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Get A Job, Or: The Ethics of Library Internships
18/05/2012 § 33 Comments
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Well, it's that time of year again…classes have wound down, we have (mostly) caught up on sleep after the bleary, stress-filled days of final exams and projects. And now, as we step blinking into the sunlight for the first time in months, our minds turn to the chirping of birds, the roar of road construction…and summer work.
But just as exams and projects are stressful, finding a way to occupy your summer brings its own concerns.
Many library school students will spend their summers doing internships, or as they are more commonly known in Canada, practicums. The School of Information Studies at McGill University, where I attend library school, offers such a summer practicum program. Participants spend ten hours a week during the summer doing unpaid work at a variety of institutions, including public libraries, university libraries, school libraries, hospitals, museums, corporations, and archives. When it was first announced, I was extremely interested in participating, but I soon began to have reservations. In fact, I find the whole idea of practicums/internships extremely problematic.
On the plus side, practicums provide library students with hands-on opportunities that they probably wouldn't be able to get otherwise. You get a taste of a real working environment, you do a range of different things, and you actually get to apply the concepts you've been talking about in class all year. Practicums also provide valuable networking and mentoring opportunities. And since we live in the real world, we have to acknowledge that if organizations were required to pay their practicum students, these positions would not be nearly so plentiful. But as this article in The Atlantic points out, practicums/internships nonetheless have an element of exploitation: "Internships have become an inextricable part of the college experience and a pre-req for post-graduate employment. But this presents a Catch-22 for lower-income students who want to work in politics, research, journalism, non-profits, or other industries that traffic in unpaid internships."
In short, students who can't afford to work for free miss out.
Back in February, a mass e-mail was sent to everyone in my program about a summer library internship available with the United Nations in Vienna. I was able to think of several particularly sharp and knowledgeable classmates who would have made excellent candidates for it, and the opportunity could no doubt have launched a stellar career for each of them. But as the internship program does not reimburse students for travel expenses, living arrangements, or visa costs, none of us could afford to do it. By not providing any financial recompense for its interns, the UN is excluding many of the brightest and best in the field in favour of applicants who come from privileged socio-economic backgrounds. Admittedly, this is an extreme example, but I do find it ironic that an organization that spearheads international aid does not facilitate the induction of a more diverse range of people into its ranks.
As blogger named Lance at New Archivist states in this post: "I think most people will agree that diversity includes not only people of different racial and ethic backgrounds, but people of different economic backgrounds and experiences. However, at the same time we are giving a lot of lip service to diversity, we are also constructing roadblocks to achieving those goals." People from all walks of life have a great deal to contribute to the library and archival communities and should have the opportunities to do so.
But not only may we be driving away those of lower socio-economic backgrounds, the willingness of volunteers to do the work that requires professional expertise undervalues our profession. This is the exact opposite of what we should be doing. Sadly, this is an age where most people don't see the relevance of librarians and archivists anymore (including, sadly, the Canadian federal government, which recently made enormous cuts to Library and Archives Canada). The task falls to us to be tireless in our efforts to explain why our services are more necessary than ever.
The summer practicum is not an option for me. At thirty years of age, I am too old for parental assistance and because I was employed full time before starting library school, I am not eligible for student loans. I am funding my studies through a combination of personal savings and part-time work during the school year. Full-time summer employment is my only chance to counter the alarming depletion of my bank account. Of course, because the library field relies so much on student practicums, summer library positions for students are few and far between. I spent much of April grinding my teeth wondering how it would all pan out.
A potential solution, one that The Atlantic doesn't mention, is government programs. I was hugely fortunate to find full-time summer employment in the library field through a government-subsidized program called Young Canada Works. It provides grants to public institutions such as libraries, museums, and NGOs to hire summer students. The program is hugely beneficial to both parties. The student is paid a fair wage and gains experience in his or her field, and the hiring institution gets a helping hand at no cost to them. At my job I get to do a bit of everything: circulation, cataloguing, home delivery, selection, weeding, and event planning. It will go far toward helping me find a professional position after graduation. I thank my lucky stars that the Canadian government funds this program. As it turns out, my employer has also hired practicum students through McGill's program, and our job descriptions are basically identical. But because of Young Canada Works, I get paid. Not for a second do I take this for granted.
So for me, it worked out extremely well. However, given the cuts the Canadian government has recently made to both libraries and youth services, I cannot expect that this solution will benefit a wide range of library students. If anything, the number of beneficiaries is only likely to decline over the next few years. I understand why many feel that unpaid internships are their only option.
The thing is, I should not be too swift to condemn practicums, as they can be hugely beneficial. Especially since I do still hope to do one. But the circumstances in which students undertake them makes an enormous difference. In my case, McGill offers a winter practicum as well, when students do their ten hours a week in lieu of a fourth library school course. To me, this is key. I will still pay the same amount of tuition. The time I spend doing practicum work will be the same amount of time I would spend on coursework for a fourth class. It will not cut into my summer earning time, nor even the part-time job I hold during the school year. In situations where internships do not negatively impact a student's financial position, I am all for them.
Have any of you had experience with practicums or internships, paid or unpaid? What effect have they had on your library career? Feel free to share your thoughts with me in the comments or you can tweet me at laurainthelib.
§ 33 Responses to Get A Job, Or: The Ethics of Library Internships
I can sympathize with you Laura. I am in my late twenties and working full-time while attending library school part-time. Fortunately my full-time job is in a library. However, it is a public library, and my future goals are to work in a health sciences library. I did worry about how I would be able to get hands-on experience in a health sciences library because it seemed that most internships/practicums require more of a time commitment than I am able to give.
I agree with Emily that internships/practicums do not have to be full-time, or just during the summer. Libraries have opportunities all year round in various capacities, but sometimes you have to look a little harder to find the one that is the best fit for you.
I just completed a 120-hour practicum for course credit this past spring semester. I worked one day a week for eight hours at the practicum site. My job was gracious to allow me to adjust my schedule, but I still worked full-time. It was tiring to work six days a week — but I felt it was worth it. I really enjoyed the experience, and was able to complete projects that enhanced my professional skills, and gain insight into health sciences environment.
I have one more year of library school left, and I'm hoping to find another health sciences internship or volunteer opportunity before I graduate.
I worked as a paraprofessional at one library, and did an unpaid internship at another one. Some of the internships in the area are paid: mine was not. But the institution I worked for understood that I was volunteering, and was very flexible with my hours and allowed me to work from home on certain projects. I got a lot of good experience, and I think that contributed to the professional job (part-time, but professional) that i got right out of school. But it was very hard to do the practicum, work even part-time, and do my courses.
I'm the Vice-President of Records Management for the New York City Economic Development Corporation (EDC). I currently have four (4) interns working here: two paid ($16/hour, no benefits) and two unpaid (full academic credit—one course equivalent).
I make a point of bringing on interns from a library school, archives program, or similar program (there are seven in this area), because "I don't have to explain to them what metadata is", they are generally well-motivated workers, and they are often self-starters.
It's part of my obligation to the interns to (a) see they get an education out of their time with us, which includes explaining WHY we do the things we do; and (b) help them get a "real job" by offering advice, networking, references, etc.
I'm not sure whether their work with us is really "preparation" for future employment in the narrowest sense of the term—every situation is different—but perhaps collecting a variety of work experience is helpful.
Also, I teach a Digital Preservation course at the Graduate School of Library and Information Studies, Queens College (City University of New York). I tell my students they have to look for employment in areas other than the traditional "archives, librairies, museums" area. Areas such as oil & gas exploration, nuclear power utilities; anywhere there is a strong business requirement to keep electronic (not just digital) records for the long term.
Good luck to all of you who are, or will be, job-hunting.
[...] Are unpaid library internships ethical? I agree so much with this blogger. I remember being very aware of the uneven distribution of internships as an undergrad. It seemed so unfair to punish the kids who actually have to earn some money to make it through college. [...]
Throughout my undergraduate years and my time in Library School, I was extremely lucky to participate in paid internship programs in areas of my interest nearly every summer. It has been said that getting a PhD is a sign of perseverance, rather than intelligence, and landing paid LIS/archives internships is much the same. My internships were the results of very laborious job search/application periods (sometimes starting nearly a year in advance) and a little bit of luck. I couldn't ever afford to work for free, so I wasted little time and effort in applying for unpaid programs.
It also really helps to have an open mind, both in the internship and job search process-H/T to Fred Grevin for mentioning this. Largely because of my willingness to try an experience outside of my expectations (I come from a traditional humanities/special collections background), I interned at a corporate archive this past year. It paid generously, provided free housing, and covered travel expenses. I learned an incredible amount, and contrary to my expectations, really enjoyed it. As Stephen Bell wrote recently in LJ, "Paying more attention to business isn't selling out. It's about discovering new possibilities to improve the library experience" (http://lj.libraryjournal.com/2011/12/opinion/steven-bell/a-little-business-wont-hurt-and-it-may-help-from-the-bell-tower/).
I also agree overwhelmingly with Laura's remarks about diversity. There's rarely an internship or job posting that doesn't have some blurb about how diversity is a priority for the organization/position, but diversity recruitment is usually based on ethnic background above any other factor. Being a white female is essentially the equivalent of being a white male in many other professions. ALA (and to a lesser extent, SAA) is a broken record about "promoting diversity," but the vast majority of diversity-based scholarships they sponsor are aimed at promoting racial/ethnic diversity at the exclusion of other factors, such as economic background. Many library school scholarship programs are plagued by the same problem. I do think, however, that this skewed concept of "diversity" is a problem inherent in modern culture, not just librarianship.
"However, I disapprove of internships for credit simply because it is unpaid work PLUS you have to pay tuition costs."
Agreed, unless there is significantly more to it than just going and doing the work. For example, my Library Technician program will start its practicum class this fall, and the professors are considering making an e-portfolio part of the class. If my professors are required to review reports on my internship or monitor the creation of a portfolio, it starts to make sense to pay for the credit hours.
"If the bulk of library staff positions in many systems is now paraprofessional, what does that mean for LIS students interested in getting a library position right out of school?"
This is why I ultimately chose to go back to school for paraprofessional-level training instead of going on to an MLIS right away. It is difficult to get even a support staff position in this area, let alone a professional level one. Even though the economy is likely mostly responsible for the lack of openings, my proximity to MLS programs at the University of North Texas and Texas Woman's University must have some effect.
I was very excited about a particular internship at the end of last year. It wasn't local to me or the school, but a virtual internship where work could be done remotely and largely on the student's own hours. (I work 40 hours/week and commute by train, so a traditional on-site internship wasn't an option.) Most importantly, it was a PAID position — $10/hr. That would offset, but not cover, the tuition for the course: 3 credit units at $476 each ($1428) versus $900 (before taxes!) for the equivalent working hours. Oh, and there are mandatory campus fees that come to just under $500 for the term.
This was the good forecast. Unfortunately, that internship site decided not to take an summer interns this year, so I'll be working (for an excellent local program!) without pay. So that's $2000 cash out of my pocket JUST for the internship (I'm also taking 3 more credits). It makes my head hurt.
Internships also have many potential upsides that I want to inject into the conversation. Speaking of non-profit or government libraries, these are institutions we believe in and want to succeed, so when I work for free, I don't feel taken advantage of, I feel like I am contributing to a cause.
Interns are a very powerful tool for libraries, allowing them to complete or create special projects that would be impossible without their work. These are usually temporary projects that require close to professional level work, but aren't taking the place of a paid full time staff member.
Personally, I would never want to take an internship for credit because then I'm paying to work for free. However, I think there is a place for these programs, especially if they are accompanied by a robust class component. They give people who aren't able to do an internship on top of class work to do one instead of it. Many internships are only available to these students.
Of course we all wish there were more paid part-time paraprofessional positions available for library students to get experience. But there will never be enough. If you are lucky your school's library will offer these positions. These are ripe for expansion, but this also leads to the replacement of professionals with paraprofessionals, and will this increase the de-professionalization of librarianship?
Other options like scholarship stipends for internships are an incredible option, but also competitive. The bottom line is that students who can afford to work for free have an advantage, however this is much the same in most areas of life. Or on the other hand those of us (myself included) who take huge loans in order to be able to not work to school, and thus be able to do internships. Which is a whole 'nother problem.
On the whole I think interns are a great boon to libraries, and as long as they don't take advantage of interns (using them to replace a paid staff rather than augment it, or by giving them tasks that aren't helping them learn) they are good for library students. The expansion of part-time positions, scholarships, and stipends is a noble goal and one we should advocate in order to level the playing field.
Great topic for discussion. From my perspective the term "practicum" and "internship" are not fully synonymous. Practicums are generally if not always for academic credit and often have a different flavour than internships.
I don't know if others would agree, but in Canada there seem to be far fewer paid or unpaid non-credit internships. It just isn't as much a part of the culture for some reason.
Laura, I hope you get to take a practicum later on in your program if that's what you're hoping for! But it sounds like you're already picking up some great skills outside of the practicum structure.
[...] Get A Job, Or: The Ethics of Library Internships [...]
[...] for actually getting the internship of your dreams, there are plenty of resources out there, both here and elsewhere, to get you started. Talking to your professors, your classmates, and your network [...]
Tomorrow I begin my third unpaid internship. My first and second were successful, and the second led to a paid job. Problem is it was only temporary, due to the inane and archaic civil service rules in NY state. I have very little "professional" experience, so the chances of scoring high enough on the librarian I civil service exam to get an interview, even at a place where they already know me and my abilities, are very slim. And you only get credit on the exam for internships lasting at least 8 months– virtually twice as long as any semester-long internship. I hope to gain more experience and stay in the loop with my (hopefully) future employer, so it's back to the unpaid intern grindstone for me.
[…] of the recent debate about unpaid internships can also be applied to volunteering; it can provide valuable experience for volunteers and build […]


