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Over the summer, Andy Fitch has interviewed 60 poets about their latest books. Ugly Duckling Presse will publish these collected interviews in 2013. This interview focuses on de la Torre's book, Four (Switchback Books). Recorded July 10th. Transcribed by Maia Spotts.
Andy Fitch: When FOUR came I tried to slip a booklet from the pack, but couldn't do so without breaking the seal.
Mónica de la Torre: Oh no. The seal broke?
AF: I liked that. Something irreversible had happened. Then flipping through the booklets, I soon lost their original order. This raised questions about the booklets' status. You had called them booklets, so that word stayed in my head. But how does a booklet differ from a pamphlet? How does it relate to, say, Renee Gladman's sense of a poetic "installation"? Does the booklets' serial formatting imply that all these parts should fit together? Or does it deliberately provide dissimilar doubles? Did FOUR ever exist as a single project, on a single computer file?
MT: I'd hoped for readers to slip each booklet out of the case. In fact, I worried about it breaking when discussing options with the designers. You've just redeemed the worst-case scenario. Thank you! FOUR gathers four projects I undertook separately—each occasional in its own way. One provides an elegy. One long piece I delivered for a festival of collaborations curated by Jen Bervin and Rob Fitterman at the Zinc Bar in 2011. "Photos While U Wait" takes its model from a photo album. Then "Lines to Undo Linearity" I wrote in response to the work of Gego, the German artist exiled in Venezuela who died during the '90s. Her penname combines the opening syllables in her first and last names: Gertrude Goldschmidt. Years ago Poets House invited me to respond to an exhibit of hers at The Drawing Center, and I never knew what to do with the resulting piece. I find it productive to write in response to a particular occasion, because I have a goal and endpoint in mind. Yet even in these more directed instances, something accidental or chance-driven shapes the process. The occasions that gave rise to particular pieces occurred unexpectedly but also became meaningful. I wanted to avoid erasing those meanings by developing a streamlined book-length project. I didn't want to impose an overall structure on the works either. Even a partitioned, modular manuscript imparts its own structure. Still I didn't want to publish four separate chapbooks, because some conceptual content does tie the texts together. So I like that you could forget their initial order, since that confirms the integrity of this project. Once you've pulled out the booklets, you can re-assemble the whole any way you choose. The reader's ability to reformulate this collection interests me more than any fixed sequence. Similarly, for the title, I tried for the most descriptive, neutral thing I could find. I'd delayed going to press because we couldn't nail the title down. We at some point considered Photos While U Wait, then Shift and then You're Presence is Requested, which is a line in "Shift." Each of those overemphasized one section. But FOUR felt alright in part because Roberto Bolaño has a book called Tres, a triptych written in 1987, '93 and '94—put together much later as publishers tried to rescue the poetry for which his fiction brilliantly created a demand.
AF: Well FOUR also echoes F-O-R, each piece's dedicational nature, generated by and for the world in some way.
MT: Absolutely. I hadn't thought of that.
AF: I've recently talked to several poets about how a book's sequencing imposes its own logic, tone, hierarchies. I love your ability here to make that logic coherent but elastic, because occasional pieces quickly could offer a chronology of your life. The overall project could become about you. Here a disrupted chronology keeps us more engaged with provisional social contexts than with the poet behind the pieces. And then the beautiful fonts produce this salad-bar effect, forcing us to pick and choose and blend the bright, vivid colors—foregrounding processes of desire that prompt us to read in the first place.
MT: Which did you pick first?
AF: "Shift" slid first out of my pack. "Shift" gets dedicated to Richard Maxwell. Could you briefly describe his Theater for Beginners, so we can discuss elements of contemporary theatre that provide compelling overlap or provocation to contemporary poetry (or that should, if poets paid enough attention to theater)? I've been away a couple years, but along with Richard Maxwell, do Nature Theater of Oklahoma, ERS, Young Jean Lee, 53rd Street Press still produce good work? And what can poets learn from them?
MT: All those people come from the same generation, yet remain totally diverse in approach. Let's start with Nature Theater of Oklahoma. My work may not resemble what they do, but I'll think about one particular play I loved, Romeo and Juliet, which speaks so eloquently to appropriative and conceptual poetics. For that piece they called up relatives, friends (whom they had warned, not completely out of the blue), and asked them to retell, over the phone, Romeo and Juliet's plot.
AF: They did something similar with Rambo, I think.
MT: For Rambo Solo this guy compares the film version of Rambo to the original novel. So these various participants actually write the plays. The people retelling Romeo and Juliet of course introduce wild variation. Nobody seems to have consulted Wikipedia and got their details straight. Then the transcriptions retain all their ums, ahs—all the signaling of giant memory voids traced by their retellings. Juliet's stories get delivered by Juliet, and all the Romeo stories by Romeo, both with dramatic hand gestures which perhaps come from Elizabethan theatre. Yet this total disconnect occurs between their diction, which sounds contemporary (like: "The Capulets— / And the—? / [And I can't remember the other guys]") and their faux Shakespearian delivery. This takes me to Rich Maxwell, who seeks to foreground, first and foremost, the text.
AF: I loved Henry IV, Drummer Wanted, Good Samaritans, Joe.
MT: People have this caricature of what a Richard Maxwell actor does, what a New York City Players actor does—presenting no display of emotions, no affectation, just a deadpan, machine-like delivery of text.
AF: Until each figure belts out some song or does an abstract dance.
MT: Right. Critics focus less on that part of the work, though it's essential. But I especially take from him this idea that the text does it all. When you deliver a text, you don't need to emote it, or justify it, or believe it, even. That just gets in the way of the text and a listener's immediate reaction to it in a given moment. You can skip the story behind the poem. That takes you out of a text. But what does the language do? What experience does it elicit through this particular moment of delivery? What charge does it have there and then? So Rich's stagings become quite lyrical. Though the piece you asked about, Theater for Beginners, is not a play, but more a book-length manifesto. I had read the manuscript and offered some comments here and there. Then I got invited to produce something for this collaboration festival at the Zinc Bar, and thought Rich and I could work together. A lot of "Shift" responds to what he says in Theater for Beginners. For instance, that the performer ought to stay in the present moment. I start with a daydream. I want to tackle this question: Where are you when you write? You can inhabit many places at once. You can imagine delivering your piece at a distant time and place, yet still construct it in the present tense. I wanted to track discrepancies between these moments of composition, revision, delivery.
AF: Well your acknowledgements describe "Shift" as a site-specific poem but don't fully specify its status as a performance text. So I thought of how "Shift" theatricalizes being, speaking, typing.
MT: That's key: the theatricalization of writing poetry and reading it in public.
AF: Alvin Lucier's "I am Sitting in a Room" came to mind, as one description built upon another. Then Vito Acconci and Kenny Goldsmith's weather-report transcripts got echoed in the repetition-heavy finale. So here's my question: Let's say "Shift" investigates a particular downtown location, addressing itself to a collective, imminent audience. How do such constructions of conceptual theatre then get imported into FOUR's elastic structure? How, if at all, does your writing change when pitched to the assembled audience, rather than the solitary, removed individual? What does the closet drama stand to learn from the live performance piece, and vice-versa?
MT: Everything. I think a lot about the reading situation. But I also know that, among my peers, I probably have more listeners than readers. Readings have become such a prevalent mode of disseminating work, that to disregard this mode of delivery means to miss an opportunity. So I care very much what poems do on the page, yet most of my projects end up being performative. I'll sense myself creating a persona in front of everybody. Here I very much relate to Rich Maxwell, since people expect poets to stand up and emote and reveal their interiority.
AF: When a reading only offers further mediation. Why attend a reading if you don't want that?
MT: Yeah. Just buy the book. But in any case, I've learned from performers, and absorbed the highly specific set of expectations that structure a poetry reading. And so I'll try to provide some form of institutional critique—not dismantling, just playing a bit with our idea of the poetry reading's conventions. Ultimately, for the actual performance of "Shift" (though I never say so in the printed text), I'd placed a Bose CD player onstage, with a recording of myself reading. The mic got angled toward the sound system.
AF: Probably creating some feedback and reverb.
MT: While I actually sat in the audience.
AF: So it did resemble a reading experience, where the poet disappears, like a waiter dropping off the dish then leaving. And "Shift's" pacing seems based on the sentence as much as the line. Again I wondered about your own auditory experience of contemporary theatrical productions, if that provides a pleasing or stimulating sonic environment as much as a visual one—not just in terms of rhythms, cadences of speech, but discursive social exchanges happening among multiple voices. So let's say you sit down to edit this piece, how does your mind replay the drafted material? Does it resemble hearing voices? Does it feel like talking? Do you see images or text?
