text:
Directory Listings
Kiddie Sportz Visit Website
Hodges Blvd + Richmond Park Dr N, Jacksonville, Fl 32224 904-541-6565 email@example.com
Helping Improve Your Game on the Court and on the Course
Do you want your child to be the next golf or tennis superstar? Then let KiddieSportz Programs, LLC train them and pave the way to their success. We teach golf and tennis to children in day care centers and pre-kindergarten, as well as in middle and elementary schools in Jacksonville, Florida. Our founder, Coach Diana is a member of the United States Tennis Association (USTA).
In addition to private lessons and group classes in schools, we hold summer camps where your child can practice in a fun learning environment. We also offer private lessons to adults. Please email firstname.lastname@example.com with any questions and to check class availability.
Program Overview
KiddieSportz Programs, LLC offers golf and tennis lessons in Jacksonville, Florida. Our focus is on teaching kids and youth aged 3-18 years old, but we also provide private lessons to adults. These programs are offered in child care centers, preschools, parks and other public locations. What makes our sports programs unique, as compared to others, is that we specialize in golf and tennis and follow the United States Tennis Association(USTA) guidelines to make sure the equipment we use for training is age-appropriate such as foam and low compression balls, miniature tennis nets, kids size tennis rackets and of course lots of super fun educational activities.
NO " Tennis Courts Needed " Everything is Mobile" and "Age appropriate."
Some of what the kids will learn include:
o Forehands
o Backhands
o Serves
o Volleys
o Overheads
o Putting
o Driving
o Chipping
o Fun Games
o How to Keep Score
o and so much more including loads of fun...all in a super cool age appropriate curriculum.
Our classes are mostly conducted on school sites as part of school's during/after school enrichment programs during the weekdays. On weekends, private kids and adult lessons are taught in community centers, parks and different locations.


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Tablets News
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How to Renew a Car Batteryby William Adkins
Modern car batteries are reliable and long-lasting. When they cease to work properly, it is usually due to sulfation. Sulfation occurs when the lead electrodes in the battery become coated with sulfur from the sulfuric acid electrolyte. The primary cause of sulfation is repeated deep discharges (running the battery down). There are several methods for reversing sulfation, provided the sulfur hasn't corroded the lead plates too badly. The simplest and least expensive requires only a common household chemical and a good quality "smart" charger designed for use with car batteries.
Step 1
Use a crescent wrench to loosen the battery cables and remove the battery from the car. Work in a well ventilated area and always wear gloves and safety glasses when working with lead acid batteries. Keep open flames away from the work area.
Step 2
Remove the cell caps located on top of the battery. If it's a sealed battery, locate the entry points (called shadow caps) marked on top of the battery and use a drill to punch through them. Drain the battery fluid into anon-metallic container.
Step 3
Mix a solution of 15 percent to 20 percent by weight of magnesium sulfate (better known as Epsom salts) and water--about 7 oz. of Epsom salts to 1 qt. of water). Use distilled water since tap water sometimes contains chemicals harmful to batteries. When the Epsom salts are completely dissolved, fill each cell of the battery with the solution.
Step 4
Charge the battery using a 3-phase "smart" charger set to 12 volts. These chargers are designed to provide optimum charging with an initial "bulk" charge followed by a slower absorption charge and finally a trickle or "float" charge. Make sure the charger is turned off and follow manufacturer's instructions for connecting the battery to the charger. Turn the charger on and allow the battery to charge overnight.
Step 5
Turn the charger off and disconnect the battery. Replace the cell caps. Use plastic plugs to fill the shadow plug holes in a sealed battery. Finally, reinstall the battery in the car. Make sure the battery cables are securely fastened.
Complete the renewal process by removing the battery and bring it to full charge using the battery charger once a week for two or three weeks.
- If you need to store a car battery for long periods, you can prevent discharge and sulfation by placing it on a trickle charger.
- Never pour the fluid from a car battery directly down a drain as it will corrode the pipes. First, add 1 tbls. of baking soda. The fluid will start to bubble. Add a spoonful at a time until the bubbling stops. This neutralizes the acid content. Only then pour the fluid down a drain and allow water to run for five minutes to be sure the drain is completely flushed.
Items you will need
- Safety glasses
- Gloves
- Wrench
- Pitcher
- Non-metallic container
- Funnel
- Drill
- Shadow cap plugs
- 3-Phase battery charger
- Epsom salts
- Distilled water
- Baking soda


text:
The very last song on the very last album of new music Johnny Cash released before his death in 2003 was the 1939 classic "We'll Meet Again."
We'll meet again
Don't know where
Don't know when
But I know we'll meet again some sunny day
The Curmudgeon doesn't think this was a coincidence. Cash was dying: he knew it and his fans knew it, and The Curmudgeon thought this was his way of saying good-bye. Cash had already taken the poignant, soul-baring route once before, on what The Curmudgeon believes is the single greatest music video ever, of the Nine Inch Nails song "Hurt," that dramatized aspects of his life, his pain, and his regrets, and he seemed to be doing it again with this decision. "Hurt" brought a tear to The Curmudgeon's eye and his first listening to "We'll Meet Again" did so as well.
Well, readers, while The Curmudgeon is in almost alarmingly good health for a boy of 61 who has survived disco, cancer, marrying into a family with a dog (!), and Donald Trump (so far), this is the end of the line for The Four-Eyed Curmudgeon. The blog ends today, and to explain and say his farewells he will begin by stepping out of character and addressing you in the first person.
Hi, I'm Joe.
(You: "Hi, Joe.")
I've been writing this blog for seven years, minus about four months during which I declared I was finished because I wanted to get back to writing short fiction. When I returned I said I would blog (yes! a verbification!) less often, to leave myself more time to devote to writing fiction. And that worked, too.
For maybe a month or two.
But there's too much to write about, too many things to say, too many strange doings to comment upon. If I could retire tomorrow I think I could comfortably write three to five pieces a day five days a week and never even momentarily think I had run out of things to write about or say. That's why you've seen two posts a day for the past two months: because I decided to empty – well, not quite empty – my folder of blog ideas and go out with keyboard a-blazin'.
And write I have: according to data provided by WordPress, host of this site, this is my 2181st post and I've written a shade under 1.2 million words.
Which is an awful lot of words.
And it's been great fun. I've never had an opportunity to write in this voice, and I'm pretty sure this is the voice I was born to write in.
But the fiction still calls. Just two feet from my left elbow as I write this is a stack of about a dozen short stories I've started since launching this blog but never got around to finishing because there was never time. I figure it'll take at least a year, and possibly two, just to finish them.
And then…
I have three or four novel ideas, which I'm not going to share because someone might steal them. If I had my druthers, I'd druther say the things I plan to say in these novels through short stories instead because short stories are a lot more fun to write and writing novels can be pretty laborious, but try as I might, I haven't been able to figure out how to do that, at least not for these particular ideas and at least not yet. There's time, though: maybe it'll come to me. The novel Taking Care of Business, which I posted in serial form on this site, started as a short story idea that I couldn't contain and grew into a novel instead. When I realized I couldn't write it as a short story I spent three months thinking about whether I was willing to get involved in writing another novel, and the reason I ultimately did so was that, at least in my mind, the story idea was too juicy to let go. (Reader response to Taking Care of Business suggests I should have let it go.) Novel-writing is hard work; the ratio of fun to nose-to-the-grindstone effort is far more favorable with short stories. The first serious attempt I made to write a novel was in the early 1980s and I totally crashed and burned, but about 20 years later I said everything I had hoped to say in that novel in a short story I posted on this site a year ago that remains one of my favorites among all the things I've ever written.
So there's hope.
I write pretty quickly, so this blog has never been a burden. To the contrary, it's been a joy: I've never had so much fun writing and believe me, I write a LOT. I write all day for my job, which is for a small health care consulting company, and just a minor part of that job is writing not one and not two but three different blogs, where snark is absolutely not permitted.
Still, it weighs on you at times. That's why I gave up the news quiz a few years ago: because it became all-consuming and could take as much time to write as any ten regular posts. Each news quiz featured ten questions but I always tried to write 20 and then whittle them down to the best ten. Each multiple choice question had four possible answers and I wanted the three incorrect choices to be funny. That's 20 questions and 60 funny answers.
Okay, maybe 40 of the 60 were actually funny.
Okay, maybe 30.