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Hundred Years Ago
2013 is the 100th anniversary of the Coe's purchase of Planting Fields
By Gwendolyn L. Smith, Frank Smith, and Cequyna Moore
In the winter 2012 Evergreen, we brought you the first installment of "One Hundred Years Ago." Now we happily present the second in a series that draws from account ledgers and photographic resources in our archives. Though an incomplete picture of daily life, nonetheless, it is a tantalizing glance into the Coes' private world. The archives have been maintained by Planting Fields Foundation since the 1970s and are continually added to.
The Coe family was living in a time of exciting political and cultural change that shaped early 20th century America and New
York City. It is possible to imagine 1913 by looking at some of the highlights of the year and then to follow Coe family activities during this time.
President Woodrow Wilson was elected in 1912 and sworn into office March of 1913. The Federal Reserve Act was passed in December of 1913, which served to regulate the nation's banks, credit, and money supply, and is still used as a framework in government today. Locally in New York, feats of industry abounded with the completion and opening of the Beaux-Arts style Grand Central Terminal. At midnight on February 2, 1913, the doors opened to 150,000 people who visited that first day. At a cost of $80 million, it served as a statement that there was a commitment to offer train service to passengers throughout New York; subsequently many railway stations were modeled after it. It also served as a statement of New York's power as a grand and thriving metropolis. Grand Central Terminal had a new electric signal system, making it the only train station to have such an elaborate mechanism in the United States, as well as the longest amount of railroad electrification in the nation. Technology and the machine made it possible for Henry Ford to start his assembly line, which led to many of the characteristics of the modern workday that we know.
New York's grand skylines and architecture emerged further with the completion of the Gothic style Woolworth building, opened in 1913. Designed by Cass Gilbert, it was a towering 792 feet tall, and became the tallest building in America, often called the "Cathedral of Commerce." F.W. Woolworth wanted his building to be taller than both the Singer Sewing Machine building and the Metropolitan Life building. They were 612 feet and 692 feet, respectively. There would be a series of skyscrapers, which would be built during this period and into the '20s, many incorporating Art Deco elements. Walker & Gilette, who built Coe Hall, went on to design the Fuller building in 1929 on E. 57th Street. It represents an architectural expression of the industrial energy and creative dynamism of the first three decades of the 20th century.
The art world was significantly transformed in 1913 by the Lexington Avenue Armory Show, which featured artists such as Pablo Picasso and Marcel Duchamp. The latter, whose "Nude Descending a Staircase" is now considered canonical for art history texts, was disliked by many at its debut. Some American artists like Everett Shinn (who created oil paintings for the Tea House in 1915 and Mai Coe's bathroom in 1921) were invited but declined to participate.
Back home at Planting Fields, the Coe family ledgers lend little commentary on such outside events, but instead, offer an intimate glimpse at the daily events and expenditures that revolved around the Coes' lives. The days and evenings were filled with work for Mr. Coe, and the social conventions of parties at the Coe's 6 East 83rd Street residence, dinners and events at their clubs, trips to their Irma Lake ranch near Cody, Wyoming, as well as shopping for clothing, household items, and antiques.
It was December 1913 when Mr. and Mrs. Coe purchased Planting Fields, having previously rented it since 1910. Today's familiar features like the greenhouses and gardens did not exist yet. One of the main expenses recorded for Planting Fields was the servants, during the year, $688.22 (about $15,000 today) was spent by Mr. Coe to cover some of the servants' wages.
In 1913, the New York Tribune reported a party in October that honored the Prince of Monaco, listing Mr. Coe as one of the guests. Many prominent New York residents, including Andrew Carnegie, attended this occasion. In February 1913, James Reese Europe, an African American orchestra leader, performed at the Coes' Upper East Side home. Europe was paid $50 for the event (about $1,000 today). Two weeks later, Europe performed at Carnegie Hall for a benefit. In 1913, Reese also played for the Astors, the Vanderbilts, and the Stuyvesant Fishes. The Coes enjoyed music, and Mai Coe played a piano that she often traveled with, or would ask for a piano to be provided for her when staying in hotels. A Steinway was purchased in 1913, which is probably the piano still at Planting Fields today. The piano was later used by Natalie Coe. Mai Coe became interested in the works of composer Emerson Whithorne, and he eventually dedicated one of his compositions, a piano suite, to Mai entitled, "New York Days and Nights."
Mr. Coe belonged to a number of social clubs in 1913, totaling about two dozen at least. Piping Rock in Locust Valley (New York), the Marion Cricket (Pennsylvania), the Brooklyn Riding and Driving (New York), and the Rumson Club (New Jersey) were all visited by the Coes. Dues for the clubs varied; the New York Yacht Club charged $75 in annual dues (about $1650 today), and the Pennsylvania Fish and Game Club charged $200 (about $4,400 today).
Horses and racing were a passion for Mr. Coe. "Piping Hot" and "Election Bet" were purchased in 1913 for $1500 (about $33,000 today), with payments made in January and May. Mr. Coe had his horses compete in the June Subscription Final at the Piping Rock Club. This was the first year Mr. Coe entered the event, and his two new horses were about to be put to the test. The New York Times reported he won $10,000 (about $250,000 today) at the event. "Piping Hot" went on to win the Piping Rock Subscription at Belmont Park that October. Today, the silver trophy from that win is on display in the Entrance Hall of Coe Hall.
The Coes traveled for both work and leisure in 1913. As President of Johnson and Higgins, the
insurance company, Mr. Coe was expected to attend to work across the country. In February, they headed to Chicago on
company business. The cost of the train ticket was $117 (or about $2,000 today). In Chicago, they stayed at the Drake Hotel and spent $127 (about $3,000 today). Sometimes, while Mr. Coe was away on business, Mrs. Coe enjoyed spending time in Atlantic City. She vacationed there at the Brighton Hotel during November 1913. Over $260 (about $5,800 today) was spent on this seaside respite. During these years, Mrs. Coe made several visits to Atlantic City, which was a popular resort in the early part of the 20th century. It was advertised as a healthful ocean retreat for those living in Philadelphia, New York, and neighboring cities, and with a railroad line leading visitors to its attractions, it was a surefire success.
The family's main travel destination was their ranch, Irma Lake, near Cody, Wyoming. They would usually depart for Wyoming in July just as the summer in New York heated up. Mrs. Coe was very active in furnishing their home at their ranch. Retailers such as Marshall Field and J.P. McHugh provided sofas, chintz chairs, and pillows. Fitting for a home in the west, Mrs. Coe purchased a buffalo head from Abercrombie and Fitch for $154 (about $4,000 today). Mr. Coe started an animal trophy collection at the ranch, and paid a taxidermist $65 (about $1,500 today) to mount an elk's head, which can now be seen in Coe Hall. By the end of 1913, Mrs. Coe had spent about $8,000 (about $180,000 today) on furnishings and decorations for their lodge.
When not travelling or socializing, the Coes enjoyed collecting art and antiques, and spent over $10,000 on these purchases in 1913. At M.C.D. Borden Estate Auction, Mr. Coe bought terra cotta figures of Aphrodite and Eros for $525 (about $12,000 today), and a lion rug valued at $1,000 (about $22,000 today). On the whole, however, Mr. Coe's interest was primarily in Western art, which recorded the vast landscapes of Wyoming.
In 1913, William, the eldest son, was age 12 when he received a bicycle from Spalding Brothers at a cost of $29.50 (about $650 today). William and Robert Coe attended St. Paul's School in New Hampshire, where tuition was $1,192.95 ($26,000 in today's currency). In 1913, brother Henry was six and sister Natalie Mai was three. Natalie was lavished with over $1,300 (about $30,000 today) worth of clothing and shoes. The Coes often shopped at B. Altman, Best & Company, and Saks & Company, all of whom provided the best clothes of the era. Mai purchased perfume and two kimonos from Gimbels in October 1913. Robert and Henry were educated at home by Kate Bovee and took art lessons with her sister Eleanor Bovee. Robert would develop his talent for art and pursued oil painting and photography later in life to balance the demands of his career as a diplomat.
9:00 am - 5:00 pm daily
$8 per car until Nov, 18th
Self-Guided Visits to Coe Hall
11:30 am - 3:30 pm 3/29 - 9/30 daily
October Weekends only
$4 Non-Members
Members & Children under 12 are free