MT: I'll hear myself delivering the text as I revise what I've already written and add new stuff. I hear a cacophony of past voices and voices projected into the future. Add to this cacophony thoughts bouncing back and forth from English to Spanish, or vice-versa, searching for the right words. As a writer I'll return to the very beginning of a piece before inserting anything new, so by the time I've finished I might have read it to myself a hundred times. Not only do I have an inner dialogue that I'll often make transparent in my poems—the poem's idiom always stays subject to the logics of a verbal exchange. Sometimes I'll wish I had the soaring lyricism some poets have. I'll wish I could free language from this dialogic structure.
AF: Like a projected narrative scene or something?
MT: My language can't get absolutely hermetic since the utterance serves as point of departure, perhaps more than the sentence. Instructions or adverts, all those rhetorical forms designed to convey specific information to the reader, fascinate me. Still the utterance need not remain regimented or instrumental. I want to deinstrumentalize, here by playing with forms of instrumentality, subverting them. Or to put it in more straightforward terms: to use language unconventionally within the frames of conventional exchanges.
AF: This goes back to Nature Theater's Romeo and Juliet, and how the ums and ahs perhaps tell their own love story, just about the body and bodies communicating—about parallel tracks of momentum. That brings me to "Lines to Undo Linearity," the second piece from FOUR I read. "Lines to Undo Linearity" points to a wide range of source materials, such as Ed Ruscha's photographic books, Francis Ponge's lateral extensions (in a work like Soap), Gertrude Stein's or Nietzsche's or Wittgenstein's accumulative aesthetics and serialized prose installments such as Sol LeWitt's conceptual texts. Reading "Lines," and recalling your book Public Domain, I sensed how important an elegant synthesis of preceding interdisciplinary models becomes in your poetics. I'll miss many non-Anglo references here, but could you begin to describe how and why that assimilatory process takes place? Do you consciously make art- or literary-historical points by intertwining your predecessors' experimental modes? Does that combinatory process draw you?
MT: It does draw me. You brought up Ed Ruscha. At a recent New York Public Library talk, apropos of his process, he said, "It all goes into the Mixmaster. . . I guess, my brain." Same for me. Processing the strategies of others gets me going. In that sense, perhaps art especially stimulates me, because it tends to expose its strategies and the ways it handles its materials. So in "Lines," for example, I tried to match my utterances to Gego's artistic use of nuts, bolts, wires—all these found, instrumental scraps derived from engineering and architecture. She'd been an architect by training but used these bits to compose lyrical drawings without paper. Light hits them and traces drawings on the wall, but the bolts and wires always float. The art comes from shadows they cast. As a German living in Venezuela, her writing sounds a little stiff. Her syntax suggests someone who first mastered another language. The printed materials for the Drawing Center exhibition includes translations that retained some of this awkwardness. The following aphorism, for instance: "A line is an object to play with." I thought OK, if a line is an object to play with, what kind of lines should I use? That led to my list of idioms includingcredit lines, party lines, laugh lines.
AF: I love how "lines" could suggest appropriated, canned speech (similar to a pick-up line), but then you also address the line as a fundamental unit of drawing or the line as historical lineage. So again, "Lines to Undo Linearity" foregrounds composition, tradition, even as it claims to undo linearity.
MT: Linearity gets undone since I don't believe in the teleologies that modernism and the avant-garde bequeathed us. Then back to your point about a combinatory process—I take from John Cage these ideas about paintings to be read and poems to be seen.
AF: To move on to "Mariposa Negra," with its postscript instructions that we should write the phrase, "I am not here anymore," have you read Andy Warhol's Popism? Doesn't it end with Billy. . .the guy who's stayed in an alcove the last three years. . .
MT: Billy Name.
AF: Of course. Billy Name. Doesn't Warhol open up the curtain one day, because he's never known if Billy's still there, and the wall just says, "Andy—I am not here anymore"?
MT: Oh my god. I'll have to look that up. My own line came from a Latin adage: "Nemo hic adest illius nominis" (There's no one here by that name). The word "nemo" means no one; its reverse is "omen." "Mariposa negra" in Spanish means black butterfly, and at least in Mexico, where I grew up, a mariposa negra remains a harbinger of death. If you see a black butterfly you know someone close will die soon. But "I am not here" also echoes Heraclitus. Did I say that right? I struggle with the Greek because I learned them in Spanish.
AF: I can't pronounce. I can't speak English in English.
MT: Or "I'm not here" takes me back to Magritte's, "This is not a pipe"—to language as absence, as index.
AF: In those terms, "Mariposa Negra's" aphoristic sequence works so well as an elegiac mode. But more generally, in your reading of aphoristic forms (perhaps the prose form most inclined toward silence, blank space): Do aphorisms often prompt such meditations on prediction, loss, absence, haunting, fulfillment, residue? In "Mariposa Negra," does mortality gets figured not just as death but as our inability to avoid taking presence for granted—as a dramatization of the fact we soon will die and yet consistently fail to live up to this circumstance? Does the history of the aphorism, for you, provide one of our most compelling efforts to counter that tendency, to counter our forgetfulness about the present?
MT: Aphorisms almost seem predictions. A good aphorism, a memorable one, keeps unfolding. You think you got it the first time. You go: Whoa, that's so true. But really it presents this retro-futurist device that activates meanings in the future more than the past. In that sense it counters mortality—a prescient utterance only gains full meaning later. Yet, strangely, this whole process relies on the workings of memory. You have to remember the aphorism to remake its relevance. And by doing so you change the aphorism.
AF: We always can see an aphorism's end. We sense the blank space coming soon. Everything feels more charged for that reason. But as you say, a lot of the meaning only occurs once you've reached that blank space. That's part of the aphorism.
MT: Definitely.
AF: So the aphorism, the elegy, stretch beyond corporeal limitations. Now could we move on to "Photos While U Wait"?
MT: Go for it.
AF: "Photos While U Wait" celebrates spare-time production. It also presents an apparently faulty second-language grasp on clichés as, in fact, a discrete, distinctive subject position worth pushing to the foreground.
MT: Yes. Sort of as we said with aphorisms, clichés provide endless potential for micro-alterations. And I loved how, with Flaubert's clichés, when you read blurbs from people commenting on his "Dictionary of Received Ideas," the standard, clichéd knowledge about them, what most surprises readers is how they still hold true. One-hundred fifty years later these clichés still circulate! That realization itself has become commonplace. But actually, when you look at Flaubert's clichés, many are not clichés.
AF: Interesting. Can you explain?
MT: For instance: "Our country's ills are due to our ignorance of them." I wish that was a cliché. Or "Domesticity: Never fail to speak of it with respect." People berate domesticity nowadays. We don't respect it. We consider it bland, pathetic, to be avoided. "Artists express surprise that they dress like everybody else." That's a beautiful notion. I grew up with that. Artistic people were supposed to enact artisticness by dressing poorly. Now hipsters dress like artists. It's the norm in Williamsburg where I live. I find these clichés fascinating because despite their alleged inanity, they remain points of contention. So I've tried to construct a piece that takes its poetics from the cliché. Lines might seem obvious, but then you look again and they're not quite so.
AF: This recalls Emerson's description of language as fossil poetry—that to think we could escape clichés by refining our language might be the biggest cliché of all.
MT: Borges makes a similar point in "The Superstitious Ethics of the Reader." He describes all language as metaphor. No "metaphorical language" exists, because everything is metaphor. That takes me back to "I am no longer here." "I" can't help becoming a metaphor. "I" never was there in the first place.
AF: Well in terms of spatial presence, could you discuss "Photos While U Wait's" grid/box structures placed opposite its modular prose units?
MT: Those boxes contain whatever you imagine them containing. If you go along with the conceit that this booklet provides poetic snapshots, or perhaps captions to photos you never get to see, then the boxes present a little prompt for you to wonder what each poem. . .what clichéd image they possibly could describe.
AF: The boxes foreground textual/material presence, just as your varied colors do. And your modular booklets seem like stackable boxes.
MT: They invite you to do whatever you want with them. So you end up seeing yourself reflected just by giving these booklets a particular order or projecting what images might fit in the boxes.
AF: That takes me back to cliché, to "Dial a Cliché," to Morrissey. Could you comment on his presence here?
MT: He endlessly fascinates me. I love his lyrics. They resemble great aphorisms.
AF: That's what I wondered.
MT: You remember them. You can apply them later. And they also serve as mirrors. They say so much about him, yet say just as much about the person who chooses to remember them.
AF: I'd forgotten until just now how Morrissey puts himself in a Wildean tradition. So you've got the mirror; you've got Dorian Gray; you've got the aphorism. Though are we talking about his new stuff, or old Smiths songs?
MT: I like some of that new stuff, but I stopped paying attention maybe two records ago.
AF: I feel bad. I think everyone stopped at the same time.
MT: He had a great solo album. What was it called?
AF: He had several. Viva Hate is one of my all-time favorite albums.
MT: Can you believe people categorize him as a mediocre lyricist? Some listeners I know (even my husband!) consider the songs too obvious.
AF: I never knew anyone had that thought.
MT: Really? It might be generational. Did you grow up in the '70s?
AF: No, no. Or did I?
Mónica de la Torre is the author of five poetry books, among them Four and Public Domain. A native of Mexico City, she writes in Spanish and English and has translated numerous Latin American poets. Her work is included in the anthologies Against Expression: An Anthology of Conceptual Writing and I'll Drown My Book: Conceptual Writing by Women. She is BOMB Magazine's senior editor.