I keep a book on my phone – who would believe that the guy who wrote a few years ago that he's not a technophobe when he really was one at the time would now be reading books on his phone? – to have for idle times when I'm not at home near a real book or Kindle. I've only been doing this for about a year and so far I've just kept collections of humorous essays on my phone – by James Thurber, Calvin Trillin, and David Sedaris; they're all things you can put aside for a month and then start reading and find you haven't missed a beat. I read them when I'm sitting in a doctor's waiting room, idling in my mother's living room on a weekend afternoon while she takes a nap, waiting because the Chinese restaurant people lie like dogs about how long it'll be before your take-out moo shu will be ready, times like that. The current book on my phone is Sick in the Head, by the movie writer and producer Judd Apatow. Apatow has been seriously interested in comedy since he was about 10 years old and when he was 15 he had a show on his high school's radio station on which he interviewed comedians. (Side note: Apatow grew up on Long Island. We sure as hell didn't have a high school radio station at Lincoln High in Philadelphia.) The first interview 15-year-old Apatow did, amazingly, was with Jerry Seinfeld. The book consists of more than 40 interviews and conversations with comedians, writers, and comic actors, and while Sick in the Head is ostensibly about comedy it's really about creativity, which interests me a great deal. I heartily recommend it.
I mention this now because just a few weeks ago I was on a train to New York to see Aaron Sorkin's stage adaptation of To Kill a Mockingbird – an anniversary weekend for Mr. and Mrs. Curmudgeon and a play we enthusiastically recommend – reading Apatow's interview of Jon Stewart. In the interview they discuss how hard it is to do stand-up comedy, with Stewart explaining that
With stand-up, you're never done. You always feel like you've got to keep that notebook by the bed. And you stop experiencing anything. You just exist purely as an observer, constantly trying to figure out if I'm going to be able to work a bit out of this. It's a different way of approaching life. It's exhausting.
I feel his pain. It's become increasingly challenging to read, see, or experience anything anymore without looking for possible content for this space. Stewart has a notebook by the bed; I have notebooks by my bed, in my office, in my car, in the family room, and of course on my phone.
Which is a lot of notebooks.
Newspapers, web sites, books, the car radio – every place I consume information these days has become a potential source of material for this site. I receive about 50 emails with general news and health care industry-specific headlines every day for work, so some of the stories you've read here have originated in one form or another from McKnight's Long-Term Care News, Becker's Hospital Review, the Tampa Bay Business Journal, the Altoona Mirror, the Central Penn Business Journal, and other such unlikely sources. You become like a wild animal in the forest, constantly foraging for food and seldom just sitting back and thinking "Damn, this forest is pretty spectacular." As Jon Stewart suggested, it weighs on you after a while: you stop reading the paper just to read the paper, stop listening to the news just to learn what's going on, stop reading a book for the sheer enjoyment the book offers.
People occasionally ask me how the blog "is doing," and by that they mean do I have readers. The truth is that there are damn few of you (which I suspect is why my stepson seems to take particular pleasure in asking that question), but that's never bothered me. Oh, sure, once in a while I write a piece that I think is really special and it's a slow day and there are only a few readers and no comments and I wonder why the hell I'm doing this but that feeling always passes quickly because instead of thinking about the piece that passed unnoticed I'm already focused on another piece I'm having a lot of fun writing.
I first started thinking about bringing this chapter of my writing life to a close in early August, while on vacation at the beach. The number of readers was inexplicably high that month even though that's historically been a slow time, so I canceled my plan to take off for the month and decided that if people were going to come to my table I damn well better feed them. The numbers continued strong into September, when I told my wife (say hello to the lovely Catherine, please, the love of my life) that I thought I'd stop doing the blog at the end of the year. Within a week the numbers plummeted to their lowest level since the second year I was doing this and stayed that way for about a month. The past two months, though, have been absolutely boffo, with my daily numbers at an all-time high and running two to three times my average numbers at any time since I started doing this in November of 2011. I still don't know why, but I suspect it's some kind of glitch by the folks who do the counting.
Alas, it really doesn't matter. While it might be nice to be able to do this for a living, that was never my expectation. So ultimately, the question persists: why do this? Why write?
The answer is that I do this – I've done this – for me. That may seem selfish, but I do this for me, not for you, and that's why I kept doing it when damn near no one was reading and that's why I'm stopping now: because there's another kind of writing that's calling my name. It's been calling my name now for seven years and that call has finally gotten louder than the call to keep writing the blog.
A number of years ago, before I launched this blog, I was attending one of those outdoor summer arts fairs you can find in suburbs throughout the region where I live, and possibly where you live, too. Ironically, this particular one was in the town where I now live, but this was years before I met Catherine. As I walked past the various exhibits I wondered how it felt to be sitting in one of those booths, your work on display, and have people walk by without even looking in, or stop, take a quick look, and resume walking, or even stop, take a quick look, make a face, and resume walking. That must be hard on the artists, I thought.
And from that thought came the inspiration for a short story, which you'll find below as my final offering to you. It's about why one woman paints even though she knows she's never going to be the next Picasso and, implicitly, why I write even though I know I'm never going to be the next Philip Roth.
So as I sign off, and before you get to that story, let me just say this:
Thank you for spending a few minutes with me a few days a week for a few years, thank you for letting me know when you saw something you liked and even when you saw something you didn't, thank you for giving me the idea that this tree wasn't falling in an empty forest and therefore WAS making a sound, thank you for encouraging me to believe that if I write it, they will come.
So perhaps, eventually,
We'll meet again
Don't know where
Don't know when
But I know we'll meet again some sunny day
I will miss doing this and I will miss, yet always treasure, the idea that I've perhaps amused, entertained, or enlightened. I will miss writing this blog. I will miss the Four-Eyed Curmudgeon.
But I will still be curmudgeonly. Some things you just can't give up.
And now, the story: about why some people create even when they know damn near no one is interested in their creations.
So long, farewell, and amen.
"For My Soul"
Every time Lisa Bloom sold one of her paintings, a little piece of her died.
But at this particular moment, she suspected that the death of yet another small piece was not imminent.
The sun beat down hard on a hot, humid Saturday afternoon as she sat in her booth at the annual fine arts and crafts festival in Media, Pennsylvania – a festival virtually indistinguishable from similar events in other Philadelphia suburbs of Ambler, Narberth, Haverford, and Doylestown, in the nearby towns of Medford, Haddonfield, and Collingswood just across the Delaware River in New Jersey, and within Philadelphia itself in Manayunk, on Rittenhouse Square, and in the Mt. Airy community that Lisa herself called home. Every year these communities sought to attract residents from throughout the region to their quaint downtowns and main streets to show off their trendy shops and even trendier restaurants, and the lure was arts and crafts. For $250 a day, artists and craftspeople rented booths and exhibited and sold their creations.
Lisa Bloom was a painter – a good painter, not a great one. For public consumption she painted mostly in impressionistic and post-impressionistic styles – landscapes, mountains, ocean and beach scenes, fruit, flowers, and portraits. She was no Renoir, though, and she suffered no illusions that one day someone would "discover" her work and mention her name in the same breath.
She was safe from one of those little deaths at this particular moment because the couple in her booth earnestly debating the purchase of one of her paintings almost certainly, Lisa concluded, would walk away empty-handed. While she sat no more than three feet from them, they discussed hanging the object of their attention in their dining room, over their sideboard. They both clearly liked the painting but did not agree on its suitability for the space in question. Lisa felt an argument coming on and stepped out of her booth and onto the sidewalk to free the couple from the awkwardness of arguing about the painting in front of its painter.
"It's perfect," she overheard the husband say. "It's a beautiful scene and the space over the sideboard is just crying out for something like this." Lisa could not make out the wife's entire reply, but she did manage to catch one phrase – "wrong shade of green" – and knew immediately that the couple would leave without the painting. Moments later, their departure proved her correct.
Lisa returned to her seat inside the booth and out of the oppressive sun to one of the least palatable aspects of these events: smiling dumbly at the passersby. Thousands of people would stroll past her booth in the course of a typical two-day event. Most would glance in, barely slowing, and then quickly pass; a few might even sneer, unhappy with what they glimpsed. Hundreds would step in and examine a painting or two, albeit only cursorily. A few might spend more time, examine the work closely, ask about prints, seek to engage her in some way, perhaps even take a business card with the address of her web site. Finally, about three or four people a day would purchase a painting that typically ranged in price from $200 to $500.