subset: commoncrawl


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Mackerel, Chub
Chub Mackerel are found along both coasts of North America, but the fisheries in California and Mexico are most important commercially.
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Apache Rivet is a system for creating dynamic Web content via a programming language integrated with Apache Web Server. It is designed to be fast, powerful and extensible, consume few system resources, be easy to learn, and to provide the user with a platform that can also be used for other programming tasks outside the web (GUIs, system administration tasks, text processing, database manipulation, XML, etc.). It is similar to PHP, except that it uses Tcl, and provides both HTML/Tcl pages as well as pure Tcl pages to aid the programmer in separating logic and presentation when necessary.
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You can also read manga online try the Crayon Shin-chan manga!
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Our reception desks have great features that will be appreciated by receptionists and clients alike. We have various shapes, sizes and layouts that can suit different spaces. Many of our receptionist desks are part of larger office furniture collections so they can be matched perfectly to your reception furniture.
What is the difference between an office desk and a reception desk?
Unlike classic office desks, reception desks are distinguished by raised counters which offer many benefits for both receptionists and clients. Transaction counters provide a convenient space for filling out forms and distributing important information. They also separate the receptionist from what might be a noisy or distracting work environment. Because a receptionist often sits in a more open space that might include guest seating, raised reception counters create a separate personal workspace that is slightly removed from the hustle and bustle. Many reception counters also offer additional storage features such as letter organizers. These are especially convenient for keeping the documents that are needed on any given day easily accessible.
What kind of office storage does a receptionist need?
Because receptionists are often busy and need to stay extremely organized, reception desks need to offer enough storage space for office supplies and filing. Most office desks come with two pedestals. Pedestals are either full length or ¾. You can choose pedestals that have only file drawers or a mix of box drawers and file drawers. If you work in a school office or doctor's office, more file drawers might be necessary to keep all of the paperwork in order. When ordering an office desk, the weight capacity of the drawers should be verified to ensure that your new furniture will accommodate your storage needs.
In additional to the usual pedestals there is often the option of a pencil drawer. The pencil drawer sits directly under the desk surface. It offers a great place for your most often-used office supplies such as favorite pens, scissors, paper clips or spare staples. Some of the reception desks have lined drawers for a more luxurious look and feel.
Where should I put the computer on my reception desk?
In the modern workplace, computers are a necessity. Computer-friendly desks eliminate clutter and make it easier to arrange a work space. Most reception desks come with built-in wire-management grommets. These make it easy to position the computer on your desk and route cables toward a power source without running wires around or along the work surface. The less wires there are on the top of your receptionist desk, the more space there is for other necessary items.
Pull-out keyboard trays are another great desk accessory for computer users. They maintain an open workspace because they sit under the main work surface and easily slide in and out. A keyboard tray also helps position the body in a healthy posture, which reduces aches and pains.
What style reception furniture will fit my company?
Style should definitely be a major consideration when choosing a receptionist desk. This one piece of reception furniture is the focal point of your waiting room or lobby, so making the right choice is key. You might prefer the sleek modern reception desk with frosted glass accents if you are furnishing a high-tech firm or cutting-edge advertising agency. Alternatively, if you are looking to outfit a law office or accounting firm, having a rich mahogany or natural wood finish might just be the better option.
Hertz Furniture carries reception desks from some of the leading office furniture manufacturers. You can choose from DMI, Mayline, ABCO or High Point in a variety of styles and finishes. Desks are also available in a selection of configurations. Most styles come in both right- and left-handed models. When you buy a reception desk from Hertz Furniture you get a winning combination of decades of expertise and experience as well as a complimentary extended warranty on many items. Need help choosing the right one? Contact the Hertz Design Center for free project-planning advice from the experts.
- Refined By
R Reception L-Shaped Office Desk-Full Pedestal
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Unity Reception Center Left Return Two Pedestals
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L Reception L-Shaped Office desk-Full Pedestal
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Right Reception Office Desk with Keyboard tray
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Unity Reception Center Right Return Two Pedestals
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Left Reception Office Desk with KB Tray
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Unity Fully Articulating Arm with Wrist Rest
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Unity Center Drawer
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When you buy from Hertz Furniture, you don't need to compromise on ideals or preferences. You get great warranties, quality and designs all with the additional benefits American made products. With everything from office desks to school chairs conveniently organized on this one Made in USA page, you can definitely afford to buy American.
There are lots of reasons to look for school furniture that is made in the USA. If we want to teach our students to be patriotic, we need to demonstrate our own patriotism in the classroom. By furnishing a learning space with American made school desks, student chairs and bookcases, we send a message to children that we are proud of our country and our home-grown goods. They will understand that there are many reasons to be proud to be an American.
When you go shopping for furniture made in the USA, make sure to really check the label before purchasing anything. While some companies might claim that they are only using American labor, it is possible that certain steps in the assembly process are happening overseas, or that international parts are being used with the assembly process in America. It is important to demonstrate to manufacturers, the American public and the world that it does make a difference to consumers when they have furniture made in America.
There are tons of benefits to purchasing made in USA furniture. First of all, America has very strict standards regarding pollution in product production. When you buy American, you help keep a cleaner environment for the future of our children. When you purchase products without looking for the made in USA label, you don't know what they might contain or what kinds of conditions they were made under. Products from overseas might have been made under substandard working conditions, in factories which are causing tons of air pollution or using child labor.
American labor standards and worker conditions ensure that your office furniture is only produced under acceptable conditions. Made in the USA products have been manufactured through processes which take into account the safety of the workers, the quality of the products and the impact on the environment. When you buy American, you celebrate our country's independence and promote a self-sufficient economy.
When you buy domestically-produced furniture, you can feel good about your purchase. It's great to know that it was made under particular conditions, in compliance with strict standards. You also know who made it. The production of American made furniture creates jobs for our country's citizens. It is always important to support the American labor force, and buying furniture made in the USA is a mutually-beneficial way to do so.
At Hertz Furniture, we know what is important to the American consumer. With our wide array of American made furniture, you can be patriotic and still rely on the quality, style and reliability you have come to expect from Hertz Furniture. So next time you are looking for furniture made in the USA, you can simply come to this page to buy American. Need help choosing which great models will fit best in your space? The experts in the Hertz Design Center will be happy to help with free project-planning advice.