text:
- Home
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GABI was established in May 2011 in Washington, D.C. because of the growing need to equip today's leaders with knowledge and perspective on global issues in an increasingly borderless world. GABI's mission is to advance awareness and proficiency in global affairs, with a focus on international energy policy issues. Through its broad networks with government, industry, think tanks, academia, NGOs, and research institutes, GABI deals extensively with issues related to clean energy, including nuclear and renewable power, as well as the international relationships that undergird the deployment of such technologies.
Energy Policy
GABI is the sister institute of the Korean American Business Institute (KABI) in Seoul, Korea. KABI was founded in 1974 to strengthen and enhance business relations between Korea and the United States and was duly recognized by the U.S.-Korea Commerce Ministers Joint Communiqué of June 5, 1974.

subset: commoncrawl


text:
14,470 views
The Suite Life Movie
14,470 views
A doctor approaches Zack and Cody and tells them that they would be ideal for the Gemini Project, a massive project studying the effects of twins. Though the twins end up "connecting" through each other's senses, thoughts, and feelings, it also lands them in grave danger.
Genres: Adventure, Comedy, Crime
Actors: Cole Sprouse, Dylan Sprouse, Brenda Song
Directors: Sean McNamara
Country: United States
Duration: 79 min
Quality: HD
Release: 2011
IMDb: 5.5


