. Zombies 2 for about a week and found it even more addictive than the first.
Familiar Gameplay
At its heart, Plants vs. Zombies 2 is exceptionally similar to the original game. Your goal as a player is to prevent the zombies from reaching the end of your path using plants super-charged with battling power.
Plants vs. Zombies 2 keeps many of the same plants you came to know and love in the original, but you'll also receive number of new additions with fun and interesting abilities.
Plants vs. Zombies 2: New Plants
The Bloomerang, for instance, is a new flower-like plant that sends out boomerangs that hit zombies on both their way out and their way back to the plant. A new Snapdragon plant breathes fire that causes damage across three rows, and — one of my personal staples — Bonk Choy rapidly punches enemies that are not only in front of him but behind him as well.
You begin with much of the original cast of plants and then unlock additional plants along the way through different stages.
Built-in Achievements
PvZ 2 presents stages in a new way. Rather than play the game from start to finish, you get a map for each world with different numbered boards.
Throughout the course of the game, discover keys to unlock gates to additional pathways and access additional bonus boards called Brain Busters. Your first few keys aren't particularly hard to find, but as you play, they become more scarce.
After I beat the original Plants vs. Zombies, I went back and tried to accomplish all of the achievements for each board. Those are back again in the sequel, but are incorporated into traditional gameplay. So you might play a board once all the way though, then revisit the same board later to try and play only using a certain number of plants — or without the zombies trampling a flowerbed in the center of the board.
You'll earn a star for successful plays that can be used later to take the time machine to the next stage of the game.
Feel the Power
Plant food and zombie power-ups are also new in Plants vs. Zombies 2. Plant food comes hidden in zombies; you can tell whether a zombie has plant food by its radioactive glow. When you defeat a zombie with plant food, he drops it, allowing you to collect and store it until you need it within the same board.
Also use the plant food to supercharge plants. When placed on a fighting plant, it grows stronger and fights harder for a few seconds. The peashooter, for instance, temporarily turns into a machine gun similar to the Gatling Pea from the original. Bloomerang will take down anything in the vertical or horizontal row she is planted in.
As you play, you also collect coins, which can be used to buy additional plant food when necessary and purchase special power-ups to use on zombies.
The Zombie power-ups come in three flavors: one allows you to pinch off zombie's heads, one allows you to flick them off the screen and one lets you electrocute particularly troublesome zombies. They're fun, but I didn't use them often during gameplay. In fact, I probably wouldn't have used them at all had I not accidentally purchased them a few times by holding my iPad the wrong way.
Free to Play
Plants vs. Zombies 2 is free to download and play. Instead of making money from the game's download price, the company is offering new in-app power-ups for purchase within the game.
Bonus plants range from a Jalapeno that can ignite an entire row of zombies for $2.99 to a Snow Pea to $3.99. Upgrades such as additional slots for seeds and plant food also come at a premium, priced at $3.99 and $2.99, respectively.
The option to buy upgrades will likely make gameplay a bit easier, but it's not necessary to play. The beta version of the game doesn't allow users to make in-app purchases but I was still able to access all of the existing stages without purchase.
The Lowdown
Plants vs. Zombies 2 is even better than the original — and even more addictive. The additional plants and powers make the game fresh and new for Plants vs. Zombie veterans, and the game is easy enough to understand for those who haven't tried it before.
Plants vs. Zombies 2 is available now for iOS.
Image: Plants vs. Zombies 2


text: Quick View Compare Wildflowers Stamp Set SKU: SS-0625 $18.95 Largest stamp measures 5 3/8" x 3 7/8". Contains 2 Stamps.Made in the USA of high quality, deeply etched red rubber with cling mount. Our stamps create one of the best impressions on the market, giving you a perfect stamped image every time. Add to Cart


text: Life in the temple of rabbits hangs by a thread. Universal Evil has struck again and kidnapped all of your disciples. Only you managed to escape. They let you live... They'll soon regret it! Use your agility and combat skills to save your disciples! Jump from roof to roof, slide gracefully along walls, sneak up on your enemies, and rip them to shreds! Detailed graphics, humor, hours of gameplay and intuitive controls. Each of the 80 levels requires logic, precision, agility and lots of sabre rattling. The game also has lots of trophies to win, babies to save, carrots to eat, and a Universal Evil to expunge.


text:
A collection of scholarly works about individual liberty and free markets. A project of Liberty Fund, Inc.
Studies in History and Jurisprudence (New York: Oxford University Press, 1901). 2 vols. https://oll.libertyfund.org/titles/2002,
A two volume collection of Bryce's essays and articles on the Roman and British Empires, constitutional history and theory, obedience, sovereignty, the law of nature , and legal history.