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Step into slimming splendor! Full body minimizing support to make you feel confident. It comfortably adjusts to your body to recuperate your figure after surgery. Triangle, contour cups support your bust. Control of the entire abdomen, waist, back and thighs allows your body to bounce back quickly. Easy to put on and take off with its front zipper with three internal hooks. Complete your treatment with the highest quality shapewear.
This is my sleeping girdle and i am going to buy a couple more because so comfortable i want to wear during day as well. Bought a few different girdles due to lipo surgery and THIS one is by far my FAVE!!
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I recomment this shaper - it's wonderful, I put it on under a dress for a party and with pants! It's incredible how it shapes to your body and how comfortable it is!!
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To start I want to say thanks to Leonisa, because of such excellent service that i always get.Today, i received this shaper style and I LOVE IT! I wore it under a dress for a party- and WOW!! You can't tell that it's underneath and it's very comfortable!! I RECOMMEND IT COMPLETELY! ...
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NOTE: Follow these steps to determine your Leonisa shapewear size. Do NOT use your clothing size.
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To avoid altered measurements, wear an unpadded/lightly lined fitted bra.
Try on instant confidence with heavenly push up under a controlled environment. Wide back wings in PowerSlim™ polishes bulges to sleek perfection. Push up grandeur with contour underwire cups promotes seductive cleavage. No slipping allowed - the back and sides are bordered with an anti-slip band to secure it in place. Side-boning keeps those babies centered and maximizes cleavage. This bra is versatile paradise; remove the straps to wear strapless, halter, criss-cross or one strap. Free your hands and let this bra do its job!
Awesome, I recommend it and it's strapless too, I wear cup c and it doesn't lower down like other strapless bras... I love it!!!!!!
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it's marvelous, it feels super comfortable
This bra really gives you the support you need. Its great for everyday use and it also makes you feel sexy and secure.
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Amaze with dramatic cleavage. Its multiple strap position on back will allow you to wear it with a wide variety of tops. This sexy push up bra has an inner sling and an invisible lower padding for maximum uplift.
this bra gives you a high push-up, it's comfortable and I love it because it makes me feel super sexy.
I love to wear it, it gives me comfort that I look for and enhances my bust in a natural way, plus the new colors are very striking, looks great in tank tops


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siwapp is a Web application meant to help manage and create invoices in a simple, straightforward way. It can manage invoices with different serial numbers (as rectification invoices), provide printable PDF versions of the invoices with a professional look & feel, save drafts of your invoices and continue editing them later, and automatically generate invoices on a periodic basis.
CRM+ is user-friendly, easy-to-understand customer relationship management (CRM) software for getting your company's data centralized and organized. It supports the invoicing, contact management, project management, business history, business tasks, reminders, knowledge base, and many more customer related functions. It was built using the FileMaker database engine. It is available in a single-user edition and a network-capable multi-user edition.
MacFreelance is an application for invoicing, billing and managing clients. It generates professional invoices, monitors time spent on projects, tracks mileage and payments, performs tax calculations, and generate detailed reports. It supports multiple companies to bill from, fixed or timed charges and billing in hours, minutes, days, weeks, or months, project quotes, global currency support and tax calculations, and integration with Address Book, iCal, and Spotlight.
MEVEO is a billing system for mediation, rating, invoicing, payment, dunning, and composition. It is adapted to the following situations: batch processing of thousands of invoices per month (or much more), complex price plans, real time rating, and re-rating, automatic provisionning through an API, multi-format CDRs, and pre/post-invoicing reports.
A Web management interface for Kamailio (OpenSER).
A money flow management application.


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Crocs 'Cleo III' Flat Comfort Sandal
These comfort sandals by Crocs are the ideal choice for an adventurous summer spent on your feet.
With a double-cushioned foot bed these shoes are perfect for joining a game of Frisbee or escaping to the beach for a spot of rock pooling. Circulation pods and a conforming sole create a perfect fit you can wear all season.
Wear these sandals with denim shorts and a checked shirt for relaxed summer style.
Useful info:
- Comfort sandals by Crocks
- Slender foot bed profile
- Elevated heel for women's feet
- Double-cushioned support
- Circulation pods on foot bed
- Conforming sole for custom fit
- Made with Croslite™ material
Crocs 'Kadee' Comfort Flip-Flop
These comfort flip-flops by Crocs are a multi-tasking addition to your footwear collection.
With an emphasis on both style and comfort these are the perfect holiday shoes. These lightweight sandals are made from fully moulded Croslite™ that keeps your feet fresh, cool and supported as you climb to the top of the Coliseum or hunt out that hidden beach. An added luxury is the massage pod foot bed – feel the cares of the world drift away with every step.
Wear these flip-flops with denim shorts, a jersey tee and a spritz of citrus scent for a gorgeous daytime outfit.
Useful info:
- Flip-flop sandals by Crocs
- Lightweight and comfortable
- Fully moulded Croslite™ material
- Massage pod foot bed
- Non-marking Croslite™ outsole


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Explore Undiscovered Food, Fashion & Fun.
We like to think we're mature enough to resist an obvious double entendre when it presents itself.
But when talking about the new cookbook from the guys behind New York's popular Meatball Shop restaurants, we seized the opportunity by the balls. The meatballs, to be exact.
For today's videos, we asked chefs Daniel Holzman and Michael Chernow to make three simple recipes from The Meatball Shop Cookbook, all perfect for holiday feasting: Gobble Gobble turkey meatballs (above), kabocha squash salad, and ginger cookies.
They also demo'ed a great-for-wintry-nights port toddy that's not in the book — we just felt like drinking during the shoot. A ballsy move? Perhaps.
At least one of the chefs isn't a Schweddy. Get the meatballs recipe. The Meatball Shop Cookbook is available online at amazon.com, $28.


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Features 180-lb. capacity and:
Order yours ONLINE today!
Please Note: This is a Heavy / Bulky item. $160.00 for heavy / bulky shipping and handling will be charged in addition to regular shipping and handling. This item is shipped by commercial carrier curbside. Curbside delivery (i.e., liftgate delivery to the curb) is required for this item. $75.00 for curbside delivery is included in the heavy / bulky shipping and handling charge. Ships in 1 box: 32" x 28.50" x 16.50", 132 lbs. High-value orders require a physical street address, otherwise insurance costs will be added to the shipping total. This item is shipped directly from the factory. To see the expected shipping date, please add to your Shopping Cart. Sorry, no express shipping available. We are unable to ship factory direct items to Alaska, Hawaii, Puerto Rico or APO or FPO addresses.
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Pro Series 3 1/2 Cubic Foot Cement Mixer
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Despite being around for several years now, mobile banking still has yet to earn the kind of trust that consumers put in online banking and ATM's, new research from BT Global Services, an IT consulting and outsourcing firm, suggests. The firm released the results of a recent global survey of 1,000 consumers today, and the findings show that consumers still trust ATM's, self-service kiosks and online banking far more than they trust mobile banking services. Among the U.S. consumers questioned in the survey only 13% said that they would trust mobile banking more than they would these other technologies, although that percentage was higher than in some European countries like Germany (5%) and Britain (10%).
[See Related: What's Next For Mobile Banking?]
"Banks must be careful not to lose sight of the need for human contact in either the branch or via a local call center agent. Our research shows that these continue to be customers' most trusted and preferred channels," Tom Regent, BT Global Service's president of global banking and financial markets, said in a statement the company released concerning the survey results.
U.S. consumers still consider the local branch an integral part of their banking experience, the research suggests. Half of the U.S. respondents said that having a local branch in a convenient location is the most important factor for them when switching to a new bank. The next most important factors in changing banks were the availability of 24/7 banking services and quality online bankign services.
The survey also found that U.S. consumers are far less intrigued by the idea of interacting with their bank through social media than consumers in other countries. Only 17% of U.S. consumers in the survey said they want their bank to interact with them through social media, while 39% of the respondents in Hong Kong and 37% of those in Spain were interested in the idea, according to BT Global's statement.
Although consumers are still hesitant about mobile banking, they are even more cautious about new alternative payments providers, meaning that banks still have an advantage in consumer trust over these new providers. Less than 10 percent of consumers had tried an alternative payments service like Bitcoins or virtual wallets in most of the countries involved in the poll, the statement said. Among U.S. consumers in the study 62% predicted that they definitely would not use an alternative payments service in the next 18 months.


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Bio: Ainsley is a writer of Science Fiction and Fantasy. Her work has appeared in many online and print magazines.