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TeamPage Winter 2015 release introduces the TeamPage Quality Management option. The Quality Management module adds Feedback, Non-Conformance, and Corrective Action forms and dashboards to TeamPage's standard support for authoring, sharing and tracking updates to quality and compliance documentation. The new Quality forms and dashboards make it simple to use TeamPage to manage and improve manufacturing, operations, and other procedures based on ISO 9001 or other compliance standards. Signature Requirements is a new capability which lets you require people to sign TeamPage articles either once or on a recurring basis. Signature Requirements can be used to collect approvals for publication, confirm that a document has been reviewed or a process followed, or for any other situation where a set of users and groups must explicitly acknowledge that they have reviewed an article. The Winter 2015 release also includes improved unified search, improved password management, and new Developer SDK capabilities as well as bug fixes and performance improvements.
Fall 2015 release introduces Personal Worklists: Each person can track and share what they plan to work on, including planned work on shared team projects. Add, rearrange, organize, checkoff and share items on your personal worklist. New Quick Forms make common actions simpler using a right click action or keystroke. TeamPage now automatically checks for updates and notifies an administrator. The release also: adds improvements to the Project Management, List Management user interface; introduces new Blank Slate guides to provide inline help and examples; includes bug fixes, SDK extensions, updated internationalization, and performance improvements.
Summer 2015 release introduces a new Bookmarks sidebar and a new interactive filtering model to make it easier to find what interests you, and bookmark any view to return to it later with one click. The July update adds live Task lists: drag and drop to reorder tasks for a project or milestone, everyone sees the live update. Shared task lists show the order of execution for tasks as well as planned start and end dates. The release also: improves searching and hit highlighting of Japanese text using the TeamPage native search interface; adds new classes to the TeamPage SDK; includes bug fixes, updated internationalization, and performance improvements.
Spring 2015 release focuses on improvements to the Project Management suite, including a new "Burn-up Chart" for tracking progress; user-defined interactive tables to dynamically summarize activity; and better tools for understanding the big picture for a project or milestone. This release also includes major under-the-hood improvements to TeamPage's forms SDK to make it easier for developers to create custom forms or customized variations of standard forms
Traction TeamPage 6.0
First released in April 2014, TeamPage 6.0 incorporates a new look for the Proteus skin; new extensible form technology; an updated and improved rich text editor; integration with the open source Jetty Web server; a redesigned administrative interface; improved PDF export, and many other user interface, internal architecture, and performance improvements. TeamPage 6.0 security improvements include the use of the latest industry standard procedures and cryptographic algorithms for password security, including the PBKDF2 standard (i.e., IETF RFC 2898). TeamPage also now tracks recent authentication attempts for each user account. Administrators can access this information for any user at any time, and each user can always access this information for their own account. Security conscious administrators also have the option to require that each user review a summary of the previous successful and failed attempts to authenticate with their user name. TeamPage 6.0 also incorporates capabilities, fixes, and improvements from all incremental releases of TeamPage 5.2 from its introduction to TeamPage 5.2 (70) in Jan 2014.
TeamPage Fall 2014 releases: New features include: support for @ style user "mentions"; updated popup profile card, profile page, and unified search to make @ user names more visible; interactive @ name autocompletion works in TeamPage articles, comments and status posts; a new combo-box control for entry forms that supports type-ahead completion for spaces, projects, and milestones; moving entries between spaces. Other changes include: TeamPage SDK updates; internationalization updates; performance improvements and bug fixes.
TeamPage Summer 2014 releases: New in-page push notifications (like Google+ or Twitter) in addition to email-based notification. The Notification user interface makes it simple to Watch activity in any Space, or activity associated with any Person, Tag, or Article. TeamPage also supports automatic notifications based on any Task you're mentioned in, discussions you've participated in, or changes to Articles you've created with a newly streamlined user interface. Added password strength, revocation, and expiration policy controls.
Traction TeamPage 5.2
First released in June 2011, Traction® TeamPage 5.2 introduced new capabilities to make it simple to track actions, show activity, watch status, and follow discussions embedded in the flow of collaborative work. TeamPage 5.2's new activity dashboards show actions, status and work in context using a format that's easy to read and reduces information overload. Activity dashboards allow people dive into and watch activity associated with projects or milestones they want to focus on, while also seeing, searching, exploring and connecting with others across a broad range of actions organized by business context as well as by person. TeamPage 5.2 also introduced drag-and-drop file upload and image insertion for Web browsers supporting the new HTML 5 standard.
TeamPage Fall 2013 releases include: Upgrade to Java 7 as default and recommended Java version; Compatible with Attivio AIE release 3.5.1; Improved developer SDK support for custom entry types; Improved YouTube widget; improved feedback and erase features; developer updates; bug fixes and performance improvements.
TeamPage Spring 2013 release includes: unified search for quick lookup of people, spaces, tasks, projects and milestones; "finish later" and autosave support for articles, tasks, projects, milestones and comments; updated IOS 6 iPad and iPhone support; streamlined header design and navigation; Cloud pricing options starting at less than $2.50 per user per month for 25 user accounts, first month free.
TeamPage Winter 2012 release includes: Calendar Events used to record meeting and other dates can be created, edited and shown along with project, milestone, and task related dates. Project, task and milestone dashboards can now shown Twitter style status dialog focused on that specific activity; zoom out to see all status dialog in a space, from a person, or a merge stream of all status your have permission to see; type-ahead navigation and Attivio query completion suggestions; emailed notifications include a list of attached files; new sort options for Project, Milestone, Task sections; Java 7 update; user interface and performance improvements;
TeamPage Summer 2012 release includes: one-click action to allow TeamPage members to invite other people to join a TeamPage space (automatically creating account and adjusting permissions as needed per configurable rules); section table widget shows entry properties, including properties added as entry, task and custom entry type extensions; updated WordML export; new developer SDK/SDL features; rewritten SDL documentation with FAQ and tree-structured index of SDL tags.
Traction TeamPage 5.1
Released in December 2010, Traction® TeamPage 5.1 introduces integrated action tracking for improved team performance. TeamPage 5.1 makes it easy for individuals to see their own action plans, the status of shared projects, team workload, individual progress, and team progress toward common goals – all within the context of the TeamPage platform where work can be planned, discussed and done. One click can add a task tag to any Traction page, comment, status post or paragraph, with automatic rollup of actions by person, date, milestone or project. Projects can be used to collect a set of tasks and milestones to organize activities by date or common goal
Traction TeamPage 5.0
Released in June 2010, Traction® TeamPage 5.0's new generation interface technology is fast, simple, and looks great. TeamPage 5.0 leverages Google Web Toolkit (GWT) technology to deliver a pure Web browser interface that looks and acts more like a native client that a Web application. TeamPage 5.0 integrates personal profile pages, Twitter style personal status, a top-down Feed view of activity and more as a natural part of Traction's award winning Enterprise 2.0 collaboration platform. TeamPage 5.0 puts social software to work for activities that matter most for your business including new product development, sales, life cycle product support, communication with clients and sales partners, collaboration with customers and key suppliers, tracking business issues, marketing, and competitive intelligence.
Traction TeamPage 4.0
Released in June 2008, Traction® TeamPage 4.0 introduced unique and powerful features for moderation-in-place (including the ability to see, search and navigate the whole system in "published" vs. "draft" state), wiki page name management (including exceptionally robust name drop, change, add, cross-wiki aliasing and name change history), and personal profile pages. E-Mail notification, a Jabber IM Notification plug-in, and article templates are other new features of 4.0.
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The front page of a TeamPage server shows a top level dashboard summary along with tabs for a roll up of all Twitter style updates, post / edit / moderation activity, a top level tag cloud and top level shared folder view. The front page view shows a roll-up across all spaces you have permission to read - you can also dive into any space to focus on a particular business context with its own custom configured dashboard. The Status tab includes a button to launch a separate Updates window that automatically refreshes to show new updates as they're posted and field at the top post your own status updates.
This shows a single page with an inline image. Wile Coyote posted an inline comment after the first paragraph. TeamPage allows multi-level comment threads or tags to be attached to specific paragraphs as well as the entire page. The shaded background of the comment is a visual cue that the comment is posted to a different (and generally more private) space. Clicking the name of an author pops up a mini-profile showing that person's name, basic contact information, last status post and a button that links to that person's full profile. If you click on your own name, the second button says "Edit Profile"; if you click on someone else's name the second button says "Follow" or "Unfollow".
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Each TeamPage user has a profile page that includes basic contact information such as email address and telephone number that can be automatically pulled from an Active Directory or LDAP store (if present) along with an extensible list of editable fields. Profiles include a customizable personal Dashboard page as well as automatically maintained status and activity summaries for that person.


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Mountains<<- click above to return to that Gallery.
Sunrise light on Lone Pine Peak above the Alabama Hills, near Lone Pine, Eastern Sierra, California
A1106, Alabama Hills, Beautiful, Beauty, Beauty In Nature, CA, California, Color, Colour, Eastern Sierra, Environment, Glow, Glowing, Golden, Harsh, Jagged, Landscape, Light, Lone Pine, Lone Pine Peak, Mount Whitney, Mountain, Mountain Range, Mountain Ranges, Mountainous, Mountains, Mt. Whitney, Natural, natural beauty, Nature, Outdoor, Outdoors, Outside, Peak, Peaks, picturesque, pretty, Remote, Rocky, Rugged, Scenic, Sky, Summit, Sunlight, Sunrise, Sunshine, Terrain, U.S., U.S.A., United States, United States Of America, unspoiled, US, USA, vertical
All images are copyrighted © Gary Crabbe / Enlightened Images and may not be used without advance written permission and payment of an associated license fee. For more information: COPYRIGHT


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UPSSSC Combined Technical Services General Recruitment Examination 2016 Notification/ Admit Card: Uttar Pradesh Subordinate Services Selection Commission (UPSSSC), Lucknow has released Combined Technical Services General Recruitment Examination 2016 notification for filling up various 292 vacant posts in various departments of state. Eligible candidates can apply online from 07.112016 to 28.11.2016 using link given below. Other details like age limit, educational qualification, fees, selection process & how to apply are given below........
Total No. of Posts: 292
Name of the Category:
1. General: 176 Posts
2. OBC: 65 Posts
3. SC: 48 Posts
4. ST: 03 Posts
Qualification: Please refer official detail given below.
Age Limit: Born not earlier than 02.07.1976 and not later than 01.07.1995/ 1998. Relaxation would be applicable for candidates belonging to reserved categories as per Govt. rules.
Fees: Rs.25/- for PH candidates, Rs.95/- for SC/ ST candidates and Rs.185/- for all other candidates.
Selection Process: Selection will be based on performance in Written Exam and Interview.
How to Apply: Eligible & Interested candidates can apply online from 07.112016 to 28.11.2016 using link given below. The applicant need not send any documents such as print out of online application.
Important Dates:
Start Date to Register: 07.11.2016
Last Date to Register: 24.11.2016
Last Date for Deposition of Fee: 26.11.2016
Last Date for Final Submission: 28.11.2016