The text is in the public domain.
This material is put online to further the educational goals of Liberty Fund, Inc. Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. It may not be used in any way for profit.


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Posts Tagged how to teach creativity
How we learn to be original – a story about creative writing
Posted by Roz Morris @Roz_Morris in Inspirations Scrapbook, The writing business, Writer basics 101 on December 2, 2012
I first unleashed my creativity through writing. My handwriting.
In infants' school I remember being taught to write neatly. Servicably. We copied letter-forms. As we matured, certain pupils were singled out for approval and the rest of the class fell in with their styles. The Debbie – slanting copperplate. The Elizabeth – small and round. The Katie – wide and loopy.
Seeing this, I chose to invent my own.
I don't know why. Perhaps because we spent most of our time all writing the same thing. Copying from the blackboard, taking dictation, answering questions – 20 girls all processing the same words and thoughts. I must have decided I had to do it differently.
I experimented with letter-shapes. One week, ys and gs might curl under the line in luxuriant loops. The next they would be jagged reversed lightning bolts. I might team this with a Debbie cursive slope for a while, enjoying the clash of styles. All possible Greek letters were tried, and for a while all Rs were small capitals (very time-consuming, so not practical).
Teachers grumbled about neatness and legibility. I thought they needed to be more open minded, although I realise now they probably just wanted to get through a pile of marking.
Fascinated by a computerish font on the back of a sci-fi novel, I tried to emulate that.
Serifs were another passing phase, too fiddly for everyday use. An American girl arrived at the school who dotted her 'i's with a little bubble. A teacher told her off for it in front of everyone. Outraged, I adopted it immediately.
This makes me sound like a rebel. I wasn't. You couldn't have pointed to a more obedient pupil. I wanted a hassle-free life, even if the rules were bewilderingly dumb. But no matter how often I was penalised for eccentric letters or lack of neatness, I couldn't toe that line. My identity on the page was not the teachers' business. It was a sacred search for originality in world where everything else was repetition and regurgitation.
Freedom – or not
At least English allowed us to express ourselves.
In the middle school, that changed too.
One day we were discussing exams, and how to tackle the essay question options – factual, debate, true-life account, story prompt. 'You mustn't pick the story prompt,' said the teacher. 'They're very hard. From now on, we won't do them.'
This was ludicrous. I always, without hesitation, picked the story. I got high marks. (And I bet I wasn't the only one.)
I didn't want to write an account of a holiday or discuss the popularity of the motor car. Not when I was being invited to finish the story that started 'I should never have gone for that bicycle ride…' And if no one did these essays well, should we not be taught to do them better?
This was my second great disobedience. I carried on choosing the story option, as I always had. Again there were grumbles but it did me well enough at O level, if A is a respectable grade.
These tiny rebellions gave me habits that I now realise are essential to the creative nature, whether our weapon of choice is art, music, writing (or handwriting). This is how we do what we do.
- We will not accept the ordinary
- We dig for the remarkable in the everyday
- We ignore what everyone else is looking at and peer around the corners instead
- We collect what moves us, especially if we don't know why
- We listen to our instincts instead of the voices who tell us we can't
- We play endlessly
- We see expressive potential in everything
- To non-creatives we probably seem infuriating and insane.
What would you add? How did you first start being creative?
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Lectura Para Niños Phonics Centers are great for students…
- who are in Kindergarten and First grade
- who are beginning readers that are just learning the alphabet
- who are intermediate readers who have just learned to segment and blend 2-3 syllable words (auditorily & visually)
- who are advanced readers learning to read, segment and blend 2-3 syllable words that include diphthongs, blends, and open and closed syllables
- who are in need of strategic interventions that are having difficulties reading and making benchmark on the Tejas Lee & Dibels "IDEL" Spanish assessments
- who want to meet all benchmarks from the Tejas Lee & Dibels formative and summative assessments
Lectura Para Niños Phonics Centers are great for teachers because:
- it provides differentiated instruction for all levels
- it is easy to implement into small groups for any Spanish reading program
- it is an easy program for paras to use for double dosing interventions
- teachers who are not native Spanish readers can teach this
- it can be used in whole group using your document camera or small group reading
- teachers who use this supplemental program have high levels of student success
- the majority of students in your class will meet or succeed benchmark on either or both of the state tests (DIBELS & Tejas Lee)
- Myself and my teaching partners have had personal success of 90-100% benchmark for all of the students in our rooms at the end of every year on both Tejas Lee & Dibels for the last 6 years of using this program! We have had an average of 50-55 students between the two of us. Small groups between 6-10 students per group depending on developmental & academic levels.