Lisa did not count on selling her paintings for her livelihood. Unlike most of the artists who traveled this circuit and who counted on their sales to put a roof over their heads and food on their tables, Lisa had a "regular" job. Also unlike most of the other artists, Lisa did not attend all of these summer events herself – or the similar fall, winter, and spring events held in high school gymnasiums, church auditoriums, and the occasional catering or union hall. She could tolerate only so much indifference – far worse than rejection in her eyes – from people who could not tell the difference between the lines of a third-grader and a Rothko.
Lisa had not always been in a position to be so indifferent to whether her talent would enable her to pay her bills. She had studied art in college, earning a bachelor of fine arts degree, and while she had never seriously considered attempting to subsist solely by selling her paintings, she knew there were many ways an artist could earn a living using her special talents. She did that for three years, working as a graphic artist, an advertising art director, and a fashion illustrator. She liked none of those jobs: her vision inevitably conflicted with those of her employers and she constantly found herself compromising in her work or sacrificing what she considered quality for the sake of expedience or economy. Worse, after ten-hour days of such labored and exasperating endeavors, she frequently found herself too frustrated and mentally exhausted to come home and give expression to her own, uncompromised vision.
After three years of such struggles Lisa made a life-altering decision: she would find another way to earn a living and paint for the sheer joy of painting. So decided, she took a job laying out catalogues for a supplier of medical equipment and did that for two years while at night she returned to college to earn a degree in secondary education so she could become a high school math teacher. Lisa loved math – she had minored in it as an undergraduate simply because she liked studying it – and thought she would enjoy teaching. More important, she would have evenings and weekends and, most of all, entire summers to paint. And that was exactly what happened: as soon as she earned her degree, Lisa took a job teaching at the public high school closest to her home in Philadelphia.
After a few minutes of nothing more than casual browsers, a man in his mid-fifties entered Lisa's booth and spent a good deal of time examining her paintings.
"Very nice," he said.
"Thank you."
"Very commercial, too."
Lisa saw that this was not intended as a compliment.
"Check the book," she said, pointing to a table bearing a loose-leaf binder containing photographs of some of her other paintings. "And the two paintings over there," she added, pointing to the far corner of her booth.
The man slowly examined the two paintings and then turned his attention to the book, looking up at her periodically as he thumbed through it.
"Artistic schizophrenia?" he asked, smiling.
She smiled back.
"Too much sugar isn't good for a girl," she replied.
"So which is you?"
"Both. I don't paint anything I don't want to paint and don't enjoy painting. Everything you see hanging is a labor of love and a part of me."
"But I have other things on my mind, too, and I express them with equal passion but in very different ways. But they're not for this crowd."
"And what crowd are they for?"
She smiled.
"They're for me."
"So you don't do this for a living?"
"Lord, no."
"Then for…"
"For me."
"For you."
He paused.
"And for a living?"
"High school math."
"You're kidding. Where?"
"Philadelphia. Germantown High."
"Lousy pay."
"But a great job."
He reached into his shirt pocket, withdrew his business card, and handed it to her.
"Young lady, I have my own small advertising agency in Philadelphia and you clearly have more talent than anyone on my staff, and I pay them all at least twice what you're making. If you ever want to talk about doing some interesting work and making some real money, give me a call."
"So, twice a teacher's salary is the going rate for souls these days?" Lisa asked as she stepped over to the table and picked up one of her own business cards from a holder sitting near the loose-leaf binder. She handed it to him.
"And if you'd like to buy some real art and not just the pretty stuff, take a look at my web site for what else I've done."
He extended his hand, shook hers, and departed.
Lisa shook her head; this kind of thing happened to her all the time. She had so many friends who hated their jobs or kicked around from job to job in search of something they could tolerate, let alone enjoy, but people were constantly approaching her, unsolicited, with offers of employment.
While a few new visitors strolled purposelessly through her booth, Lisa stepped outside it again and pulled her cell phone out of her pocket.
"Hey Amy, how are you?"
A pause.
"You want to make a few bucks tomorrow?"
Another pause.
Again a pause.
"Okay, the stuff'll be in the garage, but feel free to go into the basement and if you see anything you think might sell, you can take it. I'm going back as soon as I drop everything off."
At that moment Lisa could not face the prospect of another day of this – no amount of money was worth it, especially when she did not exactly need the money – so she did what she often did when she felt this way: she called one of three younger cousins who filled in for her occasionally at these events in exchange for twenty-five percent of whatever they sold. Yes, there were arts fairs in Media and Ambler and Narberth and Haverford and Doylestown and Collingswood and Medford and Haddonfield and Manayunk and Rittenhouse Square and Mt. Airy every summer, but Lisa could not bring herself to participate on every day in which every one of them was held, and fortunately, her cousins were young enough to appreciate an opportunity to earn a few extra dollars while also being mature enough to represent her responsibly. Beyond the indifference of her would-be customers to what they were viewing, beyond the complaints about spending $200 for a painting, as if that were a lot of money for an original work of art, and beyond the absurdity of discussions like the one she had just overheard regarding whether a painting had the right shade of green to meet the prospective buyers' home furnishing needs, what Lisa found most difficult about these festivals was what should have been her most triumphant moments: when someone complimented her work, praised her talent, and conveyed that support in the most tangible way possible – by purchasing one of her paintings. As much as she appreciated both the affirmation and the money, she dreaded those moments. Her paintings were a part of her, conceived in her imagination and executed by her skilled eyes, hands, and heart, and it pained her to part with them – even the canvases she knew she had painted primarily to sell. Every sale was like giving away a little piece of her, and every time someone walked away with a smile on their face and a painting under one arm, Lisa felt as if a little piece of her had just died.
Four hours later Lisa was in her car, driving up the northeast extension of the Pennsylvania Turnpike to her getaway and true artistic home: a one-room cabin in Pennsylvania's Pocono mountains. Lisa had purchased the small home ten years ago, at the age of twenty-eight, with $75,000 she had inherited from her grandmother. Her family had been appalled: Lisa was still living in an apartment at the time and they wanted her to buy a first home before buying a second. Lisa had insisted, though, maintaining that she already planned to buy a house in the city and should spend this unexpected money on something she almost certainly would never have been able to afford otherwise.
Most of the money Lisa earned from painting – anywhere from $20,000 to $50,000 a year, depending on whether she received any commissions during a given year or did any freelance commercial work – went to maintain the mountain home and buy art supplies. Unless she was dating she spent roughly every other weekend there, and most of the summer except for days like this when she returned to the city to make some additional money.
The cabin was the perfect artist's retreat. It was just one large room – a combination kitchen/bedroom/living room/studio with a fireplace. The back of the house overlooked a lake and had sliding glass doors that opened onto a large deck. In the winter she set up her easel just inside the glass door; in the warm weather months she painted outdoors, often rising with the sun, and cooked her meals outdoors on a gas grill, interrupting her work two or three times a day for a long, vigorous swim. Occasionally she would get her dinner from the lake as well, hanging her fishing rod over the side of the deck until she caught enough trout for a meal.
Lisa did not mind painting with an eye toward sales; people liked buying pretty paintings and she enjoyed creating beauty and appreciated the extra money this work brought her. For Lisa, though, painting was about more than making money. Unlike most of the other artists on the circuit, Lisa did not sell prints or lithographs – only original oils and watercolors. The others needed to maximize their income, and selling ten to twenty matted prints every day helped with car and mortgage payments and medical insurance. Lisa respected that but felt that with a regular, full-time job, she had only so much time to devote to her painting, so she chose to spend that time painting rather than working with the print shops and crafts people who turned original works into prints. Consequently, she constantly heard complaints from potential customers that the other artists offered $25 prints while she exhibited nothing for less than $200.
While she enjoyed creating works that gave people pleasure, Lisa lived for her "other" work. What Lisa painted for Lisa was far less beautiful and far less accessible. For these works she used darker colors and bolder, even angrier strokes to speak her heart about things that mattered to her. She always made a point of bringing at least two or three of those paintings to the various arts festivals she attended, but in nearly a dozen years of such festivals she had sold only a few at those events. She did not care, either: she derived enormous pleasure from observing the confusion and consternation of the passersby as their eyes shifted from the bright and pretty to the dark and angry. That, she felt, was what art was all about: provoking thought, stirring emotions, evoking passions.