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A tradition that traces its roots back more than 700 years to St. Francis of Assisi is alive and well in Northeast Georgia.
Between now and Christmas Eve, a host of local churches will present ''living Nativities,'' a chance for people to experience what things might have been like at the time and place of the birth of Jesus Christ, as recorded in the Bible in the Gospel of Luke.
Routinely, these living Nativities will include church members acting out the roles of Jesus' mother Mary, her husband, Joseph, the innkeeper who turned them away, and the shepherds to whom Jesus' birth was announced, according to the biblical account.
Some of the more elaborate Nativities will recreate the atmosphere in the Judean town of Bethlehem where Luke's gospel says Christ was born. These Nativities will include shopkeepers as well as people arriving in town for the census that Luke's gospel says was under way at the time.
According to the revised edition of the classic ''Butler's Lives of the Saints,'' Francis staged the first living Nativity on Christmas Eve in 1223 in the Italian town of Greccio. According to tradition, the scene, in a cave near the town, included carved figures along with live animals.
'Live' Nativity scenes
A number of area churches are hosting live Nativity scenes as Christmas approaches. Live Nativity scenes in Northeast Georgia include the following:
Journey Through Bethlehem -- 7-9 p.m. today and Sunday, Trinity Baptist Church, 2411 U.S. Highway 29 North, Danielsville; a tour of Bethlehem as it appeared at the time of Jesus' birth; free; (706) 795-3718.
Bethlehem Marketplace -- 7-9 p.m. today and Sunday, Tuckston United Methodist Church Family Life Center, 4175 Lexington Road; visit Bethlehem as it might have appeared at time of Christ's birth; live animals, interaction with people of Bethlehem and Holy Family; free; Judy Williams, (706) 353-1311.
Live Nativity -- 6-9 p.m. today and Sunday; Bethel E. Baptist Church, 2576 Calhoun Falls Highway, Elberton; camels, donkeys, sheep and cows are included in the live reenactment of the night of Christ's birth; also, visit King Herod's palace, the marketplace and the home of Mary and Joseph; drive or walk through; (706) 283-7610 or (706) 213-8937.
17th Annual Luminaries and Live Nativity -- 6:30-9:30 p.m. Dec. 15; community tradition featuring luminaries on 10-mile route of country roads, live Nativity scene, carolers and other Christmas scenes; from Athens, go north on U.S. Highway 29 toward Danielsville, turn left onto Booger Hill Road, continue 3.5 miles to view Nativity scene on right, take a right onto Moon's Grove Road; free; (706) 795-3430.
Live Nativity Scene -- 7-8:30 p.m. Dec. 22-24, Friendship Christian Church, 285 Tallassee Road (at intersection of Whitehead and Tallassee roads); story of birth of Christ is told with live characters and animals, narration and music; free; Sandy Wilkinson, (706) 548-3474.
Francis apparently set up the living Nativity as a response to the ornate gold, silver and jewel-encrusted scenes used in cathedrals of the day.
According to ''Butler's Lives of the Saints,'' Francis announced his intention to a friend by saying, ''I would make a memorial of that Child who was born in Bethlehem and in some sort behold with bodily eyes the hardships of His infant state, lying on hay in a manger with the ox and the ass standing by.''
According to tradition, people from the area of Greccio came to the cave, with candles and torches illuminating the way, to behold Francis' creation.
An early Francis biographer, quoted in Christianity Today, noted that with the Nativity scene, ''simplicity was honored, poverty exalted, humility praised,'' and Greccio ''was made a new Bethlehem.''
This year, for the first time, the grounds of Trinity Baptist Church, on U.S. Highway 29 in Danielsville, will become ''a new Bethlehem.''
While many live Nativities are self-guided, the Nativity at Trinity Baptist, set for 7-9 p.m. tonight and Sunday, will include tour guides who will take visitors through Christmas Eve vignettes.
First stop on the 10-minute tour will be a place in Bethlehem where traders and those arriving for the census are meeting and haggling over the prices of various goods. From there, visitors will be taken to the inn from which Mary and Joseph have been turned away.
As visitors move away from the inn, they will be met by shepherds running toward the city in response to the announcement of Jesus's birth by angels. Visitors will also see the angel Gabriel explaining the true meaning of Christmas to the shepherds.
Robby Brown, pastor of Trinity Baptist, said the tour is made relatively brief by design, to help those harried by the bustle of the holiday season take at least some time to reflect on Christ's birth.
This year, Brown said, in light of the Sept. 11 terrorist attacks and their aftermath, he expects people to be particularly cognizant of references to Jesus as the Prince of Peace.
That peace, he said, can be understood in the context of ''the reconciled relationship we have with God.''
Published in the Athens Banner-Herald on Saturday, December 8, 2001.
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6 Wheelchair Accessories to Make Your Life Easier
Category: Wheelchair Seating and Positioning
November 12, 2015
A wheelchair is a fantastic mobility device, but the stock wheelchair you purchased online or from your local Maryland wheelchair showroom is probably far from perfect. And it's not surprising because every person is different in their unique health and comfort needs. Thankfully, there are many different accessories for wheelchair users to help make your life easier. Here are a few of these accessories that many of our clients enjoy and use on a daily basis.
Wheelchair Cushions
If you've ever had to sit in an uncomfortable chair, you would know what a torture it can be. Now imagine spending an entire day in it! If you are considering purchasing a wheelchair, be sure to also look into seat cushions. With the right cushion, you won't feel as much discomfort and won't suffer as much skin breakdown as you would with a poorly fitted chair. From simple inflatable donut cushions to textured foam and gel cushions, there are plenty of options to choose from. Not sure where to get started? Just let us know your main concerns and areas of discomfort and Freedom Mobility specialists will help you narrow down your choices.
Wheelchair Positioning Aids
Positioning aids are more of a must-have accessory than something you get only for comfort. If maintaining a certain position of the spine, neck, knees or feet is crucial to a successful recovery or to staying pain-free, then you should invest in good positioning aids. These aids may include add-ons like wheelchair backs, straps, belts and harnesses, positioning pillows, arm supports, knee separators and many other items. Positioning aids can also be used to help restrain a person to prevent them from falling out of a wheelchair, especially if they don't have full control of their upper body.
Storage Pouches
If you spend a lot of time in your wheelchair, you probably want to carry your essentials around with you. However, most wheelchairs don't come with any storage options. Thankfully, you can purchase them separately and hang them on the side or back of your wheelchair. Most storage pouches have enough space to hold your glasses, cellphone, wallet, keys, a book or a magazine and a bottle of water. Backpack-style pouches are designed mostly for wheelchair users who are pushed by someone, so that your assistant can easily store and access everything you need—they can be convenient for longer trips.
Heating and Cooling Pads
Depending on your condition that caused you to become a wheelchair user, you may have trouble regulating your body temperature. You may be cold most of the time, or you might have hot flashes that leave you sweating. Either way, turning your thermostat up or down all the time can get expensive. A better solution may be to heat or cool you instead of the entire house. There are cooling options available, including cooling seat cushions. As for increasing body temperature, heating vests, cushions and blankets should be used with great care, especially if you have poor skin sensitivity. It's easy to get a burn if a heating pad or blanket remains in contact with skin for a long time—constant supervision is necessary.
Lap Desk / Serving Trey
If you are in a wheelchair for most of the day, you probably read in it, watch TV, work in it, and maybe even eat and nap in it. Why not make all these activities more convenient with a lap desk or a serving trey that attaches securely to your wheelchair or sits on top of your knees? Some lap desks are designed to clamp to your wheelchair's bottom framing, so that the height of the desk can be adjusted. Put your laptop on it, write or take notes, draw, craft or do whatever you are up to. Many lap desks also feature a cup holder for your drink, grippy surface and a lip around the edge, so that nothing slides off.
Wheelchair Gloves
If you have a manual wheelchair that you use a lot, wheelchair gloves are a great accessory to have. They provide extra grip and protect your hands from blisters, especially if you need to travel long distances. Wheelchair gloves are specifically made for operating a manual wheelchair. Regular gloves won't be very useful in this situation and will fall apart fast from all the friction.
Interested in purchasing any of these accessories? Our Hanover, MD showroom has many of them in stock, plus you get an experienced assistant to help you pick the right equipment. We recommend trying some of these things out before you buy, especially wheelchair seat cushions and positioning aids. You want to make sure they feel right before you commit. Call us, contact us online or visit our showroom for a consultation!
Click Here to View Service Areas
Anne Arundel County Mobility Solutions: Annapolis (21401, 21403, 21409), Arnold (21012), Crofton (21114), Crownsville (21032), Gambrills (21054), Glen Burnie (21060, 21061), Hanover (21076), Jessup (20794), Pasadena (21122), Severn (21144), Severna Park (21146).
Montgomery County Mobility Solutions: Olney (20832), Damascus (20872), Silver Spring (20910), Clarksburg (20871), Germantown (20876), Gaithersburg (20878), Laytonsville (20882), Chevy Chase (20815), Bethesda (20816), and more.
Howard County Mobility Solutions: Clarksville (21029), Cooksville (21723), Columbia (21044), Dorsey (21075), Elkridge (21075), Glenelg (21737), Ellicott City (21043), Fulton (20759), Glenwood (21738), Granite (21163), Hanover (21076), Jessup (20794), Lisbon (21765), Highland (20777), Marriottsville (21104), West Friendship (21794), North Laurel (20723), Woodbine (21797), Woodstock (21163), and more.
Carroll County Mobility Solutions: Eldersburg (21784), Finksburg (21048), Union Bridge (21791), Hampstead (21074), Manchester (21102), Taneytown (21787), Westminster (21157, 21158), New Windsor (21776), Sykesville (21784), Marriottsville (21104), Woodbine (21797), Taneytown (21787), Mount Airy (21771), and more.
Baltimore County Mobility Solutions: Arbutus (21227), Cockeysville (21030, 21031, 21065), Dundalk (21222), Essex (21221), Catonsville (21228, 21250), Garrison (21055), Lansdowne (21227), Lochearn (21207), Lutherville (21093), Edgemere (21219), Middle River (21220), Overlea (21236), Owings Mills (21117), Parkville (21234), Park Heights (21215), Pikesville (21208), Milford Mill (21244), Randallstown (21133), Rosedale (21237), Timonium (21093), Towson (21204), Reisterstown (21136), White Marsh (21162), Woodlawn (21207), and more.
Frederick County Mobility Solutions: Frederick (21701, 20702, 21703, 21709), Mount Airy (21771), Urbana (21704), Libertytown (21762), Ijamsville (21754), Walkersville (21793), New Market (21774) , Damascus (20872), and more.
Washington, DC and Northern Virginia