- students who use this program will be readers at the completion of this program
- it is developmentally appropriate for readers of all levels (while some students who are in beginning stages of reading in theme 3, there are multi-level activities for advanced readers in theme 3 as well)
- students love it and have fun learning to read
- students want to meet all benchmarks from the Tejas Lee & Dibels assessments
Lectura Para Niños Phonics Centers are great for parents because:
- parents can reinforce what is happening at school at home.
- those students who are strategic and intensive get an extra shot of double dosing at home!
- it is an easy program for parents to while reinforcing what is happening at school!
- it is an easy for parents of home schoolers to use to teach vocabulary development, segmenting and blending practice in Spanish.
- some of my parents cannot read. My students are teaching their parents to read with this program. The parents are proud at how their children can help them and the students are proud to be able to teach their parents.
There are 5 components of this Spanish phonics center
Each is developmentally sequenced with differentiated instruction. It has similar features to an English approved program "Road to the Code." The description of the program is on the following pages. **NEW** Some of these products are available using the interactive Mimio software.
- Phonics Center: Initial Sound Picture Cards A-Z
- Phonics Center: A-Z Letter/Syllable of the Week
- Phonics Center: Making Words - Beginning Level: 4-6 sound words
- Phonics Center: Making Words - Advanced: Words that include Diphthongs/Blends/Open & Closed syllables, and combinations of the previous
- Phonics Center: A-Z Dictionary/Word Wall
Why were these Phonics Programs Created?
We originally began using the curriculum we are using because it was "Reading First" adopted and required; however, it did not meet all of our needs. The teacher's manual says to pull out the Reading Phonics Center. The program does not provide one, nor has created one. I decided, if I were going to meet the standards for phonemic awareness and phonics in Spanish, I needed to create one that follows the direct scope and sequence of our program. It corresponds with our Reading Series while providing explicit differentiated instruction for all students. This phonics center fills in the missing gaps that our program does not.
I created this program a few years ago with much success. Recently I have updated my program with several different centers at various ability levels to provide for differentiated instruction. I've also been able to integrate my program using technology using the interactive Mimio software.
The various centers provide clear instruction for the teachers and paraprofessionals to use during whole and small group reading instruction. It is also useful for when paras pull students to do Intensive Double Dosing. There are many supplemental English programs out there, but there weren't many supplemental programs for Spanish.
Within the last few years, I have updated my advanced phonics center because my students had met all of the standards and needed to be taught at a higher level. Using the advanced phonics center, I can focus clearly on specific types of words including:
1) Words with Blends at the Beginning, Middle or End of the word
2) Closed Blends at the Beginning, Middle or End of the word
3) Closed Syllables at the Beginning, Middle or End of the word
4) 2 Closed Syllables in each word
5) Diphthongs at the beginning, Middle or End of the word
6) Closed Diphthongs at the beginning, Middle or End of the word
7) Words with Hiatus
8) Words with Diphthongs & Blends
9) Words with Blends & Closed Syllables
10) Words with Closed Syllables & Diphthongs
I use my phonics center program on a daily basis with my document camera and projector or interactively using the Mimio software and tablet. The students are able to manipulate the sounds to make words. I also used it during small group instruction where students have more opportunities to manipulate the letters/sounds in each word.
Because of my phonics centers, my students have been able to improve their reading and meet benchmark in all areas of our State IDEL Kindergarten Assessment. Within the last ten years, we have used many assessments. We went from IDEL (before they had graphs), to Tejas Lee, and now back to IDEL (because the graphs and charts are now available). My students have been making 90-100% benchmark on both of these assessments because of this program.
These centers provide phonemic awareness and phonics practice at all levels for all students. They also provide opportunities for Special Needs children to be included in our reading instead of sending them off to other classrooms. I provided our Special Education teachers the materials for use during their 45 minute double dose to reinforce during their time.
Theme one reinforces beginning sounds and words that begin with vowels. Each new theme teaches a controlled amount of letters allowing for direct and strategic instruction at various levels. As the students progress through each theme, they can move directly from segmenting and blending 4-sound words to a more difficult level of 6-sound words. In theme 2 & 3, a student needs to make 4-sound words containing the following letters: a-e-i-o-u, (m, s, p for Theme 2), and (t, c, n for Theme 3). The picture cues are provided as well as a graphic organizer. By the time the class reaches April/May, most of the students are ready for the Advanced Phonics center where we can regroup students according to the specific words they struggle with.