As much as Lisa loved her time in the mountains, she feared that spending too much time there would, over time, take the edge off the paintings that mattered most to her. Her time in the city fed her creativity: life was more real in the city, more immediate, more vital than the idyllic surroundings of her second home. She needed galleries and museums showcasing the works of other artists, to walk among crowds of different kinds of people, to listen to live music that would never be considered good enough to play on the radio, to watch the kinds of movies that theater chains would never show. She needed big-city newspapers and, more important, big-city alternative newspapers. These and other aspects of city life provided much of the fuel that inspired her work.
Lisa painted primarily for Lisa when she was at her cabin. She generally painted her occasional commissions – mostly portraits, primarily of children – at home. When she was younger she used to paint gifts at home as well – birthday and anniversary presents, Christmas gifts, water colors, even murals for the bedrooms of newborn babies and young children. That practice had ended abruptly, though, about five years ago when she had dinner with friends and discovered a small playground scene she had painted for them a few years earlier hanging in the family's guest bathroom. At first she was shocked and then angered and had smoldered for several minutes behind the closed bathroom door before regaining her composure sufficiently to rejoin her hosts. About a half-hour later she sat with the family in their living room, playing Chinese jump rope with her friend's eight-year-old daughter, when she casually asked, "Isn't that my merry-go-round watercolor in the bathroom?"
"Yes," her friend responded enthusiastically. "It goes great in there, don't you think? The pastels in the painting go perfectly with the curtains, and the frame really complements the vanity."
After seeing her work hanging over a toilet, Lisa never again gave one of her paintings as a gift.
About a week after the Media event, Lisa was still at her cabin when she received an email through her web site.
I was introduced to your work by Jeremy Nelson of Nelson Advertising, who said he met you at a recent street fair in Media. I own a gallery in Philadelphia. I'm interested in your work and would like to talk to you about exhibiting. Please call at your convenience.
Shelly Speckman
Lisa reacted neither positively nor negatively. She had received such messages before; some had been serious, some not. She was familiar with the Speckman Gallery, but not enough to have a definitive opinion about it, the art it exhibited, or its owner. She chose not to respond immediately, deciding instead to check out the proprietor before doing so. She sent emails to a few artist friends and called others, asking about the gallery and its owner. She also spent some time examining the gallery's web site. A few days later, satisfied that the inquiry was serious, she responded by email that she would call in a few weeks, after school resumed.
Two weeks later Lisa returned to Philadelphia – three days prior to the start of the new school year. About a week after school began she felt sufficiently settled into her new routine and called Shelly Speckman. They agreed to meet at the gallery and talk over lunch the following Saturday.
At the appointed hour Lisa arrived at the gallery and looked around briefly before introducing herself to Speckman, whom she recognized from a photo on the gallery's web site. Speckman gave her a tour and they exchanged small talk. Speckman also described a few of her upcoming exhibits. They then walked to a nearby restaurant.
After they ordered, Lisa decided to allow Speckman to lead this conversation. After an awkward moment of silence, the gallery owner finally spoke.
"Part of me is pretty surprised you're even here," the woman said.
"Why's that?"
"Usually, when I contact artists about the possibility of an exhibition, they fall all over themselves to get back to me. You waited nearly a week to reply to my email and then put me off for nearly a month."
"And somehow," Lisa replied, "your gallery is still standing and I'm still painting and the earth continues to rotate on its axis."
"So I take it you're not enthusiastic about the possibility of an exhibit?"
"'Enthusiastic' isn't the right word. I'd say 'intrigued.'"
Their waiter arrived with beverages.
"You've been burned?"
"No. It's just that I've had more than a few of these meetings and have come to learn that they don't necessarily lead to an exhibit. Waiting an extra week or two has no bearing on the outcome, and besides, I've been out of town."
"Yet you're here now."
"You have a good reputation, so I'm willing to listen."
"Fair enough. As I mentioned in my email, Jeremy Nelson got in my ear about you. He said he met you in Media and liked you and your work. I think he especially liked how you blew him off when he tried to hire you."
"I already have a job, and my job's better than his job."
"If you say so. But I suspect you haven't heard the last of him."
"I never thought I had. And I'm not going to sit here and tell you that I'll never, ever do anything with him, but it definitely won't be on his payroll."
"You do commercial work?"
"Occasionally. A lot of people know me, and if they check out and the money's good and the work looks interesting, I'll sit down and talk to them. If I'm not interested, well, I have a job, so saying no doesn't mean I can't put gas in my car."
"And galleries?"
"You've been on my site, so you know when and where I've exhibited. I'm not a star, but I'm not unknown, either."
"Yes. But it's pretty conspicuous that you've never had your own exhibit right here in Philadelphia."
"I haven't found anyone whose plans satisfied me."
The waiter returned and set down plates in front of them.
"I've been to your gallery before, you know. More than once, actually."
"Yet we've never met."
"Actually, we have, but only in passing. You meet people who live for being shown. That's not at the top of my agenda, so I don't have to schmooze gallery owners."
Speckman picked at her salad.
"So you say you haven't liked anyone's plans. What're you looking for?"
Lisa smiled.
"Tell me what you have in mind," she countered.
"Do you sell a lot of your work?" Speckman asked.
"A lot, no. But some, definitely."
"You're awfully independent for someone who's not really selling."
"Sales aren't a priority for me. I love to paint but I paint for me. If I produce one painting a month for the rest of my life and never sell even one of them, I'll be perfectly content as long as those twelve paintings a year satisfy me.
"So, your ideas?"
Speckman finished chewing the food in her mouth.
"Right now, no specific plans. First, I need to see your stuff in person. I like what I saw on your web site and found two pieces in local galleries that I liked very much, but I need to see paintings in person to get a better sense of the size and scope and breadth and color."
"And if you like what you see?"
"I launch one major new exhibit a month and one minor one. It's September, and I've made commitments through next March."
Lisa quietly continued eating, so Speckman realized she was expected to say more.
"I do publicity within the local and regional arts community and a little outreach into New York City. I have some regular customers there who'll come down if I tell them I'm showing something that might interest them."
"So when you visited my site, you saw that my work falls into two pretty distinct types."
"Yes. Jeremy had warned me."
"And, obviously, the conventional stuff is much more marketable. I think it would do really well with my clientele and probably give you some great new customers who would keep coming back for more even after the exhibit ends. I get a percentage of each sale during the month and a percentage of any sales with repeat customers for the next year. If you're interested, I'd also be willing to discuss broader representation, which I've done for many of my artists with great success."
"So I've heard."
"Then what else can I tell you?"
"About those two distinctive types of work: are you interested in exhibiting both?"
"Like I said, I need to see your work in person first. I would say, though, that there's much more of a market for your more accessible work and probably not much of a market for your more contemporary paintings."
"Very honest."
"Not exactly what I want to hear."
"What do you want to hear?"
"A sense of commitment to the artist."
"I haven't seen your art in person."
"But assuming you want it."
"I don't follow you."
"Okay, let me lay it out for you.
"If you're only interested in the pretty stuff, I'm not interested in an exhibit. If all you're really after is a piece or two my work because you think you can sell it, I'll be glad to give you something and we can certainly discuss terms for doing that.
"But if you're really serious about a full-blown exhibit, it has to be representative of all of my work or we can't do business.
"You need to understand something: I was serious a few minutes ago when I said I don't care if I never sell another painting again. I paint for me – not for gallery owners, not for critics, and not for the public. But if I'm going to put myself on display for the world to see, if there's going to be a forum through which I declare 'I'm Lisa Bloom and this is me and my work,' it's going to have to be all of me, not just the pretty stuff that we already know people will like. That means the contemporary work would need to have a meaningful representation in the exhibit. I understand that you need to make a living and I respect that, and I'm not asking you to show only that work. But I think a meaningful representation – somewhere around a quarter of what you exhibit – is fair and reasonable. As you saw on my web site, I've exhibited elsewhere in the past, and this has always been how we've done it, so it's not like I'm asking for something that can't be done."
Speckman chewed thoughtfully for a minute.
"How much of the contemporary work do you sell?" she asked.
"Very little."
"How much is 'very little'?"
"Maybe one or two a year."
"What do you get for them?"
"About $2-3000."
"And how many of those paintings do you produce every year?"
"I'd say two major works and three or four minor ones."