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Dirt Squirrel
November 4, 2010 by Post Team
Dirt Squirrel, Best. Survivor. Sendoff. Ever. "You're a 100 percent grade-A ground squirrel." The players were at Tribal Council again tonight, with new faces, with the same old fool and a surprise: a castaway in a rodent problem. So why did the squirrel go flying camp at home pal Bullwinkle Rocky?
For one thing, squirrels Alina was not in the Alliance of Minorities. She has lost its original allies, Shannon and Kelly B., and nobody likes orange food-sucking bandits. Dirt or squirrels.
Keyboard Cat: When I met him in Nicaragua, Benry struck me as a kind of Douchey it was advertised as a "Hollywood actor", after all, but the way he played Alina off tonight was pure entertainment. Is it playing the game as if-Sash and Brenda? It's hard to say, but I hope Benry left more hate in him for his tribemates others. For example. .
"I Can Play Dirty": The curtains are back on the Nasty Show NaOnka, but Dan is just naive enough to believe his alliance would punish Bandit tortillas, not yet. Even if it makes Jeff Probst "voiceless" and offers pixilated finger salute to his tribemates to Tribal Council next week, nay still immunity idol to protect her. But who will protect the poor against Fabio's bullying?
Book of Moron: Marty's mouth needs to close the T. Jimmy instead. He came thisclose to be ousted because of his paranoid ramblings. (Courts of ancient history: paranoia Jamie Guatemala so upset his tribemates they changed their vote and sent home.) And Marty is still talking about Jane's personal woes as "the saddest story ever on Earth? It Icky-not just high ranking on the scale of "I stole your food" to "I'll throw your artificial leg into the fire", but still … ick.
GI Jane: Chase and his colleagues from North Carolina brought a little fun to the episode tonight, even if they bonded over their shared grief. Hopefully it will give South BFF Jane few lessons from cold, because these dances and horn fish are boring and it would be good to have at least one person aged around taking care of babies.
Headdesk: As Jeff said, Alina is the first member of the Survivor jury of Nicaragua, which means … we're stuck with Dan until the bitter end!
Next week on Survivor: Unless the Medallion of Power has risen for the sole purpose of saving Marty, it should be the next to go. Right?
Please feel free to send if you have any questions regarding this post , you can contact on
Disclaimer: The views expressed on this site are that of the authors and not necessarily that of U.S.S.POST.


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TBDC is a joint effort between the Lone Star Chapter and the Texas Central Hemophilia Foundation, bringing over 800 people from all over the state of Texas together for a weekend of education, networking, and fun. Educational sessions are available for every step of life with a bleeding disorder. A fun Final Night event wraps up the weekend, with activities for the whole family.
To learn more email us at firstname.lastname@example.com!


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Back on the Ice!
Alma Travel Blog› entry 1 of 1 › view all entries
I went to a Superbowl party on Sunday and at this party was fortunate to meet some people who love to ice climb. They told my friend and I about a place that was a mere 10 miles from my house that had great ice with a good variety of difficulty. I haven't ice climbed for years, but I never lost the urge to do it, just the means. My friend Scott and I had planned to spend our Monday hiking up one of the 14,000 footers that we haven't been on yet, but when we got talking about ice climbing, we decided to do that instead. Mary, one of the people whom we were chatting with at the party said that she had been out climbing that day, and that she would be willing to take us up to the area and lead a few pitches for us. So up we went! I was a bit nervous, as I haven't swung an ice axe in quite a while.
Also, when I am climbing with someone I don't know very well, I am always cautious because you never know what someone else perception of safe climbing is. It quickly became obvious that Mary knew what she was doing, which allowed me to relax and just enjoy the climbing. We climbed somewhat slow, which is to be expected as there were 3 of us and Scott and I forgot a lot of our efficiency habits, rope management, etc. For the first part of the climb it was snowing relentlessly, but as we got up to the top of the first pitch, the sun started to fight its way out and the snow abated. I felt great on the first pitch, a lot of techniques and craft came back to me as I moved up the climb. The second pitch was a bit tougher - at one point I pretty much lost the feelings in my fingers, which is not a happy feeling when you are using your hands to keep you from tumbling off the ice slope.
Luckily I pushed through the crux of the second pitch and was able to hurry up the snow slope to the anchor in time to put on my warmer gloves and keep all my fingers. Note to self - I need to buy better ice climbing gloves. Scotty came up behind me and we marched off to the snow chute located on the side of the climb for a fun glissade to the bottom. We topped off the day with a beer and some cheap Mexican food at the South Park Saloon in lovely downtown


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EBA publishes impact assessment on LCR: EBA has published its impact assessment report for liquidity coverage requirements. It concludes that banks' compliance with the liquidity coverage ratio (LCR) has improved and that implementing it is not likely to negatively impact on financial market stability and the supply of bank lending. (Source: EBA Publishes Impact Assessment on LCR)
EBA publishes views on securitisations: EBA has published the responses to its discussion paper on simple, standard and transparent securitisations. The paper is EBA's initial response to the Commission's request for advice on identifying a prudentially sound securitisation market and its regulatory treatment. The consultation closed on 14 January. The comments of 34 respondents have been published. (Source: Discussion Paper on Simple, Standard and Transparent Securitisations)
EBA updates Single Rulebook Q&A: EBA has added 15 new questions to the Single Rulebook Q&A. (Source: EBA Single Rulebook Q&A)