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Trumpet Daffodil Card
Material List
- Botanical Daffodil Stamp by Stampendous
- Recollections™ Cardstock – White and Light Green
- Recollections™ Patterned Paper – Lime Design of Choice
- Memento® Dye Ink – Tuxedo Black and Bamboo Leaves
- Celebrate It® Ribbon – Beaded Lace
- Copic® Markers
- Recollections™ Foam Adhesive Squares
- Tsukineko® Sponge Dauber Applicator
- Paper Trimmer
- Scissors (or Distress Tools)
- Scotch® Quick-Dry Adhesive
Project Instructions
Fold a 5¼"x10½" panel of white cardstock in half to form card base.
Adhere a 5" square panel of light green paper to the card front.
Distress edges of a 4¾" square panel of patterned paper by scraping scissors against the edges.
Roll corners of panel inward.
Adhere distressed patterned paper panel to card.
Adhere two strips of beaded trim to card.
Stamp daffodil image on a 3"x4¼" white panel with black ink.
Color image with markers.
Distress edges of stamped panel with scissors.
Apply bamboo leaves ink directly to edges of panel with sponge dauber.
Adhere daffodil panel to card at an angle with foam adhesive squares.


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If you know of more people who worked on this cartoon, or want to submit additional production information about Three Wheels Are Not Enough, please submit your information here.
- Creator: Ford Riley.
- Story Editor: Ford Riley.
- Storyboard Artists: Viki Anderson, Flamarion Ferreira, Holly Forsyth, Sharon Forward, Stark Howell, Kelly James, Larry Leker, Heiko Drengenberg, Miyuki Hoshikawa, Mike Kunkel, Mark Pudleiner, Chong Lee, Linda Miller, David S. Smith, Patricia Wong.
- Storyboard Revisions: Miyuki Hoshikawa, Stark Howell, Kelly James, Kristen Lester, Lonnie Lloyd, Angela Mueller, Robb Pratt.
- Music: Mike Himelstein, Michael Turner.
- Theme Music: Mike Himelstein, Ford Riley.
- Supervising Sound Editor: Timothy Borquez.
- Sound Re-Recording Mixer: Timothy Borquez.
- Assistant Dialogue Recording Engineer: James Lafferty.
- Foley Recording Mixer: Robert Crew.
- Digital Coordinator: Karen Wong.
- Talent Coordinator: Heather Henry-Parker.
- Production Supervisor: William C. Turner.
- Production Associate: Willie E. Sims Jr.
- Production Secretaries: Amy Lou I. Ferrer, Denise Kress.
- Continuity Coordinator: Kitty Schoentag.
- Technical Director: Michael Tyau.
- Dialogue Director: Susan Blu.
- Voice Director: Susan Blu.
- Script Coordinator: Leona Beckert.
- Talent Coordinator: Heather Henry-Parker.
- Animator: Lyoung Hui Kim.
- Animatic Editor: Pieter Kaufman.
- Animatic Scanner: Sergio Armendariz.
- Timing Directors: Terry Lennon, Joanna Romersa, Mircea Mantta.
- Production Manager: Brian Doell.
- Editor: Pieter Kaufman.
- Assistant Film Editor: Donnell Ebarrete.
- Post-Production Coordinator: Treasure Rawson.
- Post-Production Supervisor: Mark Bollinger.
- Educational Consultants: Christine Griswold, Karen Leavitt, M.S. Rachel Manes, M.A. Tara Martin, Iris Sroka.
- Script Clearance: Mosquito Productions.
- Post-Production Facilities: Studiopolis.
- Sound Post-Production: Studiopolis.
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New for 2013 - 2014 season!
Reserved Seating: There will be new padded seats running along mid-court on both sides of the Arena. If you purchase reserved seating you will have the opportunity to select your seats in September. (Requires gift to UTC Mocs Club, also limited availability)
Parking: By making a minimum gift of $75 to the UTC Mocs Club you will have access to a reserved parking pass for all regular home games.
* General admission season tickets are still available for purchase and fans may sit in the general admission sections.
Click here for more reseat information!


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|Sort by: Article Title
GE CEO Jeff Immelt on the Future of GE-and of American Manufacturing
Not long ago, materials were cheap and labor was expensive. Today, the reverse is true, which is why it makes sense to re-shore production in many sectors. But more importantly, the product is increasingly part of the process, driving more companies to embed their know-how and innovativeness with the product itself, says GE CEO Jeff Immelt. That and the prospect of cheaper energy due to the fracking revolution will boost manufacturing in America.
|JP Donlon
|CEO Briefing Newsletter , CEO2CEO Summit , Leadership & Strategy , Manufacturing , Operations
|March 10 2014
Fixing What Ails CEOs
The career of former Novartis CEO Dan Vasella began in medicine, expanding first to business and, more recently, to coaching and advising CEOs. CEOs' greatest gift, he argues, should be teaching those on their way up.
|JP Donlon
|CEO Briefing Newsletter , CEO Interviews
|February 28 2014
CEO Value Maximizers
In the sixth annual ranking of the Chief Executive/Applied Finance Group wealth creators, more and more leaders are showing that they have both the discipline and staying power to sustain real value creation.
|JP Donlon
|Wealth Creators
|October 30 2013
Meet the Mid-Market CEO Award Winners
Since 1986, Chief Executive has honored outstanding CEOs with its annual Chief Executive of the Year award, a peer-driven award that has honored many extraordinary leaders, from Jack Welch and Bill Gates to Ann Mulcahy of Xerox and David Cote of Honeywell. Over the years, judges have tended to favor leaders of large, complex companies. Chief Executive felt it was time to honor outstanding, mid-market companies that deserve recognition. These enterprises are the backbone of the economy, generate tremendous growth and often become major, global firms in their own right.
|JP Donlon
|Leadership & Strategy , Mid-Market Company
|October 28 2013
The Man Who Changed TV News Is About to Change It Again
The most reviled CEO in America—at least by the establishment media—was Roger Ailes, who disrupted the TV news industry when he created Fox News, now a profitable and powerful voice that has elbowed its way into American media past established rivals. But is technology threatening to destabilize access as young people increasingly opt to watch online video rather than pay for traditional TV content?
|JP Donlon
|CEO Briefing Newsletter , Leadership & Strategy
|September 5 2013
Why David Cote?
With a strong list of finalists, members of the 2013 Chief Executive of the Year selection committee faced a difficult choice, but in the end they concluded that Honeywell's David Cote merited the top honor.
|JP Donlon
|CEO of the Year
|July 1 2013
Cote's Steps to M&A Success
Cote joined Honeywell when it was suffering something of an acquisition-spree hangover, having digested 80 M&As undertaken over the past [...]
|JP Donlon
|CEO Briefing Newsletter
|July 1 2013
What Transformational Leaders Do
David Cote, an unprepossessing leader, who came out of TRW and GE, overcame Honeywell's dysfunctional culture while re-energizing it with a strategy of unifying ideas and technologies. Simple, but not so simple to do well.
|JP Donlon
|CEO Briefing Newsletter , CEO of the Year
|July 1 2013
How CEOs Can Get It Right
Newly re-appointed P&G CEO A.G. Lafley says too many CEOs stumble over business strategy. It comes down to two principles: choice and winning; and all organizations, regardless of size, can score big when they get it right.
|JP Donlon
|CEO Briefing Newsletter
|May 26 2013
The New Calculus of Prosperity
In the course of U.S. economic cycles, geography played a key role in the rise and fall of regional economies. This is no longer true.
|JP Donlon
|CEO Briefing Newsletter
|May 19 2013


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Cellar/Tasting Notes "The dense purple-colored 2006 boasts an extraordinary perfume of lead pencil shavings, creme de cassis, burning embers, and a sensation that can only be described as like walking through a damp forest on a hot, humid day. Full-bodied, extraordinarily textured, and multidimensional with an..
Cellar/Tasting Notes "he exceptional 2006 Cos d'Estournel is composed of 78% Cabernet Sauvignon, 20% Merlot, and 2% Petit Verdot, 55% of the production was utilized. Revealing superb intensity for a 2006 as well as an inky/blue/purple color, and a sweet bouquet of blue and black fruits, licorice, graphite, and..
Cellar/Tasting Notes From a 5-acre parcel cropped at 20 hectoliters per hectare, the 2009 La Plus La Fleur de Bouard (400-500 cases of 100% Merlot) boasts an inky/blue/purple color as well as a gorgeous nose of incense, graphite, blueberries, blackberries, ink, and spring flowers, awesome concentration, and sweet..
Cellar/Tasting Notes The finest Canon since the 1982, the 2009 (75% Merlot and 25% Cabernet Franc) reveals a dense blue/purple color along with a classic nose of chalk dust, blueberries, black raspberries, black currants and a touch of wood smoke. Medium to full-bodied, elegant and loaded with an inner framework of..
Cellar/Tasting Notes Delicate and elegant wine, with smoky fruit, ripe but freshened with a tight layer of acidity. It has delicious black currant juice flavors, but the texture remains light and the tannins soft.
Cellar/Tasting Notes It boasts an inky/purple color along with a gorgeous bouquet of mocha, chocolate, blackberry and cassis fruit, an unctuous texture, a full-bodied, viscous mouthfeel and a skyscraper-like, multilayered finish. This spectacular wine is nearly overwhelming in its richness, thickness and intensity.
Cellar/Tasting Notes "Very dense, with layers of cocoa-covered coffee bean, mulled blackberry, smoldering charcoal and fig paste notes, carried in turn by dense but velvety tannins. The long, tar- and loam-fueled finish thumps some serious bass."
Cellar/Tasting Notes The wine has a fabulous nose of incense, burning embers, forest floor, and black cherry liqueur. Fleshy, rich, full-bodied, but not over the top as the minerality and structure move in, this is a super-duper effort, and the greatest second wine made at Haut-Brion since the 1989 Bahans Haut-Brion.
Cellar/Tasting Notes Tiny yields, malolactic in barrel, aging on its lees and no fining or filtration produced an exotic, full-throttle St.-Emilion boasting an explosive nose of blueberry pie, lead pencil shavings, black truffles, camphor, incense and toasty oak. Made in a borderline extreme style, the wine is..
Cellar/Tasting Notes "The dark ruby/purple-hued 2009 Pavillon Rouge de Chateau Margaux offers a big, sweet kiss of spring flowers intermixed with blueberries and blackberries, a silky texture, and a dense, concentrated, but seamless mouthfeel. This glorious wine should drink well for 20 or more years. (Tasted once.)"