"If I can ask, why do you continue to paint them when it's clear there's minimal interest in them?"
Lisa paused. She felt she had already answered this question, but she saw now that she would need to elaborate on what she thought she had made very clear.
"Let me start answering your question by asking a question of my own: do you paint, Shelly?"
"When I was a kid, but I wasn't very good, so I stopped. I still loved art, though, so that's why I got into this business."
"That may explain it," Lisa began.
"I've never said I'm any good, either. I do sell paintings, though, and I sell enough to believe that if I took a more business-like approach to my work, I could probably make a living at it.
"But being good and being able to make a living from it are irrelevant to me. I have ideas, I have thoughts, I have emotions, and my paintings are how I express them. They're my outlet, my passion, my joy, and if I never sell a single painting again for the rest of my life, I'll go on painting until I no longer have anything I want to say – a day I'm pretty sure will never come.
"What distinguishes me from a lot of other artists is that after years and years of painting, the most important part for me is the self-expression. That's the special freedom I gain from having my 'day job,' as so many of the other artists I encounter sarcastically refer to my teaching career. Unlike them, I'm not doing this for a living; I'm doing it for me, and failing to sell my work doesn't mean I'll go hungry. I'm driven to paint, driven to express certain things, but I don't feel the overwhelming desire that many others do to share my thoughts and feelings with the rest of the world. Even if you exhibit me how I'd like to be exhibited, I have hundreds of paintings that you and the world will probably never see. I don't care if the world never sees my work, never stops to ponder what I'm trying to say. I create for me, I see it with my own eyes and feel it with my own heart, and that's what matters to me.
"Now I realize that in a way, this seems to contradict my desire for all facets of my work to be represented at an exhibition and not just the pretty stuff. The thing is, if I'm going to be public with my work, I'm not prepared to imply to the world that 'this is me' and only show the pretty stuff. When I go public, I want a reasonable representation of my work to go on display, and if I can't have that, I'd rather not do it at all."
The gallery owner sat there, listening. She was not sure whether she should be enthralled or appalled. Finally, she spoke.
"So what you're saying is that in the end, you're really just painting for yourself, right?"
"No," Lisa replied. "For my soul."


text:
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Teachers and others
Are you a teacher? Or do you work with children or young people in another way? Are you taking your share of responsibility for teaching young people about netiquette and privacy?
You Decide is a teaching resource about privacy and digital responsibility for children and young people aged 9 to 18. The objective of the resource is to increase awareness, reflection and knowledge about privacy and the choices young people make when using digital media.
Many dread talking to young people about the use of digital media. Perhaps you think that young people have such a good grasp of it that you don't have anything to offer? We adults have a responsibility to teach young people about digital judgement, rights and their obligations when using social media. And digital judgement is mostly about ethics and manners. In this respect, even adults without their own digital skills have a lot to offer.
Furthermore, digital judgement is a core component of digital skills, and is concerned with making pupils responsible and safe internet users. This means that all teachers have a duty to talk to their pupils about this. You Decide is a solid support tool that provides you with an excellent basis for teaching pupils or talking to young people about the various issues that surround subjects such as privacy, netiquette and copyright. By learning about rights relating to their own privacy, young people will be better equipped to make good decisions for both themselves and others.
It is also important to remember that adults create friendships together. Through different adults (parents, teachers, daycare staff, nurses, police and others) talking together and agreeing on certain attitudes that we want young people to have, we create a safer and more predictable environment. Young people find it easier to accept rules when everyone else has to follow the same rules. Adults should therefore also talk amongst themselves about these issues in order to act as good instructors and role models, all pulling in the same direction.
The teaching programme consists of articles about relevant subjects, facts, true stories, discussion tasks and films. The videos are linked to various themes and provide a good starting point for stimulating discussion and generating interest among the pupils. The themes addressed include privacy, online violations, digital trails/source criticism and what it means to be social online. You can find all the contents on this website.
Pamphlets have also been created in Nynorsk and Bokmål that include the most important parts relating to each topic. These pamphlets can be download. Most of the contents of the website is available in Norwegian (both Bokmål and Nynorsk), Sami and English. Pamphlets have also been created for 9-13 year olds in Urdu, Somali and Arabic.
Wide area of application
You Decide is not only for use by teachers in traditional education. The police, youth clubs, health professionals, confirmation course leaders and others also use parts or all of the approach in their work with children and young people. Many parents use it in dialogue with their own children. There is no definitive answer as to how the programme should be used. In some contexts, it's best to use You Decide in small steps over a longer period of time, while at other times it will be more suitable to work intensively with scheme during periods such as project weeks.
You Decide can also be used during meetings with parents. Many of the assignments and films are well suited to both adults and young people. Conscious and committed parents are important in creating good, safe Internet habits at home.
We have chosen to divide the programme into two parts, one for those aged 9 to 13 and one for those aged 13 to 18. However, this is only a guideline. Different groups of children and young people may be very different, and you must therefore evaluate the assignments in relation to the age group at hand.
High satisfaction
Previous surveys have shown a very high level of satisfaction among teachers who have used the training programme in their own classes. Among other things, two out of three teachers replied that they assessed the overall interest of their pupils in the topic to be high or very high. The same number said that to a large or very large extent the material gave rise to discussion and reflection in class. Almost all teachers felt that the programme increased their pupils' knowledge and awareness of privacy issues, and 96% of the teachers stated that they wanted to use the programme again at a later date.
We hope you also think this is a good tool.
Good luck!
Here are some suggestions about how you can use the programme.
Instructions for use of You Decide
There is no separate teacher's guide or blueprint for how you should use You Decide as part of your teaching. The intention is that you first go through the main article for the relevant subject together with the pupils, and then provide additional facts from the fact boxes and true stories. The films provide a good basis for discussions. When the young people have got to grips with the subject, it can be a good idea to open with discussions around the tasks we have suggested. At the very bottom of each subject page, you will find a glossary of relevant words that may require extra explanation, as well as a review of the most relevant laws and rules in the area.
You can either work through the programme theme by theme or select one theme that is particularly relevant to your group, although we recommend that you start with the theme of privacy, as this serves as a foundation for the remaining themes in the programme. All themes in the programme contain both discussion exercises and individual exercises. This is because some are well suited to discussions in groups, while others are best suited to being thought through in peace and quiet, or for discussions between young people and their parents. We have heard about cases where pupils have got a negative surprise when googling themselves and discovering what other people have published about them online, so consider carefully which tasks you choose to do as a group. Many pupils have also experienced unpleasant things that may difficult to discuss with others in a group, but which it is still important they reflect on. Show caution, but remember that this is an important subject for the pupils to become more familiar with and gain more insight into.
Older pupils teach younger pupils
Some schools have chosen to implement the programme through allowing one year group to teach younger pupils different You Decide themes, for example - upper secondary school pupils teaching lower secondary school pupils. This has worked well because the older pupils learn by teaching while at the same time acting as role models for the younger pupils.
Are you a language teacher?
You Decide has been translated and used in more than 20 countries.
You can see an overview of many of the languages that You Decide has been translated into here
There's a lot that adults can discuss in relation to this topic. Here are some tips for discussion topics and tasks for parent meetings, theme evenings or just as thinking exercises around key issues relating to children's privacy and netiquette.
Adults create friendships together
There is an old expression that says "it takes a village to raise a child". Common attitudes and rules in parental groups and between home and school are extremely important to create a good basis for good digital judgement amongst young people. The more in agreement adults are about the rules, the easier it is to get young people to respect them.
- What do you think it is like in your community with regard to the use of digital media? Do the adults agree they should work towards the same goal?
- What rules does the school have in relation to the use of digital media? What rules do parents of the children in the class have? Do the rules match? Is there agreement amongst the parents about where the boundaries are? (When should children get their first mobile phone, when should they have their own profile on various social media, what are the rules for Internet usage and time spent on social media or computer games...)
- What should our relationship be like - what can adults do to promote friendship, respect and tolerance between young people?
- How can you as an adult contribute to safe and good experiences online together with young people?
- How can we as adults contribute to children being provided with a responsible, safe and healthy attitude towards the Internet?
- How can we as adults be good role models for young people's Internet usage?
- What can you do if your child is being bullied or is bullying online or via a mobile, or you are a witness to unwanted occurrences on social media?
- Which common rules should we as adults have if we discover something that may be cyber bullying or when something else unpleasant occurs?
