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Book pages 223 through 228.
Copyrights for Laurel and Hardy films are owned by Hal Roach Studios for which Michael Agee is the chairman. Despite directly benefiting from the Copyright Term Extension Act (CTEA), Agee opposes the legislation. Even though Roach sells thousands of DVDs and video cassettes of these films, few of what they own still has any commercial value. The works sit in a vault, and even though what doesn't presently have value could be deemed valuable by the owners of the vault, the commercial benefits from the works must surpass the costs of making the work available for distribution in order for this to happen.
We cannot know the benefits described above, but we can know the costs. Today, film restoration, which used to cost thousands of dollars, can be done for hundreds. This leaves most costs to the hiring of lawyers, who are presently necessary in order to find and secure rights from the many copyright owners of a film. Thus the process of restoration for the preservation of film is time consuming and costly, and unfortunately it can be argued that the benefits do not outweigh the costs. Therefore we wait until the copyrights expire to restore them, but because these old films were produced on nitrate-based stock, by the time the term expires, the stock will have dissolved and there will be nothing left to restore.
This death of old film and creative works is the death of future works. Even is someone chooses to wait until the end of a copyright term to create a derivative work, the original work from which the person wishes to derive will no longer physically exist, making the creation of the derivative work quite difficult. Today we have digital copies of work with a much longer lifespan; however, if big media companies continue to push for term extensions such as the CTEA, works may never pass into the public domain and new works with potentially high commercial value as well as creativity will never be produced.
tagged copyright creativity film intellectual_property public_domain by alexisbb ...and 4 other people ...on 29-NOV-06
Also referred to as the Sonny Bono Copyright Term Extension Act or disapprovingly as the Mickey Mouse Protection Act, the Copyright Term Extension Act of 1998 extended copyright terms in the United States by twenty years. Previously, copyright lasted the life of the author plus fifty years, or seventy-five years for a work of corporate authorship; this act extended copyright to the life of the author plus seventy years and ninety-five years, respectively. Basically, this act halted the advancement of the public domain.
Supported by big media companies like Disney (ironically, considering many of Disney's famous and timeless creations are borrowed ideas) and by self-concerned artists' widows like Mary Bono, the proposal for this legislation hit the floor with a bang. At one point during debate Bono stated that Congress should consider the MPAA's Jack Valenti's proposal of a copyright term of "forever less one day." After supporting arguments such as the increasing length of human life expectancy and the negative global effects on the entertainment industry of differences between American and European copyright terms, Congress passed the legislation with a 105 to 298 vote.
However, as opponents of the act argue, this act is unconstitutional because such an act is not "necessary and proper" in accomplishing the Constitution's stated purpose of "promot[ing] the progress of science and the useful arts." In addition, a strong case can be made that under perpetual copyright, some works would not be created that would have been under limited-time copyright. This is due to the fact that few creators of distantly derivatives works have the money and resources necessary to seek out the original work's copyright owner or to purchase a license, and often enough original owners might even refuse a license. Thus it is made clear that a rich and constantly replenished public domain is necessary for the continuation of artistic creation.
tagged copyright intellectual_property protected_work public_domain by alexisbb ...and 2 other people ...on 29-NOV-06
The Digital Millennium Copyright Act, passed in 1998 under the Clinton administration, was an attempt by congress to address new and emerging technological advances that threatened copyrighted material. Congress, deciding that the Nation's copyright laws were becoming antiquated and often usless, decided to advance a project to move these areas of legislation into the digital age. The DMCA put a ban on any implement (both physical instrument and software) whose intended function was the circumvention of copyright safeguards. This legislation targeted devices such as VCRs, which were required to include copy prevention built-in, but focused even more on burgeoning internet technology such as peer-to-peer clients. DMCA Title II, for example, provides safe harbor to Internet Service Providers that comply and adhere to copyright guidelines, and agree to block the access of users who are shown to be committing copyright infringement.
As much as this legislation tries to protect works from being copyrighted in this new technological age, it is simultaneously hurting independent creators from distributing their content through one of the few networks they have left. Because copyright law has grown so much over the century, artists without fiscal resources to clear the ever expanding copyrights would often simply not create at all, or choose not to distribute their creations for fear of consequential lawsuits. But with the invention of the internet, authors and artists suddenly have a new way to get their work out to the public. The internet is a world-wide market where anyone can post and make available virtually anything. However, the DMCA is limiting the potential use of this valuable and incredible resource by allowing and facilitating the searching and taking down of every small bit of copyright infringement. If things continue in this direction, creativity and innovation will have no market or means of distribution.
tagged copyright intellectual_property public_domain by alexisbb ...and 10 other people ...on 29-NOV-06
Sometimes the issue is a little bit more complicated (although this is in no way simple) than obtaining permission from a copyright owner to use his or her work. Sometimes, the copyright owner cannot be located, and a whole new slew of questions arise. Does one use the work and take the risk of violating the law and possibly being sued, or does one refrain from using the best suited work and compensate with another less fitting work legally? These questions and the reasons for why they are too often being asked are the topic of this essay.