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Stripe Footed One Piece
These infant essentials are anything but basic, keeping your little one comfy and stylish from head to toe.
- Soft and cozy rib knit
- Styled with stripes trimmed in white with picot trim
- Newborn size (0–3 months) has fold-over cuffs to prevent babies from scratching themselves
- 100% cotton
- Made in Turkey
- Machine wash
- In white
- Sizes: 0–3 mos., 3–6 mos. and 6–12 mos.
- Oeko-Tex® Approved
- View size chart
- View size chart
Stripe Footed One Piece


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WhiteHouse.gov just posted this very special Ben Harper/Charlie Musselwhite performance of You Found Another Lover (I Lost Another Friend), taped while the duo were there for PBS' In Performance at the White House: The Memphis Sound. Watch Ben and Charlie discuss Memphis music followed by the performance from in the East Wing Reception Room.
The newly re-recorded "Jah Work" with The Innocent Criminals to raise money for the family of fallen Australian pro skateboarder Lewis Marnell is available now at iTunes.
Watch the video on YouTube. Check out session photos and find out more about Lewis at jahwork.benharper.com.
Don't miss Ben Harper and Charlie Musselwhite perform We Can't End This Way from their acclaimed album Get Up! tonight on the Late Show with David Letterman!! - Airs on CBS @ 11:30pm EDT/PDT, 10:00pm Central.
UPDATE: Click here to watch the video at CBS.com!


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You can also read manga online try the Nana to Kaoru manga!
You're reading Nana to Kaoru 14 online. You can try some of the related manga below or try some other manga from our manga list.
Users who read Nana to Kaoru also read Gekkoh, Saishuu Heiki Kanojo, Okusama wa Joshi Kousei, Kodomo no Jikan, Onani Master Kurosawa and Sundome.


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Avocado, Tomato, Edamame, and Red Onion Salad with Cumin-Lime Vinaigrette
(Makes about 2 servings, recipe created by Kalyn with inspiration from a big bag of avocados.)
1 medium-sized avocado, diced into bite-sized pieces
1 T fresh lime juice, to toss with avocado
1 cup diced cherry or grape tomatoes
3/4 cup shelled edamame
1/4 cup finely diced red onion
Cumin-Lime Vinaigrette:
2 T fresh lime juice
1/4 tsp. ground cumin
1/4 tsp. Spike Seasoning
1/4 tsp. Vege-Sal (or salt)
1 1/2 T extra-virgin olive oil
If using frozen edamame, thaw in microwave, then pop edamame out of shells and add to avocados. Cut tomatoes in half and dice red onions and add to avocados.
In small bowl, stir ground cumin, Spike Seasoning, and Vege-Sal into the 2 T lime juice, then whisk in olive oil a little at a time until dressing is emulsified. Pour dressing over avocado mixture, then stir gently to combine. Taste for seasoning, and add more salt or Vege-Sal if desired. This is fantastic served right away. I also had leftovers for lunch that had been in the refrigerator overnight and it was great (even though normally I never refrigerate tomatoes.)
South Beach Suggestions:
This wonderful salad is a great option for any phase of the South Beach Diet or any low-glycemic eating plan. Remember that avocados and olive oil are considered "good fats" for South Beach. For phase one, this would be great with Grilled Halibut with Garlic Cilantro Sauce. For phase two or three, add something like Brown Rice with Cashews and Herbs.
More Salads with Avocados
(Recipes from other blogs may not always be South Beach Diet friendly; check ingredients.)
Tuna Stuffed Avocado Salad with Tomatoes, Cilantro, and Lime from Kalyn's Kitchen
Cucumber and Avocado Salad with Lime, Mint, and Feta from Kalyn's Kitchen
Vegan Tomato Salad with Cucumber, Avocado, Cilantro, and Lime from Kalyn's Kitchen
Pinto Bean Salad with Avocado, Tomato, Red Onion, and Cilantro from Kalyn's Kitchen
Avocado-Pine Nut Salad from Recipe Girl
Seafood Avocado Salad from Frantic Home Cook
Grated Carrot and Avocado Salad from Chocolate and Zucchini
(Want even more avocado salad recipes? I find these recipes from other blogs using Food Blog Search.)


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List of true facts:
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- Woven from 100% combed ring spun 30/1 cotton.
- Fine lightweight 4.3 ounce jersey.
- Features slim-fit body.
- International shipping for this product is not available.


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The HP Designjet 111 is a large format printer for the home office, workgroup, or Graphic Designer. With this printer users will be able to print their own posters, presentations, and oversized projects to meet to meet their assignment. This printer will deliver high-quality drawings, posters, and presentations that look amazing in resolutions up to 1200 x 600 full-color dpi. This printer is also extremely user friendly and very easy to set up. And with individual HP ink cartridges, you take control of toner usage, only replacing the color that runs out. Users will be able to print on 24 inch rolls when making posters and oversized projects.
The HP Designjet 111 ink cartridges eject HP Thermal Inkjets making projects resistant to water and smudging. . In addition, the printer also recognizes and prints directly onto coated paper and a variety of photo / presentation paper so you'll always be ready with the next project. This larger format printer can produce posters in as little as 90 seconds. The printer will hold up to a 50 ft. paper roll for convenient and easy paper handling. This is the most compact large format printer which can fit any desktop or common work area.
To help lower operating, discount printer ink is available at specialty ink retailers. For individual purchase you can get the Genuine HP 11BK – C4810A Black Printhead cartridge, the Genuine HP 11C – C4811A Cyan Printhead cartridge, the Genuine HP 11M – C4812A Magenta Printhead cartridge, and the Genuine HP 11Y – C4813A Yellow Printhead cartridge. Also available are the Genuine HP 11C – C4836A Cyan inkjet cartridge, the Genuine HP 11M – C4837A Magenta inkjet cartridge, the Genuine HP 11Y – C4838A Yellow inkjet cartridge, and the Genuine HP 82BK – CH565A Black inkjet cartridge.


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Parent Directory | Revision Log
|Links to HEAD:
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|Links to release-19b-pre2:
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|Sticky Tag:
Add #ifndef _FOO_H_ etc. lines to all .h files. Moved a few lines in lisp.c into the correct <foo>-os.h files.
Added specialised port to OpenBSD (2.9). Many parts of the original code which were previously conditionalized on :FreeBSD, are now conditionalized on :BSD instead, with the :BSD feature now implying a 4.4BSD(lite2) derived OS. This should make future BSD-ports easier. FreeBSD and OpenBSD are differentiated by having either :FreeBSD or :OpenBSD on the features list. Currently the OpenBSD port does not have working ELF support, because OpenBSD 2.9 is still non-ELF by default. So don't put ELF on the features list when building for OpenBSD, or fix the code to work correctly in this case instead.
This form allows you to request diffs between any two revisions of this file. For each of the two "sides" of the diff, select a symbolic revision name using the selection box, or choose 'Use Text Field' and enter a numeric revision.
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text:
Click a swatch below to change colors.
A newer version of the Flash Player is required to enable the zoom feature.
Click here to get the current version.
Sport-Tek® Ladies NRG Fitness Jacket. LST885
Our sleek, figure-flattering jacket is a warmup or cool down essential. Made to perform, this streamlined style has a zip-through collar, raglan sleeves and plenty of stretch.
*Due to the nature of 100% polyester performance fabrics, special care must be taken throughout the screen printing process.
Ladies Sizes: XS-4XL
Price starts at: $33.42
For detailed PRICING, please select "Add to
" to view the ordering/pricing grid.


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- Welcome to Season 2013/2014
- Season Calendar
- New Productions 2013/2014
- Revivals 2013/2014
- Recitals 2013/2014
- Concerts 2013/2014
NOW! Opera for You/
events for children
and young people
- Special Events 2013/2014
- Subscriptions
- Tickets, Extra Services, and more Information
- DVD of our Ring des Nibelungen
- Series of Live Recordings made at Oper Frankfurt
- How to Find Us
- News
- Videos
- Cast Changes
- Partners
- Patronage
Special Events 2012/2013
Opera for Families 2012/2013
Oper Frankfurt's series Opera for Families 2012/2013 (Oper für Familien) continues this season. The special thing about this series is that an adult purchasing a ticket is entitled to up to THREE FREE tickets for children and young people.
Opera for All 2012/2013
Tickets for performances in the Oper for All 2012/2013 (Oper für alle) series are extremely cheap - we want to try and lure you into coming to an opera, possibly for the first time.
Opera Finale 2013
This year's Opera Finale focuses on Giuseppe Verdi, including the last premiere of this season, his Die sizilianische Vesper/Sicilian Vespers.