When we do the phonics centers as a whole group, only a few are able to manipulate the letter cards with the document camera & or the interactive Mimio tablet & software. As the class moves into their homogeneous small groups, they are able to have more opportunities segmenting and blending words with their small group reading teacher. This enables us to advance or drop a student to the appropriate level of their needed direct instruction.
I monitor student progress every other Thursday. During the assessment time, I pull out homework books that I created to go along with the phonics center. Our curriculum does not provide enough independent practice. The homework books provide opportunities to work independently and apply what they have learned during small groups while allowing me time to assess.
At the beginning of the year, I assess the students by the number of letters and sounds they know. I rank order the students to regroup. In October, I assess the students using two methods. Each small group teacher will pull the students for a timed reading. The timed reading is how many syllables they are able to read in one minute. In February, the students are assessed with two timings. The first timed reading is how many syllables they are able to read in one minute; the second timing is how many words the child can read in one minute. I rank order my students high to low and regroup them according to the number of words per minute and syllables per minute they can read. As the students improve in their reading, each student is able to take their picture card and move it along the syllables per minute graph as well as on the words per minute graph. Their goal every other week is to meet or beat their previous score. They are motivated seeing the graph and their scores improve with each assessment.


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Each week, All Things Considered and Lenore Skenazy, author of the book and blog Free-Range Kids, bring you "Another Thing," an on-air puzzle to test your cleverness skills. We take a trend in the news and challenge you to help us satirize it with a song title, a movie name or something else wacky.
This week's challenge: A handful of private companies are taking reservations for space flights. That means that there may soon be a lot of tourists floating around — which, in turn, means a lot of mouths to feed.
What will be the name of the first chain restaurant in outer space?
Submit your entry using the form below or by sending your answer with your name, address and phone number to firstname.lastname@example.com. If submitting via email, please type "Space Food" in the subject line.
Entries are due by 12 p.m. EDT on Sept. 12. All entries become property of NPR, which reserves the right to edit them. Entries submitted as comments on this Web page cannot be considered. In the case of several similar entries, the first one received gets credit.
The winner will be announced on All Things Considered on Sept. 17. The first-prize winner will receive an NPR mug.
Now we have something for you to do, a chance to show us your clever side.
As listeners we'd like to have you take part in a new, weekly contest. And to introduce the premise and the procedures, here's Lenore Skenazy. Hi, Lenore. And what's your role in this?
LENORE SKENAZY, BYLINE: Oh, hi, Audie. I'm basically the Contest Queen.
CORNISH: And does this particular contest have a name?
SKENAZY: Yes, it does. We're calling it Another Thing Considered, Another Thing for short. Remember that because that's the title we're going to use for submissions, which I'll remind you about when we finish.
CORNISH: Now, you came to us with this idea, which we want to sort of try out, right?
SKENAZY: Yeah, yeah, yeah. I have a history with contests. It started when I was in college, I would always enter the New York Magazine contests. And then, once I moved to New York, I started my own contest in the New York Daily News asking questions about people's lives - like what one question would you like to ask your pet?
CORNISH: And now you have a contest in the publication called The Week?
SKENAZY: Yeah. Here's an example, and it will give listeners an idea of the sort of humor we're looking for here. Recently, I was playing off a news story about shoplifters who are targeting the detergent Tide. They're actually using it as sort of black market currency. So I asked readers to come up with the name of the first mystery about a Tide heist. And the winners were things like, In Cold Suds, and Farewell My Laundry, and, you'll like this one, Clean Harry.
CORNISH: Yeah, that's a good one. And now you're here with this contest for ALL THINGS CONSIDERED listeners to play. So, what's our first one?
SKENAZY: Audie, to start us off, I was thinking about the fact that space tourism is expected to become a billion dollar industry in the next 10 years.
SKENAZY: That was Sir Richard Branson of Virgin Airlines, pitching his plans to fly tourists into space. He's calling his company Virgin Galactic. But his is just one of a handful of companies planning to offer private space flights, which are actually already getting popular. People are signing up for them.
CORNISH: All right. So how does this apply to our challenge?
SKENAZY: That's a good question. I was thinking there's going to be a lot of tourists floating around up there, which means a lot of mouths to feed in space. So, this week's Another Thing Considered question is...
SKENAZY: What will be the name of the first chain restaurant in outer space? My friends and I were just coming up with ideas: Jabba the Pizza Hut, or maybe Bob's Big Bang?
CORNISH: OK. So where can they send in their pitches?
SKENAZY: They should send their answers by noon Eastern Time, my time, on Wednesday, to firstname.lastname@example.com. And, you know, if they can remember that, maybe they can also remember to please write Space Food in the subject line. But if you don't, we'll read the entries anyway. So, either write to email@example.com or you can just go to the NPR website and look for the contest on the ALL THINGS CONSIDERED page.