- How can you as an adult contribute to young people's experiences online being a natural topic of conversation at home?
- How can you establish a good balance between young people's right to a private life online and your own responsibility to ensure safe use of the Internet?
- As someone with teenagers, how can you find a good balance between being a responsible adult while also allowing them independence as they approach adulthood?
Parental involvement to counter hate speech
With work to prevent hate speech and cyberbullying, it is very important that children and young persons do not receive conflicting signals from school and home with regard to what it is OK/not OK to say and do to others on the internet (and elsewhere). Parents and carers are perhaps the most important role models for children and young persons. Children and young persons obtain many of their attitudes and values from the home and research shows that this also includes bullying behaviour. Long-term prevention requires that pupils, teachers, school management and parents are all involved in and agree on what kind of school environment they want both on and offline.
Recommendations on how to involve parents:
- Get the pupils to hold "crash course" in social media for parents
This can have a number of positive effects. Firstly, it is more likely that parents will attend when it is their own children holding the course. Secondly, pupils are likely to know more about social media than their parents and this can help spread knowledge among their parents and thus lead to increased confidence and trust. The pupils will also gain strength as they will feel that their expertise and interests are valued and being taken seriously. Such an approach can also include a section where pupils, teachers and parents jointly reflect on how they should behave towards each other, both on and offline. Guidelines or a "code of conduct" can also be developed together.
- Crises as the basis for long-term action
When crises arise, such as in cases of widespread bullying, and one has the attention of parents, it is important to think long term. To avoid ending up in the same situation in the future, one must not only resolve the specific crisis at hand but also look at how one can work on attitudes and create a positive culture. Something positive can thereby emerge from the "crisis".
- Parental cooperation should be encouraged
In order to create a culture where parents and carers talk among themselves and share responsibility for helping to create a positive school-home cooperation, steps should be taken to ensure that parents can learn from each other. "Inspiration evenings" or "mini courses" in which different parents are responsible for themes and content can be arranged at regular intervals. This provides the conditions for cooperation with parents which helps you to create a positive culture which also makes it easier to work together to solve common challenges.
These recommendations were drafted following a workshop run by the European Parent's Association in which representatives from parent committees across Europe (including Norway) participated.
Source: The European Wergeland Centre
Better class and school environment
The classroom and school environment is characterised by pupils' social contact online.
- Talk about language online
- Make children aware of considering consequences and that content online may be permanent
- Cooperate with parents: clarify what the child should learn at school and what parents' responsibilities are
- Be clear that vulnerable children with poor parental oversight are most exposed to harmful Internet usage. As a teacher, you meet all children and have a special responsibility to keep an eye on them.
Source (in Norwegian): Redd barna
Pictures of children online
Parents, schools, nurseries and leisure activities all publish pictures of children and young people online and on social media on a large scale basis.
- Is this free from issues?
- What kind of role models are we when we publish pictures of young people without asking for their consent first?
- Do all staff and parents have the same attitude towards the publication of pictures of children online?
- What challenges can it create if parents have different attitudes to this?
- Where do you think the boundaries should be? (type of content, other people's children, quantity of pictures, videos...)
- How do you think it feels to speak out if someone has published pictures of your child without asking first?
- How can we as adults contribute to creating good attitudes and online habits amongst young people when it comes to publishing pictures and other personal information?
- Does your school/nursery have a thought through, good approach to the issue? (Have you discussed the issue internally, do you have a good consent form, do you have a conscious attitude in relation to the issue...?)


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It's my second day in Colmar and I've walked miles and seen centuries worth of art and architecture. I think my favorite of the day was also the first – La Vierge au buisson de roses (lah vee-erj o bweesoh duh roze) (1473) by Martin Schongauer. It's housed in the Cathédrale Saint-Martin. The title means The Virgin of the Rose Bush. It's un retable (altarpiece) sur bois (on wood). The title comes from the rosebush in the background. Symbolically, the rose is linked with Mary because she is known as "the rose without thorns." Most of the roses are red, representing both love and the blood of the martyrs.
The rose was first brought to France from the Holy Land after the Seventh Crusade in the 13th century. In this painting, the same rosebush miraculously also produced a white rose, symbol of death, pre-figuring the Crucifixion. Other flowers with symbolic meaning are: giroflées (stock), their four petals symbolize the cross; lys (lily), symbol of purity, saints, and martyrs; and pivoine rouge (red peony), believed to protect against evil spirits. The entire strawberry plant is there; the white flowers symbolize purity, the clover-shaped leaves reference the Trinity, and the red fruit symbolizes the blood of the martyrs and Christ himself. Symbolic birds are also in the painting, including a rouge-gorge (robin) and a moineau (sparrow).
Two angels in deep blue robes hold an elaborate crown above Mary's head. The whole work is saturated in rich color and the skin tones seem to glow with life. The deeply carved arch that frames the painting is composed of musical angels. This isn't original to the painting; in fact, the corners were cut and the sides were trimmed in order to make it fit into this frame. If you visit the Isabella Stewart Gardner museum in Boston, you can see a copy of the painting in its original dimensions.
Being cut down isn't the only indignity the painting has suffered. It was stolen in 1972 and remained lost to the world for 17 months. Finally, it turned up in a barn in Lyon and was restored with great pomp to its empty frame.
As for the artist, Martin Schongauer was born in Colmar. His family had just climbed into the bourgeoisie due to his father's skill as a silversmith. This entitled Martin to certain privileges, such as a university education in Leipzig and the right to travel to continue his studies. He went to Beaune, France and studied another famous altarpiece, by Rogier van de Weyden, which inspired this painting. Schongauer's frame spread far beyond the confines of Colmar. His fan club included Michelangelo and Albrecht Dürer. In fact, Dürer was on his way to study with Schongauer when the latter died a few days before his guest arrived. Schongauer's immortalized in a statue by another son of Colmar, Bertholdi, but he's a story for another day.
Today's expression, ardoise vierge (ardwoz vee-erj) means the same thing as tabula rasa in Latin, or "clean slate" in English. In France, you'll often see an ardoise outside of a restaurant listing the day's specials. The beautiful painting is over 500 years old, but it seems fresh and new, like an ardoise vierge.


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Hermiston is an excellent location to invest in. You will see that from the numbers. On this site, you'll have access to raw data so you can draw your own conclusions. If you are interested in finding any more specific information about market characteristics, labor availability, land prices, utility access, or anything you need to make a sound decision, contact City Hall at (541) 567-5521, or email cityhermiston.or.us.
Average Daily Traffic Counts - (Interactive)


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2 Items
Cambridge Analytica closing after Facebook data harvesting scandal | News | The Guardian
NewsPublication Date: 2018-05-02
Political consultancy, under fire over use of millions of Facebook users' data, has begun insolvency proceedings Cambridge Analytica, the data firm at the centre of this year's Facebook privacy row, is closing and starting insolvency proceedings. The company has been plagued by scandal since the Observer reported that the personal data of about 50 million Americans and at least a million Britons had been harvested from Facebook and improperly shared with Cambridge Analytica. Cambridge Anal...
'Utterly horrifying': ex-Facebook insider says covert data harvesting was routine | News | The Guardian
NewsPublication Date: 2018-03-20
Sandy Parakilas says numerous companies deployed these techniques – likely affecting hundreds of millions of users – and that Facebook looked the other way Hundreds of millions of Facebook users are likely to have had their private information harvested by companies that exploited the same terms as the firm that collected data and passed it on to Cambridge Analytica, according to a new whistleblower. Sandy Parakilas, the platform operations manager at Facebook responsible for policing data ...


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DUI Attorney
Santa Rosa DUI Attorney – Petaluma DUI Lawyer
Questions for a Santa Rosa DUI attorney? Need a great Sonoma County DUI lawyer? Many of these questions can be answered by visiting our DUI Lawyer FAQs page or our how can i beat a dui page. The DUI attorneys at Beck Law P.C. are here to help you with your DUI matter. We represent Mendocino County DUI cases, Sonoma County DUI cases, and Lake County California DUI cases. Beck Law P.C.'s experienced Mendocino County DUI attorneys and Sonoma County DUI lawyers know the ins and outs of winning a DUI case.