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Big whore Lexxxi Lockhart stripping slowly and giving hot blowjob
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Editor's choice - Kitchens + bathrooms
Clean living
Italian kitchen-maker Valcucine has taken design to a new level. The company, which opened its flagship shop in Hong Kong in March, prides itself in its craftsmanship, hi-tech functionality and eco-concepts. The brand's 6,000 sq ft showroom in Happy Valley showcases a range of state-of-the-art concepts, pushing the boundaries of design with revolutionary materials such as aluminium alloys, tempered glasses, carbon fibre and stainless steel. For details, visit www.valcucine.com
Hob nobbing
Home chefs rejoice: domestic appliance maker Miele has created the ultimate range of kitchen cooking centres tailored to the Hong Kong market. The CombiSet - ProfiLine range of grills, hobs and woks has been designed to meet the exacting demands of modern fine cuisine with a wide range of options to personalise kitchens to individual preferences. The Salamander Grill is ideal for gratins, glazing or just keeping dishes warm. Now get cooking. For more information, go to www.miele.hk
Past pleasures
The Memory collection by Spanish designer Patricia Urquiola soaks up more than its fair share of elegance. While the past is the inspiration for the Victorian-looking free-standing bathtubs and sink units, the designer has given them a fresh look by using modern materials such as the composite Cristalplant. Since opening her own design studio in 2001, Urquiola's output has been prolific and she's lucky enough to have some of the best design houses on speed dial: De Padova, B&B Italia, Alessi, Driade, Kartell, Flos and Moroso, to name a few. A name to watch.
Classic touch
Inspired by fashion designer Coco Chanel, the Coco bathroom collection by Italian designer Paola Navone raises the sophistication bar. Designed with femininity in mind, it features polished and lacquered textures in black and white. The vanity (above) is made with white oak and the sink is ceramic. Falper also has a line of beautifully designed products that includes basins, bathtubs, mirrors, lighting and taps. Visit www.falper.it for more.
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Pattern - Oriented Software Architecture A System of Patterns Frank Buschmann, Regine Meunier, Hans Rohnert, Peter Sommerlad, Michael Stal of Siemens AG, Germany Pattern-oriented software architecture is a new approach to software development. This book represents the progression and evolution of the pattern approach into a system of patterns capable of describing and documenting large-scale applications. A pattern system provides, on one level, a pool of proven solutions to many recurring design problems. On another it shows how to combine individual patterns into heterogeneous structures and as such it can be used to facilitate a constructive development of software systems. Uniquely, the patterns that are presented in this book span several levels of abstraction, from high-level architectural patterns and medium-level design patterns to low-level idioms. The intention of, and motivation for, this book is to support both novices and experts in software development. Novices will gain from the experience inherent in pattern descriptions and experts will hopefully make use of, add to, extend and modify patterns to tailor them to their own needs. None of the pattern descriptions are cast in stone and, just as they are borne from experience, it is expected that further use will feed in and refine individual patterns and produce an evolving system of patterns. Visit our Web Page http://www.wiley.com/compbooks/
An introduction to the concept of patterns and the principles of pattern description are followed by sections providing a catalog of patterns, an argument for the importance of organizing patterns into systems, discussion of how patterns are embedded into software architecture, a history of patterns and related work, and a view to the future. Annotation c. by Book News, Inc., Portland, Or.


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Convalescing Trailer (2000)
"Convalescing, when you don't have to participate in the world. Time to read, to dream, to look - the blue, the light of the television, the blue, the book, the patterns the light, the blue. Time to appreciate how much that really is."
Watch the official Convalescing 2000 trailer in HD below or find more Convalescing videos on Vidimovie.


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Boracay Beach Club
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Boracay Beach Club
About the hotel
Property Location
With a stay at Boracay Beach Club in Boracay Island (Balabag), you'll be minutes from Willy's Rock and Holy Rosary Church. This beach hotel is within close proximity of Boat Station 1 and Happy Dreamland.
Make yourself at home in one of the air-conditioned rooms featuring refrigerators and minibars. Flat-screen televisions with cable programming provide entertainment, while complimentary wireless Internet access keeps you connected. Bathrooms have showers and complimentary toiletries. Conveniences include safes and complimentary newspapers, and housekeeping is provided daily.
Rec, Spa, Premium Amenities
Pamper yourself with onsite massages or enjoy recreation amenities such as an outdoor pool. Additional amenities include complimentary wireless Internet access and concierge services.
Grab a bite to eat at the hotel's beachfront restaurant, or stay in and take advantage of room service (during limited hours). A complimentary cooked-to-order breakfast is served daily.
Business, Other Amenities
Featured amenities include a business center, dry cleaning/laundry services, and a 24-hour front desk.
Hotel Facilities
- One meeting room
- 24-hour front desk
- Business center
- Free breakfast
- Garden
- Luggage storage
- Concierge services
- Safe-deposit box at front desk
- Restaurant
- Outdoor pool
- Free WiFi
- Designated smoking areas
- Rooftop terrace
- Dry cleaning/laundry service
- Pool sun loungers
Room Facilities
- Free newspaper
- Minibar
- Free WiFi
- Refrigerator
- Rollaway/extra beds (free)
- Free toiletries
- Free cribs/infant beds
- Daily housekeeping
- Flat-panel TV
- Private bathroom
- Shower only
- In-room safe
- Cable TV service
- Room service (limited hours)
- Air conditioning
Hotel Policy
Know Before You Go
- No pets and no service animals are allowed at this property.


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MARIETTA, Ga. -- Police in Cobb County say the husband of a woman found dead inside her home has turned himself in to authorities.
According to the Cobb County Police Department, officers went to a home at 936 Liberty Hill Road around 11:30 a.m. to perform a welfare check. When officers got to there, they found the body of 66-year-old Roxanne Eaton.
Investigators had been looking into what led Eaton's death when they said her husband Donny Eaton turned himself over to Bartow County authorities. The 64-year-old has since been transferred and is being held without bond at the Cobb County Adult Detention Center. He's been charged with Felony Murder and Aggravated Assault.
The Cobb County Medical Examiner's Office has not confirmed how Eaton died, but investigators said they suspect foul play in her death.
No other information is known at this time.


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There isn't any better time than Halloween to pay tribute to the ghosts of our childhood past. Becoming a parent provides the unique opportunity to revisit these ghosts and see them in a whole new way. What do I mean by this? Many of us struggle with images from our childhood of parents or relatives who were very strict, very permissive, or just plain ill-equipped to parent. For some of us, our ghost may take the form a strict disciplinarian. We might struggle with setting limits in our own families for this reason, in our attempts to not be the same way. Or maybe you come from a family of certified yellers, and it's difficult for you to keep calm and in control while you parent.
I talk to quite a few parents on the 1-on-1 Coach who struggle to be in charge of some of their own ghosts instead of letting the ghosts run the show. Even before I became pregnant, I tried to picture what my ghosts would look like and if I would be okay when they came to visit. Inherently, becoming a parent invites you to hold the mirror up to yourself. Part of what reflects back is how you were parented. In the midst of all those images, experiences, and feelings that get conjured up, you begin to form ideas about what things you want to replicate in your own relationship with your children — and vow to not do the things that bothered you as a kid. (The "I'll never do what my mom/dad did!" moment.)
Of course, we all find ourselves doing exactly what our parents did (and we vowed we wouldn't do) from time to time. The beauty of it is, we don't have to be stuck in the past. We can change, even though it's one of the hardest things we might ever tackle. James Lehman says that sometimes as parents we find ourselves trying to push past what comes naturally (and that isn't working any longer) in order to try something different that will be uncomfortable. I'm not one that particularly enjoys being uncomfortable in any sense of the word, but being a parent has forced me to step out of my comfort zone. I have found that when those moments of discomfort pass, and they can be so tough, you're able to see that you have the power to reshape yourself into a more loving and giving parent.
What I've realized is that while the ghosts of our childhoods might cause us to mourn what we didn't have at times, they can also move us to celebrate what we have gained.
What ghosts are you struggling with Which ones have you already conquered
About Tina Wakefield
As a 1-on-1 Coach, Tina Wakefield coached parents on techniques from the Total Transformation, as well as Empowering Parents' other programs, for over 8 years. Tina is also a mother and stepmother.