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Information on Seat Selection
Best Available Seat Booking
In best available seat booking, you choose a category of seats and selectthe number of tickets you would like. An automatic allocation of seats willtake place within the selected category; you receive the best available seats. Numbered seats are generally located next to each other. If your computer is having problems with Java, then the best available seat booking will automatically take place.
Seating Chart Booking
In seating chart booking, you personally select your exact seats from agraphic seating chart. Begin the seating chart booking and choose an area.There you can select the seats by clicking on them. Seating chart booking is not offered for some events.
General Seating
means that, with your ticket, you can freely select your seat according to the conditions on-site. Normally this involves seats, however in some cases standing room will also be available.
Seat or Standing Room, Depending on Availability
In this price category, seats are predominantly offered (but not guaranteed). In some circumstances, standing room tickets at the same price are also sent. An exact request regarding standing room or a seat unfortunately cannot be fulfilled in this context. A later exchange of the tickets delivered is not possible.
Obstructed Views/Supertitles
Due to building conditions or the demands of individual productions,obstructed views (including of the supertitles that are used in numerous performances) are possible from certain seats. Please inquire about potential impairments at
(+49) (0)711. 20 20 90 (Mon – Fri: 10 am – 8 pm, Sat: 10 am – 6 pm).
No Longer Available for Delivery
means that the event is taking place soon and that shipment of the ticketsis no longer possible. Please select "Pick up tickets" as an alternative.
Only 1 Ticket Can be Selected / Individual Seat
Only individual seats (no groups of adjoining seats) can still be booked inthe corresponding category using the best available seat booking. Individual seats are scattered vacancies. Even if a greater number are available, these seats are not adjoining. Adjoining seats might still be available using the seating chart booking.
Any more questions?
Ticket Service Die Staatstheater Stuttgart (+49) (0) 711. 20 20 90 Mon – Fri 10 am – 8 pm, Sat10 am – 6 pm
Exit shop
My Account
Book now
Information on Online Sales
Please examine our General Terms and Conditions as well as the following excepts from the general information on ticket pre-sales.
Ticket Pre-sales
Ticket pre-sales for performances in the Opernhaus as well as for concerts generally begin on the same date two months before the day of the performance. For performances in all other venues, pre-sales generally begin one month before the performance date. If the first pre-sale date falls on a Saturday or Sunday, then pre-sales will begin on that Friday. If it falls on a holiday, then sales will begin the daybefore. Some events cannot be purchased through online sales. For such cases, please contact our telephone ticket service ((+49) (0) 711. 20 20 90, Mon – Fri: 10 am –8 pm, Sat: 10 am – 6 pm). Performances outside of the previously mentioned pre-sale periods can be ordered using the online ordering form. Please examine our general information on ticket pre-sales.
Seat Selection
In the course of your booking, information relating to seat selection will be displayed.
Ticket Prices
Ticket prices for online sales include a service fee of 1.00 € per ticket.
Discounts (other than the Schauspielcard)
Please use the alternate sales channels for discounts, as they are not available or applicable for online sales.
Gift Vouchers
Gift certificates can be used as a form of payment for one or more performances at Staatstheater Stuttgart. You can even use them to pay for subscriptions and merchandising products. Gift vouchers can be transferred to third parties and can be redeemed without any time limit until cancelled. If the order total is greater than the value of the gift voucher,the difference can be paid out. Remaining balances will be repaid in the form of a gift voucher. Redeeming gift vouchers is not currently possible for online sales. Please use our alternate sales channels for this purpose.
Delivery / Pick Up with Confirmation of Purchase
Tickets or gift vouchers can be sent out for a shipping fee of 1.50 €, if the time of the order allows for it. The Staatstheater Stuttgart cannot accept any responsibility for the shipment.
Confirmation of purchase will automatically be sent by email to the address you provided, as soon as purchase of your order has been initiated.
By presenting printed confirmation of purchase, tickets can be picked up at the theatre box office or at the appropriate performance box office; gift vouchers only at the theatre box office (Mon – Fri: 10 am – 7 pm, Sat: 10am – 2 pm).
Only printed tickets are valid as passes for means of transport with the VVS. Printed confirmations of purchase will not be accepted as valid ride passes for the VVS.
Late Seating
may not be possible for certain performances. Our telephone ticket service (0711.20 20 90, Mon – Fri: 10 am – 8 pm, Sat: 10 am – 6 pm) will be happy to provide you with more information!
Tickets can be paid with direct debit or credit card (American Express, MasterCard, VISA).
Return / Exchange
We ask that you carefully check your information before authorizing purchase of your order, as tickets and gift vouchers cannot be returned or exchanged.
Technical Requirements
Current web browser (Internet Explorer, Firefox, Safari or Opera). Java installed on your computer and cookies activated. -> Privacy policy: Please do not use your browser's 'Back' button!
Any more questions?
Phone: (+49) (0) 711. 20 20 90
Mon – Fri 10 am – 8 pm, Sat 10 am – 6 pm
The 2013/14 season
John Cranko Schule
Elizabeth Wisenberg
Demi Soloist
Elizabeth Wisenberg was born in Waterbury, Connecticut, USA. She started her ballet training at the Mayra Northern Classical Ballet School, San Antonio, Texas where she studied from 1992 until 1999. She continued her dance education at the Washington School of Ballet until 2003 and went to the National Ballet School of Canada for another year.
She took part in different competitions. In 2001 she won the bronze medal in the junior division at the Youth American Grand Prix and in 2003 the silver medal in the senior division at the National Youth Ballet Competition.
Elizabeth Wisenberg had her first engagement as a professional dancer from 2004 until 2006 at the Boston Ballet where she danced in the Corps de ballet.
In the season 2006/07 she became member of the Corps de ballet with the Stuttgart Ballet. In 2013/14 she was promoted to Demi Soloist.
Leading and Solo Roles with the Stuttgart Ballet
Don Quijote (Maximiliano Guerra): Gypsy as Kitri's Double, Cupid, Pepa
Forgotten Land (Jiří Kylián): Couple in Pink
Giselle (after Coralli, Perrot, Petipa): Peasant Pas de deux, Second Wili
Krabat (Demis Volpi): Kantorka
La Sylphide (Peter Schaufuss after August Bournonville): Effie, Pas de huit
On Velvet (Marco Goecke)
Orlando (Marco Goecke): Princess Sasha
Othello (John Neumeier): La Primavera
Swan Lake (John Cranko): Pas de six, Small Swan
swish (Demis Volpi)
The Four Temperaments (George Balanchine): Solo Role in Melancholic, Second Theme
The Lady of the Camellias (John Neumeier): Olympia
The Sleeping Beauty (Márcia Haydée after Marius Petipa): Grace Fairy
Specially created Roles
Big Blur (Demis Volpi): solo role
Das Fräulein von S. (Christian Spuck)
Hamlet (Kevin O'Day): Woman of the Court
Krabat (Demis Volpi)
Orlando (Marco Goecke)
Orphée et Euridice (Staging, Choreography: Christian Spuck)
RED in 3. (Jorma Elo)
Specially created Roles at Noverre-Society: Young Choreographers
from me to you (Demis Volpi)
palpaple leers (Demis Volpi)
Corps de ballet Roles with the Stuttgart Ballet
Carmen (John Cranko, new production: Reid Anderson and Georgette Tsinguirides)
Das Fräulein von S. (Christian Spuck)
Don Quijote (Maximiliano Guerra)
Frank Bridge Variations (Hans van Manen)
Gaîté parisienne (Maurice Béjart)
Goecke at the Chamber: The Nutcracker (Marco Goecke)
Il Concertone (Mauro Bigonzetti)
Initials R.B.M.E. (John Cranko)
La fille mal gardée (Sir Frederick Ashton)
La Sylphide (Peter Schaufuss after August Bournonville)
Le Sacre du Printemps (Glen Tetley)
Onegin (John Cranko)
Opus 1 (John Cranko)
Poème de l'extase (John Cranko)
Requiem (Kenneth MacMillan)
Romeo and Juliet (John Cranko)
Siebte Sinfonie (Uwe Scholz)
Swan Lake (John Cranko)
The Lady and the Fool (John Cranko)
The Sleeping Beauty (Márcia Haydée after Marius Petipa)
The Song of the Earth (Kenneth MacMillan)
The Taming of the Shrew (John Cranko)
Theme and Variations (George Balanchine)
Roles with the Boston Ballet
Cinderella (James Kudella): Garden Creature
La fille mal gardée(Frederick Ashton): Corps de ballet
La Sylphide (Sorella Englund): Reel, Sylph
Raymonda (Marius Petipa): Act III Corps de ballet
Rubies (George Balanchine): Corps de ballet
Serenade (George Balanchine): Corps de ballet
The Nutcracker (Mikko Nissinen): Marzipan, Snowflake, Flower, Party Parent
The Sleeping Beauty (Rudolf Nureyev): Lilac Fairy Attendant, Garland, Peasant, Nymph, Mazurka, Beauty/Beast
The Taming of the Shrew (John Cranko): Townsfolk, Wedding, Carnival
Major corporate sponsor