In many Sonoma County DUI cases, The People will have a problem meeting their burden of proof. Was a roadside preliminary alcohol screening test administered (PAS) using a handheld breathalyzer or was a breathalyzer test administered using a larger more reliable machine? Those cases are good for trial. Our attorneys also know how to talk to the District Attorney's prosecutors to ask for reductions in sentences, including:
- Substitute rehabilitation for DUI jail time
- Reduce the amount of volunteer hours, aka DUI community service hours
- Reduce the amount of days spent in jail, or time spent in DUI jail alternative programs
If you have children, and not much time to spare, you need a good Sonoma County DUI lawyer to help you get the right plea offer. If your case involves the use or transport of marijuana, we know how to address that too. Beck Law P.C. lawyers are experienced in cannabis and medical cannabis matters. If you were a tourist just traveling through the area, we can help. We know that local judges and deputy district attorneys see certain spots, such as roads to wineries and particular freeway exits, as "hot zones." We will represent you in a way that showcases your sincere interest in visiting the Wine Country in a careful and safe manner.
At Beck Law P.C., we know that resolving a Santa Rosa DUI case isn't a one-step process. We are here to help you with:
- Your DUI DMV administrative hearing
- DUI Court appearances: arraignment, preliminary hearings, motion hearings, and trial
- Dealing with your auto insurance after a DUI
- Probation, and restitution if your case involves allegations of DUI damages
- Paying for fines, and alternatives to traditional fines
- Dealing with a DMV suspension
- Rehabilitation programs and substance abuse counseling
- How to deal with your employer
- How to get a work license
- Getting into DUI classes
- California SR-22 Car Insurance
- Clearing your record
If you're facing a Sonoma County DUI or Mendocino County DUI charge, here are some tips:
- If you believe you have a substance abuse problem, you may want to get into AA, NA, or the appropriate support group for your addiction. Record the days and times you attend, and write down the name of your sponsor. Provide this information to your lawyer to show them you are making progress toward recovery.
- Find a way to see a therapist one-on-one as well as going to a support group. Even if you do not believe you have a substance abuse problem, a therapist will help you manage the stress of facing a criminal case. If you are low on funds, look for a clinic that offers sliding scale fees.
- Talk to your lawyer about how you should discuss the case with your employer. This is especially true if driving is one of your job duties.
- Do not talk to law enforcement officers or any individuals who are not your lawyer about the details of your Sonoma County DUI case.
- Consider waiving your right to speedy trial. This will allow you to set your DMV hearing out beyond your court dates. Then you can provide proof of rehabilitation and possibly make a better case to keep your license.
- If your job requires a professional license, such as a teaching or health care professional license, tell your attorney. Then you can make the necessary arrangements to argue to keep your license.
At Beck Law P.C., our Santa Rosa DUI attorneys are affordable, friendly, helpful, and thoughtful. We work to represent you so you get the best outcome possible. Call us today.
DUI Attorney Related Blog Posts by Beck Law P.C.
- Your Options After Being Hit by a Drunk Driver
- Traffic Stops and Your Fourth Amendment Rights
- Underage Drinking and Driving
- Second DUI Suspected of Petaluma Man
- Don't Become A Sonoma County DUI Holiday Statistic
- Common California DUI Defenses
- I Just Got My First DUI
- California DUI Under 21 – Programs and Penalties
- What Happens After a DUI Conviction in California
- DUI Apps and Services to Get You Home Safely
- New DUI Legislation Introduced in California
- California DUI Felony V. Misdemeanor
- California DUI Basics
- California Sobriety Checkpoints
- California Field Sobriety Tests
- Drunk Driving in Santa Rosa – The Facts
Please contact a Beck Law P.C. DUI attorney if you are looking for a:
- Santa Rosa DUI Attorney
- Petaluma DUI Lawyer
- Ukiah DUI Attorney
- DUI Attorney in Sonoma County
- DUI Attorney in Mendocino County
- DUI Lawyer in Lake County


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Pardon the pun, but that's how I felt watching the Cougs today.
After Connor Halliday's injury, the Cougs looked like they could go the rest of the season without a win. This offseason was a bad one for the Cougs in terms of QB depth. Austin Apodaca and Tyler Bruggman both transferred away from Washington State for some reason, leaving redshirt freshman walk-on Luke Falk and true freshman Peyton Bender to stand guard behind Halliday. In a Power Five conference, that's not exactly comforting. In relief last week, Falk had a less-than-convincing performance with only 40 yards and an interception against one of the weaker USC squads we've seen in the last 15 years.
This week, however, Falk looked like he could do no wrong. Oregon State is by no means a great team, but they do have some talent and have showed glimmers of hope during their relatively dismal season. The Cougs were missing River Cracraft and Theron West alongside Halliday. It wasn't looking good before the game, but Falk put on a great show nonetheless.
The Cougars found themselves in a 10-0 hole on the road to start the game, and it looked like Mannion and the newly minted air-it-out Beavers were not going to be stopped. With six minutes left in the first quarter, the Cougs mounted a ten play drive that culminated in a five yard touchdown toss from Falk to Isaiah Myers. After another stop by the defense, WSU marched down the field again and went up 14-10 on the Beavers. After that, the Cougs only trailed once more on their way to a convincing 39-32 win.
We all know that Mike Leach's system is built to create spots for quarterbacks to succeed. Both at Texas Tech and Washington State, young QBs have thrived and 400+ yard performances have typically been the norm. There was something remarkable today as Falk is an unheralded walk-on freshman. His high school career in Utah was exceptional, but talent has not been known to flourish there. Rivals rated him as a two-star quarterback and he only received scholarship offers from Idaho and Cornell. After Cornell's coach left, he decommitted and decided to walk on at WSU.
His performance today was flawless. He went 72% on 61 attempts with 471 yards, five touchdowns, and no turnovers. He threw a lot of passes that were built for the receivers to do a lot of the legwork, but he was smart and calm in the process. His checkdowns were immaculate, having registered completions to nine different players, and he had a few instances having the wherewithal to throw the ball safely away to avoid a loss or interception (something Halliday definitely needed work on).
I don't want to hype the kid up too much, one performance against an underachieving team does not make a quarterback of the future. But with his game today, I feel much more comfortable given the fact that Wazzu does not have much depth behind him for the next three years. He is the first quarterback that has been entirely recruited and trained by a Leach regime, and that might be just what the Cougars need on offense going forward.
It should also be noted that despite allowing 32 points, the defense definitely stepped up today against a very formidable passing attack. Sean Mannion is no slouch, and many of Oregon State's receivers and tight ends range in height from 6'3 to 6'7.


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Marianna Gatto, the newest contributing editor to ISDA, is the executive director of the Italian American Museum of Los Angeles (IAMLA).
The birth of the motion picture industry in the United States coincided with the immigration of millions of Italians to America. Behind the camera, Italian immigrants played an integral role in the development of Hollywood. On screen, however, their portrayal was overwhelmingly negative. Today, Italian Americans are among the industry's most noteworthy talents, yet the media continue to promote harmful stereotypes of Italian Americans as an ethnic group.
As masons, designers, artists, musicians, and tailors, many Italian immigrants and Italian Americans found work on Hollywood movie sets, where their skills were in great demand. Victor Venticinque, known by his stage name Vic Vent, worked for several studios as a musician. In this image, he instructs German American actress Marlene Dietrich, one of the highest-paid stars of her time, how to play the musical saw.
As a studio musician, Vent worked alongside Rita Hayworth in Gilda and Down to Earth. Vent used this musical saw, which produces an ethereal tone when played with a bow, during performances and to produce sound effects for films such as Wuthering Heights.
Another such immigrant was Antonio Campanaro, who arrived in the United States in 1913, and settled in Los Angeles. Campanaro, pictured left with comedians Stan Laurel and Oliver Hardy, appeared in several early Hollywood films but is best remembered as Hal Roach's animal trainer in the Our Gang (Little Rascals) and Laurel and Hardy series.
Campanaro's pit bulls Pal and Pete were known on screen as Pete the Pup, or Petey. The dogs' distinctive dark ring around one eye, partially created with makeup, made them among the most recognizable canine characters in film history. Continue reading at ItalianHall.org.
Join Sunday Supper, OrderISDA's weekly e-newsletter, for the latest serving of all things Italian.
Make the pledge and become a member of Italian Sons and Daughters of America today!