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Our wonderful home, Tony's Conoco, needs care - including paint and roof repair. Maintaining this historic treasure is inherent to our mission and is a way that we keep our history alive and vital. Please consider making a donation towards this important campaign by clicking on the donate button at the bottom of this page. Thank you for your support!Donate Now
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Glo Cunningham, Outreach Coordinator
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Barbara Mason, Cashier
Ana Lindgren-Rubin, Cashier


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|Brock's flock keep faith at Panorama
Trevor Vandenberg travelled from Newcastle to join more than 1000 race fans crowding Pit Lane at Mount Panorama yesterday. more
20 September 2006
|History of Brock Commodores
Since the original Brock Commodore in 1980, the performance modified Holdens have been a favourite with enthusiasts. more
18 September 2006
|Full steam ahead for Brock film
Australia's greatest driver is to be immortalised in film, reports DANIEL ZIFFER. more
15 September 2006
|Brock Commodores are now 'priceless'
While fans were bidding silly money for Peter Brock memorabilia in online auctions this week, it seems the real money will be spent on the cars that wore his signature. more
15 September 2006
|Legacy of a Legend
Brock Commodores carry on the spirit of a motor sport hero. By ANDREW HEASLEY. more
13 September 2006
|Silent passing as Brock flies home
The two women in Peter Brock's life did not exchange greetings or acknowledge each other as the motor racing legend's body was returned to his home city of Melbourne last night. more
13 September 2006
|Family and friends gather as Brock comes home
Peter Brock returned to his home town of Melbourne acompanied by friends and family. more
13 September 2006
|Favoured race circuit may host Brock's last lap
The motor racing star Peter Brock could be honoured with a public memorial service at the scene of many of his most famous victories. more
12 September 2006
|Black Box holds clues
The computer device was prised from the wreck of Brock's Cobra Daytona yesterday morning. more
12 September 2006
|Drivers demand bitumen racing ban
Drivers' call for bitumen racing ban would have angered Brock, says JIM RICHARDS. more
11 September 2006
|Girlfriend remembers
Peter Brock's partner, Julie Bamford, has broken her silence about the champion driver's death, and their relationship, declaring she will "love him forever". more
11 September 2006
|State funeral for Brock
Racing legend Peter Brock will be farewelled in style after his family accepted the Victorian government's offer of a state funeral. more
9 September 2006
|Rally is test for man, not machine
TARGA rallies are designed to test drivers rather than their vehicles. more
9 September 2006
|'I've got to get to grips with this car'
Racing legend Peter Brock's fear before fatal crash. more
9 September 2006
|Australia honours an icon
Brock's children accept the offer of a Victorian state funeral for Australia's greatest motorsport icon, reports DANIEL DASEY. more
9 September 2006
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BROCK: News from the days and weeks following Peter Brock's death
Read drive.com.au's archive of the stories published after Peter Brock's tragic death.
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text: Man created In the image of God. Source: What does it mean that man is made in the image of God? When you think about it, we are levels below God, what do I mean? Well we can create, but we are under His creation. We can create some pretty cool things ourselves, but at the end of the day we are creating them from Gods original creation. Thus pretty much turning it back to God Himself, because without His creation, we would have nothing to create, we wouldn't even exist. So yes we can create and we can do that pretty well, thanks to God creating us somewhat like Him.. But at the end of each day, Gods still the all powerful one and we have nothing to boast except His amazing ability to create. God bless.


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simple, asymmetrical + edgy.
a round ice diamond adds contrast and asymmetry to this unique piece.
-2mm round ice diamond is bezel set in 14kt gold
-gold bar measures 10 x 2mm
-hammered, polished band measures 1.5mm wide
© 2017 Alexis Russell
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Parking At London Description
Drive your car carefully and park it on the targeted destination.
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Chinese Wedding Guests forced Couple to Strip off and have Sex in front of them
A newlywed Chinese couple have been forced to strip naked and have sex in front of excited guests at their wedding. The couple were coerced into jumping in bed together moments after taking their vow in a video that appeared on Chinese social media sites and on YouTube.
Told to "act passionately" at the wedding party, the pair are seen jumping into bed, before being urged to hand over their underwear to friends. The newlyweds then laugh nervously as they simulate sex underneath the duvet.
The awkward video shows the bride being cheered on by friends shouting: "You climb onto his body now!" as the shy lovers hug. An amorous female guest does her best to reposition the woman's thigh over the top of her husband while another guest asks: "Are you two attached to each other?"
Under the pressure from the wedding guests, the naked couple hugged each other in the bed.
But the guests were not satisfied.
'You climb onto his body now!' A female guest can be heard commanding the bride.
Another female guest even pulled the bride's thigh to force her lay on the groom.
'Are you two attached to each other?' A third guest asked.
Afterwards, another female guest tried to help the couple have sex by pressing the bride's buttocks against the groom's body through the duvet.
The video also shows the mob attempting to remove the bed sheets off the two lovers, finally succeeding towards the end and exposing bare flesh to the camera.
In China, newlywed couples sometimes play rude or sex-themed games on their wedding night, often involving bananas or other props.
In a similar video, which appeared online in October this year a gang of wedding guests burst in on an unsuspecting bride and groom as they were having sex in a bed. The groom's friends tore off the bed sheets as the bride cried out in shock and tried to cover her husband's modesty.
A post on social media website Weibo, the Chinese equivalent of Twitter, claimed the bride and groom were from Zizhou county of Shaanxi province. One user wrote: "It's so scary. I don't want to get married," while another expressed bemusement: "How could the bridegroom laugh? His wife is being seen naked".
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Modern Romania: The End of Communism, the Failure of Democratic Reform, and the Theft of a Nation
Before we figured out we were going to Romania — the lady's work is sending her and I'm hitchhiking — I knew virtually nothing about the country. I read a bit about the region in books about the ancient and medieval times, but nothing so much as far as the country as it is today.
The country is geopolitically placed in a region that has seen more than its fair share of violence. The Ottomans for centuries have fought for the land and control over the people. The Romans, the barbarian tribes, the Huns, the Communists, the Mongols, everyone and their grandmother wanted a piece of this land.
After the dust settled after WWI and WWII, there was a country born. The book covers a bit about its pre-world wars history, but mainly focuses on the Romania we're about to visit. What I didn't know was how brutal its history has been, almost all the way til this day.
After the Communists were given an eviction letter, Nicolae Ceauşescu eventualy came to power on a nationalist platform. He did everything he could to turn this agricultural-based economy into an industrial one, and he was not afraid of doing it however he saw fit. He and his wife Elena redefined ruling with an iron fist. During his rule of over two decades, Ceauşescu led a brutal and repressive regime, some calling it the most Stalinist regime in the Soviet bloc. The people finally led a revolution in 1989 and overthrew the dictator, executing him and his people on Christmas day in 1989.
To think in 1989 I was living around the corner in Germany where my dad was stationed and no idea what was going on.
The book then goes on a whirlwind tour of the events that happened afterwards, covering Romanian politics from 1990 to 2005. During those 15 years, the country experienced some of the worst growing pains though it gained its independence from the Ottomans in the late 1870s. From Ion Iliescu to Emil Constantinescu to the various Prime Ministers, Modern Romania delivers a thorough and depressing account of the country that to this day is still defining itself. The Balkan Wars, the effort to join NATO and the EU, the spats with the Hungarians, the prejudices against the Jews and gypsies, the IMF relationship, the Russian relationship, the American relationship; the only thing missing from the book is more maps to develop a better picture of this country that barely existed before I read the book.
Prior to reading it, I primarily focused on the middle east, Africa, central Asia and ancient/medieval times. Modern Romania has piqued my interest to read more about Eastern Europe, the Balkans and the Soviet bloc countries after the fall of the USSR.
For now, though, I'm preparing to journey into this once unknown land to experience the Romania that Tom Gallagher has introduced me to.