CORNISH: And the winner gets, what? A trip to outer space?
SKENAZY: Yeah, almost. The winner gets a mug that is out of this world. Still, it's something, right? It's a mug. You can drink out of it.
CORNISH: Okay, Lenore, thanks. Lenore Skenazy is the Contest Queen of our new competition, Another Thing Considered. We'll give you the results next Monday and ask a new contest question then, too.
BLOCK: You are listening to ALL THINGS CONSIDERED. Transcript provided by NPR, Copyright NPR.


text:
30 Mar Discovery Coast Rotary Markets
Make a Booking
Posted at 09:39h in
The Discovery Coast Markets are held on the second and fourth Sunday of each month at the SES Grounds located between Agnes Water and Seventeen Seventy. Come and browse the arts and crafts, bric-a-brac and fresh produce available to purchase. These markets have a relaxed atmosphere and are set under many nice big shady trees.
Please note that during school holidays, the markets are held every Sunday.


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NEA urges Congress to reject flawed ESEA-flexibility measure
Van Roekel: "let's not abandon the students who need us the most"
WASHINGTON - July 07, 2011 -
The National Education Association (NEA) today called a flexibility proposal before the House Education and Workforce Committee flawed and a dilution of the federal role of protector of funding for some of the nation's most vulnerable students. The NEA contends that if enacted, instead of providing the kind of flexibility that would benefit schools, children and families, the "State and Local Funding Flexibility Act" would compromise the civil rights of low income, English language learners (ELL) and Native American students.
"All flexibility is not good flexibility. Let's not abandon the students who need us the most," said NEA President Dennis Van Roekel. "Greatly flawed, this measure perpetrates the legacy of inadequacy and inequity in funding for special populations which has plagued our public schools for far too long."
In response to a time when the rule of law was a barrier to a quality education, the federal government stepped in and created programs to level the playing field for populations vulnerable to the effect of educational disparities. Though they remain chronically underfunded, Title I, Title III and VII addressing the needs of low income, ELL and Native American students respectively, have made a significant difference in addressing gaps in educational access and opportunity.
Despite its good intentions, NEA believes the "State and Local Funding Flexibility Act" could create a loophole allowing the diversion of already scarce resources.
"The future of nearly 29 million students is at stake. If we're going to get it right this time, a reauthorized ESEA must grant more decision-making power at the local level. But such empowerment must still uphold the federal government's responsibility to guarantee equal educational opportunity for all. Loosened reins can't be allowed to narrow protections for the very students the federal government got involved in education to serve."
Instead of misguided flexibility that undermines the spirit and intent of the original ESEA, NEA recommends that Congress:
- give states and local school districts the flexibility to propose to target 75 percent of their non-Title I, III, or VII federal resources for flexibility to best serve the needs of their students;
- allow states to apply to the Department of Education to waive certain statutory or regulatory requirements under law, consolidate federal education programs while being accountable for results, and use an alternative method for making allocations to local school districts instead of the current formula if their new proposal targets funds more effectively to those areas with high concentrations of low-income families; and
- lower the poverty threshold for school-wide programs, which frees local schools to consolidate all federal funds to improve the quality of the entire school.
"NEA supports increasing flexibility within ESEA by expanding collaborative decision making at the local level and relief from a one-size-fits all, test-based, overly punitive NCLB. But the 'State and Local Funding Flexibility Act' is the wrong way to go. As it moves through the reauthorization process, Congress must take great care not to abdicate the federal role of enforcer of protections for students. If districts are no longer required to target dollars to low income, ELL and Native American students, who else will stand up for their basic right to a quality education?"
For more information on NEA's principles on ESEA/NCLB reauthorization, including our message to Congress, click here.
For NEAToday.org's coverage of ESEA/NCLB reform, click here.
Follow us on twitter at www.twitter.com/NEAMedia
# # #
The National Education Association is the nation's largest professional employee organization, representing 3.2 million elementary and secondary teachers, higher education faculty, education support professionals, school administrators, retired educators and students preparing to become teachers.
CONTACT: Stacey Grissom (202) 822-7823, email@example.com


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McCarthy Family Estate Vineyards
Organization: McCarthy Family Estate VineyardsWinery Name: McCarthy Family Estate VineyardsWinery or Tasting Room: BothWine Regions: Santa Cruz Mountains
Contact InfoAddress: 20108 Foster RoadCity: Los GatosState: CAZip: 95033Phone:
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