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0verkill is a client-server 2D deathmatch-like game in ASCII art. It supports free connecting/disconnecting during the game, and runs well on modem lines. Graphics are in 16-color ASCII art with elaborate hero animations. 0verkill features 4 different weapons, grenades, invisibility, and armor. The package also contains reaperbot clients, a simple graphics editor, and a level editor.
3Delight is a very fast RenderMan-compliant renderer designed to produce photorealistic images for serious production environments. Some of its features include ray tracing, global illumination, motion blur, depth of field, subdivision surfaces, programmable shaders, quality antialiasing, and antialiased multi-depth shadow maps. The API and the shading language are very similar to what is described in the RenderMan interface documentation.
AAFID (Autonomous Agents for Intrusion Detection) is a distributed monitoring architecture with an orientation towards Intrusion Detection developed at the CERIAS at Purdue University. AAFID2 is a prototype implementation of the architecture that includes several ready-to-work agents, plus development facilities for writing your own.
This is a set of Linux drivers for the ACP modem (Mwave), a WinModem. It is composed of a loadable kernel module and a user level application. Together these components support direct attachment to public switched telephone networks (PSTNs) and support selected world wide countries. This driver provides support for the IBM ThinkPad 600E. The modem also supports the standard communications port interface (ttySx) and is compatible with the Hayes AT Command Set.
A Java component for manipulating PowerPoint presentations.
A simulation of major league baseball.


text:
Discover our selection
of exceptional luxury hotels
in italy
Archi Riposto, SicilySicily is the largest island in the Mediterranean Sea; along with surrounding minor islands, it constitutes an autonomous region of Italy, the Regione Siciliana.View Hotels (1)
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BormioBormio is the capital of Valtellina. The area has 4 ski areas with a total of 160 km of slopes and 50 km of cross country tracks.View Hotels (1)
Cassago Brianza, Lake ComoLocated 40km from Milan and surrounded by a landscape of Mountains and hills Lake Como has been a proven and popular holiday destination for hundreds of years.View Hotels (1)
FlorenceFlorence is the capital of the Italian region of Tuscany, one of the countries prime tourist locations.View Hotels (1)
MateraLocated in southern Italy, the village of Matera is a fascinating place to discover.View Hotels (1)
MilanMilan is internationally considered one of the world's centres of fashion, design and opera.View Hotels (1)
NaplesListed as a world heritage site, the centre of Naples is renowned for the wealth and variety of its historical buildings.View Hotels (1)
Porto Ercole, TuscanyPorto Ercole is a small, charming seaport situated on the scenic peninsula of Monte Argentario on the Tuscany coast.View Hotels (1)
RiminiRimini, located on the Adriatic Sea, is certainly one of Italy's most famous seaside resorts and has been a focal point of Italian history since the times of Caesar.View Hotels (1)
Saint-VincentIn northwestern Italy, Saint-Vincent is a popular summer holiday resort with mineral springs and a particularly mild microclimate, earning its nickname as the "Riviera of the Alps."View Hotels (1)
Santo Stefano di SessanioA striking abandoned hilltop town where the buildings have been brought back to life.View Hotels (1)
South TyrolThe autonomous region of South Tyrol has been a crossroads for Italian and Austrian cultural influences for centuries, and most of its inhabitants speak German as their first language.View Hotels (2)
VeniceVenice, the sinking city, is generally considered one of the most amazing places on earth.View Hotels (2)


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2014 Season
Joan Sutherland Theatre, Sydney Opera House, 26 June—24 August
Arts Centre Melbourne, State Theatre, 12 April—10 May
Verdi's dark tale glitters with passion and suspense in this glamorous new production. Tell your jokes, lock up your daughter and trust nobody.
Rodgers and Hammerstein
Joan Sutherland Theatre, Sydney Opera House, 7 September—1 November
Princess Theatre, 10 June—17 August
Lyric Theatre, QPAC, 13 April—1 June
Whilst the sumptuous costumes and gilded sets have travelled the world, it all started in Australia, with a dream to create a version which was not just a remake of the iconic 1956 film, but a real consideration of this clash of cultures and meeting of minds.
Arts Centre Melbourne, State Theatre, 16 April—9 May
Tchaikovsky's romance - a journey from what could be, to what might have been - in a new co-production with the Royal Opera House, Covent Garden.
Arts Centre Melbourne, State Theatre, 1—13 May
Take two pairs of lovers, mix them up and introduce a clash of cultures for added colour. Rossini's The Turk in Italy is "just about as much fun as you can have in an opera house".
Greenmount Beach, Coolangatta, 9—11 May
Sometimes it feels like a crime to go indoors when the skies are clear, even for a night at the opera. That's why we're taking the opera out of the theatre and onto the beach.
Arts Centre Melbourne, State Theatre, 14—25 May
The ultimate femme fatale is back to stamp her feet, toss her hair and dance. Will she love Don José? Maybe. Will you fall for her sultry Habanera? Definitely.
Joan Sutherland Theatre, Sydney Opera House, 5 July—2 August
Otello is the hero and Desdemona is the lover, but Iago is the puppetmaster in this vivid re-telling of Shakespeare's romantic tragedy. Three outstanding singers go head-to-head for this bold production, created by Harry Kupfer.
Joan Sutherland Theatre, Sydney Opera House, 25 July—30 August
Teddy Tahu Rhodes' Don is mad, he's bad, he's dangerous but, damn him to hell, his serenades are just divine.
Concert Hall, Sydney Opera House, 10—17 August
Arts Centre Melbourne, Hamer Hall, 14 August
Jonas Kaufmann: the most thrilling voice on the planet. Join us for his longed-for Australian debut, accompanied by full orchestra and treating us to arias by Verdi, Puccini, Bizet and more. A once in a lifetime experience.
Joan Sutherland Theatre, Sydney Opera House, 11—31 August
Italian opera meets the Australian outback when Donizetti's tongue-in-cheek, heart-on-sleeve tale of a shy boy and a bold girl returns in this cheeky production. Donizetti's music shines as brightly as ever under the Antipodean skies.
Arts Centre Melbourne, State Theatre, 12 November—13 December
"Vissi d'arte, vissi d'amore," Tosca bemoans her fate with devastating beauty and poise. "I lived for art; I lived for love." Vissi d'arte could equally be the catchphrase of Tosca's director, John Bell...
Arts Centre Melbourne, State Theatre, 19 November—12 December
Four characters, four spectacular voices, and a fast-moving plot: this new production of Donizetti's Don Pasquale is as fresh and zingy as a lemon gelato. Enjoy!
Arts Centre Melbourne, State Theatre, 1—11 December
Here comes Sir John, wide of girth, broad of humour and bold in his desires. Here come two merry wives with keen wits and cunning plans. Don't forget: he who laughs last, laughs longest.


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Pour directly & carefully into an Extended Control Pump 'N Go Sprayer.
Any time weeds are actively growing. Works best when there is little to no wind, teperature is above 60 degrees & it's sunny.
Every 4 months or as new weeds appear.
Apply to the weeds you see as well as areas where you don't want weeds such as gravel areas, driveways, sidwalks, patios, mulch aresas, recreational areas, & more. Remember Roundup is so effective that it will kill grasses too so it should NOT be used to spot treat in your lawn.
Do NOT use to spot treat in your lawn.
Covers up to 375 sq. ft.
Weeds: All types of weeds & grasses.
An easy and economical way to refill your Roundup Extended Control Pump 'N Go Sprayer (Kills the weeds & grasses you see and prevents new ones from growing for up to 4 months).
1% Glyphosate, isopropylamine salt
2% Pelargonic acid and related fatty acids
0.017% Imazapic, ammonium salt
4 years
If the bottle is completely empty throw in the trash. If the bottle is partially filled call your local solid waste agency for disposal instructions. Never pour any unused product down any indoor or outdoor drain.
Need an answer to a product question? Scotts experts are always available by email and phone in our Help Center.


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When it comes to the greatest names in British motoring, there are few names so redolent with prestige, luxury and performance than Aston Martin and Jaguar. This is why Grange are so proud of our association with these two highly respected automotive manufacturers.
Our association with Aston Martin, arguably some of the most sought after cars in the world, has spanned over a decade. In recent years Aston Martin has continued to flourish and push the boundaries of performance, whilst staying true to their legacy of style and luxury. These factors combined make the current, wide-ranging, line-up of the V8 Vantage, the DB9, the V12 Vantage, the Rapide, the DBS and the Virage incredibly desirable propositions. The new Cygnet has also revolutionised luxurious, yet economical city driving.
Our association with Jaguar dates back to 1983, where we became the first standalone Jaguar Dealership of the company's modern era. Since then Jaguar cars have become some of the most recognisable and anticipated autos in the world, cultivating a truly international fanbase. The current range of the XF, the XK, the XJ are taking on all competitors on the market and the upcoming C-X16 is set to blow them away.
If you are looking for a new or used Aston Martin or Jaguar model, look no further than Grange.co.uk. You have come to the right place.