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When used on medium- or large-scale digital printer systems or on Fujifilm Frontier Minilabs, this paper yields high-image-glossy quality digital prints that make it suitable for such professional uses as high quality portrait, wedding fashion or commercial photography. Pearl paper has the highest level of image stability, ideal for high end display purposes.
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Skateboarding helmets are different in design and structure, compared to their bicycle counterparts. However, not many would notice the differences, which are informed by specific sport requirements. Other factors include guidelines set by the safety regulatory bodies. Thus, as you seek the best helmets for skateboarding, you need to know the differences. Otherwise, you might take home a bicycle helmet thinking you purchased one of the cool skateboard helmets.
Standard Levels
In the united states, bicycle helmet manufacturers have to comply with the CPSC safety guidelines. The Consumer Product Safety Commission further provides that helmets produced for any other activities should meet requirements met by other independent organizations. Since most bicycle helmets may not meet the minimum requirements of a skateboarding helmet, other guidelines are sought. In this case, a bicycle helmet can be used for skateboarding only if it meets the ASTM F1492 standard.
With regards to structure, the bicycle helmet has more ventilation allowances. It is especially so for those who undertake urban and speedy rides. They mainly seek to protect the upper and back parts of the head. What comes close to the skateboarding helmet is the BMX helmet. It covers the full head due to the risky nature of mountain biking. Very few ventilation provisions are available in it, making it quite similar to the skateboarding designs. Coverage goes all the way to the back of the head.
As touched on earlier, there are set standards for helmets. One may therefore wonder how they can go around this issue. Do I have to own two helmets if I ride and Skateboard? Well, if you can afford there is no harm. As for those willing to save a few pennies, there is a legal way around it. You can acquire one helmet bearing both CPSC and ASTM certification. That is otherwise referred to as dual-certification. Browse online and you will find a number of such helmets.
Purpose and Durability
Skateboard creators have one major purpose, to take as much impact for as long as possible. Unlike bicycle helmets though, they are not designed to take excessive pressure on a single impact. The main motivation behind making bicycle helmets as such, is bikers tend to come more into contact with traffic. Hence, they risk fatal crashes to levels not comparable to skateboarders. Due to that reason, a bike helmet should be replaced after impact, while skateboarding helmets can stay for quite a long time.
Unless advertised as suitable for cycling too, skateboarding helmets require no certification. As aforementioned, manufacturers certify voluntarily. It is therefore imperative that you check your helmet's labeling and instructions. Otherwise, you may get a helmet for both purposes only to later realize it is not suitable for cycling. While certification for skateboarding helmets is not a must, checking instructions and design is quite important. For instance, a bike helmet that does not cover the whole head is not usable for skateboarding. That, unless directly specified by the manufacturer, and dual certified.
When you set out to buy a new helmet or replace one that is worn out, this guide proves to be of immense help. A mistake at purchase could prove quite costly in the long run. Going the extra mile to keep self-updated in maintenance skills is important too. You need to know what to do and what not to in order to keep the helmet useful for long periods. Such information also helps in determining at what point a new helmet is required.


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Remember last month when BlackBerry teased that it was cooking up a "special release" of BBM for BlackBerry 10 and BBOS? Well that update has finally arrived, and there are plenty of goodies for BlackBerry fans to sink their teeth into.
BlackBerry is now rolling out an update to BlackBerry Messenger for both its new BlackBerry 10 platform as well as older BBOS devices. The former update is version number 10.3.33.18 and weighs in at 19MB, while the latter is version 18.104.22.168 and 12MB. Here's the list of changes given to us by BlackBerry:
This update includes many of the same features that BlackBerry rolled out to Android and iOS users recently, but it also includes some special goodies like chat wallpapers. If you're a BBM user rocking either a BB10 or BBOS device, this is one update that you'll want to grab as soon as possible. You can do just that by hitting up the BlackBerry World links below.
Via Inside BlackBerry, BlackBerry World: BlackBerry 10, BBOS


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A charming, Residential-Style Brea Hotel Near Disneyland
The best of Southern California awaits you at our all-suite hotel in Brea. With a fantastic location, modern amenities, flexible event venues and a charming boutique ambiance, our property is the ideal choice for family vacations, romantic getaways and extended stay business travel. Wake up to a complimentary hot breakfast and unwind in spacious, residential-inspired suites with custom furnishings.Cook a meal for the family in your fully equipped kitchen, then set out for a day of exploring nearby sights like Knott's Berry Farm, Disneyland, and the shops and eateries throughout Anaheim.When its time to recharge, unwind by our outdoor pool or share your stories on your social feed thanks to our complimentary Wi-Fi and premium cable HDTV. We're close to everything, but far from ordinary.


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As we go to press (December 14, 2010), the DREAM Act, a bill that would offer a path to citizenship for some undocumented immigrants who entered the United States as children, remains alive in the 111th Congress. The DREAM Act is still expected to be considered by Congress before it adjourns and the session is ended. If passage is unsuccessful, the bill must be reintroduced and considered anew in the 112th Congress come January. The following is the status of this ameliorative immigration legislation.
On December 8, 2010, the U.S. House of Representatives passed by a vote of 216-198 the Development, Relief and Education for Alien Minors, or DREAM Act. Senator Reid, who had vowed to bring up the measure during his recent re-election campaign, worked closely with the House leadership to determine which chamber should consider DREAM first. It was decided that the chances for overall success were best if the House considered its bill first. Their strategy paid off. The Senate was set to consider its version the next day, December 9th, but Reid and others quickly realized they did not have the necessary votes to overcome an important procedural vote and pulled the Senate bill from consideration. As Majority Leader in the Senate, he had the power to do so. Senator Reid next undertook several strategic procedural moves, substituting the House bill in the Senate and postponing consideration until more support could be galvanized. The legislation is now expected to be considered later this week. It must pass the Senate and be signed by President Obama before it becomes law.
The DREAM Act would offer a six-year, conditional status to eligible children under the age of 16 who entered the U.S. illegally but have lived here for at least five years. Other requirements include graduating from high school or obtaining a General Education Development (GED) diploma and demonstrating "good moral character." Before moving forward, students in conditional status would need to pass criminal background checks and attend college or serve in the military for at least two years. The bill also imposes stiff filing fees at the time of application. Proponents, including President Obama and Democratic leaders, say the bill offers legal standing to young people brought to the United States who have bettered themselves and served their new country, while opponents claim it is a form of amnesty for illegal immigrants.
Shortly after the House passed the DREAM Act, President Obama issued a statement congratulating the House for its work and urging the Senate to do the same "so that I can sign it into law as soon as possible."
The Senate, by pulling its bill so that it can take up the version passed by the House, now has a simpler path to victory; it can pass the House-passed bill and immediately send it to the President for signature. By contrast, if the Senate were to consider and pass its own version, a potentially lengthy conference committee process reconciling the two bills would have been required, as well as another round of voting.
The momentum from the House vote, the Senate vote on tax cuts, and the more economically palatable version of DREAM Act introduced by the House could help achieve success for a piece of legislation that was first introduced 10 years ago.


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Last Updated 16 Jun 2020
Coach Carter
Questions for Movie Coach Carter Spring 2011 1. In the first scene of the movie the team members were arguing and even fighting in the locker room. One member identified himself to the news media that he was the "star player". As Coach Carter identified in the movie, they had only won 4 games. By the last scene of the movie, the team went to the championship games. What do you think made the difference in the team's ability to become winners? 2. In a scene of the movie, Coach Carter made two of the best players leave for failing to follow his instructions, knowing that this would hurt the team's possibility to win games.
One player even pointed out that they were the highest scoring players. Coach Carter's response was, "I guess we will have two more high scoring players. " What do you think was Coach Carter's rationale behind his decision? 3. What was the significance of the contract Coach Carter had the team members sign? Why did the contract include the team members having to wear a tie on game day? Why did they have to maintain a 2. 3 grade point average to play? 4. What did Coach Carter mean when he told the team, "The losing stops now. Winning here means winning out there. " 5.
At the beginning of the movie, Coach Carter asked the question, "What is your biggest fear? " this same question was asked by him several times throughout the movie. After the team was benched, a player stood up and gave his definition of fear (see below). Describe in your own words the significance of this summation and how it relates to living life. How does this relate to our studies of Juvenile Delinquency? 6. Upon review of the various theories we have studied over the past several classes, which delinquency theory (s) can you identify from scenes in this movie? Briefly describe those theories you observed.
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