Recent changes in copyright law, three in particular, are the main culprit. They are automatic copyright protection, copyright renewals, and increased duration of copyright. Under previous U.S. copyright law, authors had to register their material in order to receive copyright protection. Today, anything that is created automatically is protected, and therefore many people don't bother registering their works, making it extremely difficult to track down the owner. In addition, copyright today doesn't need to be renewed because the duration of current copyrights is already significantly and outrageously long. This may make things easier for copyright owners who do not need to file paperwork, yet it makes things much more difficult for those trying to locate an owner because less paperwork is available to be searched through.
These issues prove to be daunting and intimidating to a person wanting to utilize something from a copyrighted work in their own creation. An independent or documentary filmmaker, for example, might have to restrain from using something that he or she feels best enhances the work because of an inability to locate the copyright owner of the work wanting to be borrowed. This is an obvious damper on creativity and significantly lowers the quality of future works. If gaining permission to use a copyrighted work is hard enough, imagine gaining permission from a person that doesn't even exist.
tagged copyright creativity film intellectual_property protected_work by alexisbb ...on 28-NOV-06
This landmark case deals with the concepts of digital sampling and fair use. Video Pipeline, a video promotion company, created trailers of home videos to be shown in stores. These videos, intended to benefit the store's sales, were shown in the store and consisted of film clips acquired from the film distributors. Video Pipeline continued this practice until 1997 when it considered the internet as a bigger, better, and more efficient way of distributing these previews. It viewed its idea as a sort of sampling; much like a person can often sample a few pages of a book in a bookstore before buying it, they wanted to make short clips of movies available for preview before purchase.
After a few years of this distribution, Disney told Video Pipeline to stop. However, Video Pipeline thought it was within their rights of fair use to distribute these clips and thus filed a lawsuit asking the court to declare that these rights were in fact theirs. Disney countersued for $100 million in damages. The court ruled in favor of the defendant, Disney, and claimed that because the trailers were compiled of exact clips, they were derivative works illegal under the law. In addition, the Plaintiff was ruled as violating performance and public display laws. Last but definitely not least, the court ruled that the trailers did not fall under the argument of fair use for lack of adherence to the factors of fair use, which are as follows: (1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; (2) the nature of the copyrighted work; (3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and (4) the effect of the use upon the potential market for or value for the copyrighted work.
This once again justifies the fear of filmmakers to borrow from copyrighted material, despite possible claims of fair use, because as is exemplified here, even a small borrowing of a film clip can cost millions.
tagged compensation_rights copyright creativity digital_sampling film intellectual_property money protected_work by alexisbb ...on 28-NOV-06
Once a work has entered the public domain, the original owner no longer has rights over it. This clause of copyright law has proven challenging as past copyright holders have attempted to reclaim their rights when it becomes suddenly convenient. This is the subject of the U.S. Supreme Court case Dastar Corp. v. Twentieth Century Fox Film Corp.
In 1948, Fox obtained rights to create a television series called Crusade in Europe based on a book written by Eisenhower and published by Doubleday. Doubleday renewed the copyright to the book in 1975; however, Fox chose not to renew their copyright on the series, which thus entered public domain in 1977. Dastar then took the series in 1995, edited and manipulated them, and repackaged them. They sold the new videos and credited Dastar employees as producers and not the original book or TV series.
Fox sued in 1998, attesting that Dastar had infringed on copyright and had "passed off" the work as their own. The district court found for Fox and awarded it double Dalstar's profits. Finally, the U.S. Supreme Court reversed the decision of the district court and another appeals court. In an 8-0 ruling, the court reasoned that once a work passes into the public domain, anyone in the public may do anything he or she wishes with it and does not have to attribute the author.
This court ruling helps promote creativity somewhat by assuring artists that anything in the public domain is fair game for their use in future works. However, there is still the fear that someone might try to claim rights, and often the potential battle isn't worth it. In addition, copyrights today, thanks to extensions, are so long that producers and publishers don't need to renew copyrights because they last well over the death of the author. Once again, the copyright monster scares small companies from creating for fear of infringement.
tagged compensation_rights copyright creativity digital_sampling documentary_film film intellectual_property public_domain by alexisbb ...on 28-NOV-06
In the world of copyright law, there is currently a major debate over whether or not the already granted extensions of copyrights are beneficial or detrimental to the creative process, and whether or not these extensions should continue to be made. Up to this point, lawyers have successfully defended copyright extensions as being "good for the arts" by preventing "dilutions" of artists' works. However, as Lawrence Lessig comments in the article, "[The media companies] have used their power to protect themselves against innovation, which is exactly what the copyright was originally set up to guard against."
If it weren't for the ability to borrow and manipulate, half of Disney's iconic figures that we as a society hold so close to our hearts, such as Mickey Mouse and Snow White, would never have existed. And the direction in which copyright is presently going could prevent the creation of future icons. As Lessig makes point of, artists should be compensated for their works, but such ridiculously long extensions of copyright are only hurting society. If these extensions had existed a hundred years ago, Disney would never have been able to create Steamboat Willie from Buster Keaton's Steamboat Bill Jr., nor would we ever have been able to enjoy Snow White or Cinderella, both clearly borrowed from the stories and tales of the Borthers Grimm.
This article clearly relates to the argument that copyright can and is hurting creativity. As it was originally intended, copyright was enacted to protect the creative process, not diminish it. However, its direction today is butchering creativity. Just because something is borrowed from an older work to create a new one doesn't mean that the creator of the new work doesn't have any original ideas of his own incorporated into the work. Thus, Lessig and colleague Eric Eldred are fighting to take back the public domain and reconvert it into a lawyer-free zone. In Lessig's words, he's trying to "Free Mickey."
tagged copyright creativity intellectual_property public_domain by alexisbb ...on 28-NOV-06
Book pages 184 through 199.
In these two sections, Lessig argues that copyright laws constrain people from creating and innovating. By mentioning and discussing the conceptions of all different types of artists, including painters, film makers, and musical artists, Lessig shows how the laws originally meant to protect these authors are now hurting them by constricting their abilities. As Lessig states towards the end of this section of his book, "If innovation is constantly checked by this uncertain and unlimited liability, we will have much less vibrant innovation and much less creativity."
The argument of fair use of course comes up in these sections, but Lessig puts it this time in a different and interesting way, claiming that "fair use in America simply means the right to hire a lawyer to defend your right to create." It's all about money and the market, and those who don't have the former can't hope to have their works distributed in the latter. One simple infringement such as illegally downloading a song could cost a person millions of dollars in this country; however, a doctor, thanks to malpractice insurance, cannot be liable for more than $250,000, regardless of the damage to his patient.
Lessig also makes particular note of the internet and how it has increased the quantity of work out there and the speed and efficiency with which it can be shared. Unfortunately, this should-be miracle is not utilized to its full potential because those creators and innovators that cannot afford to clear copyrights are too scared to make their work available on the internet for fear that it might be seen by someone who could sue them.
This money driven, lawyer infested problem is stunting our culture and preventing our growth and expansion because no one wants to risk their life to put something creative and new out there. And when the possible repercussions of taking such a risk include losing millions of dollars and consequently a livelihood, creativity and innovation suddenly begin to dwindle.
This source solidly supports my argument that copyright law is killing creativity rather than doing what it's meant to and protecting it. It directly relates to my thesis and contributes to my claim.
tagged copyright creativity intellectual_property money protected_work by alexisbb ...and 4 other people ...on 28-NOV-06
Book pages 95 through 107.
In consecutive chapters of Lessig's book, the making of two documentaries is described. In both of these instances, the filmmakers had problems clearing copyrights and struggled with the concept of fair use. These examples clearly demonstrate the difficulties encountered by independent filmmakers with regards to production and distribution of copyrighted material, as well as amplify the restrain that excessive copyright puts on the creativity of the filmmaker. The chapters tie in the role of independent films in the "copyright kills creativity" argument.
Chapter seven illustrates the plights of Jon Else who, when working on a documentary about the stagehands at the San Francisco Opera, encountered a copyright issue. In the background of a shot of the stagehands was a television on which was playing an episode of The Simpsons. Despite the fact that the clip was merely four-and-a-half seconds and clearly fair use, Else still thought it smart to clear the copyrights. He contacted Matt Groening, who referred him to Gracie Films, who referred him to Fox, who demanded ten thousand dollars for the licensing fee. This sum of money was not something Else could afford, and he therefore ended up digitally replacing the clip which he felt was valuable to the effect of the scene.
In the proceeding chapter, the story of Alex Alben, a lawyer for Starwave, Inc. is told. Alben wanted to create a project using the new technology of CD-ROM to showcase the career of Clint Eastwood through interviews, posters, script, and film clips. The problem arose when it came to clearing the rights of each and every person involved in the making of each individual film clip, including actors, directors, and composers. Alben needed to compensate each person, which took an entire year given his vast fiscal resources. The amount of time it would have taken the average person is unimaginable, that is if they could even do it.
As these two examples show, the monetary means as well as the time necessary to create such products are inaccessible to the average person, thus killing the output of creative material.
tagged compensation_rights copyright creativity digital_sampling documentary_film film intellectual_property by alexisbb ...and 4 other people ...on 28-NOV-06
In this article, David G. Post comments on Lawrence Lessig's Free Culture and his statements concerning copyright and creativity. As is pointed out, copyright's original intention was to safeguard creativity by assuring creators that their works would be protected from replication. It made a creator the owner of his or her creation and gave him or her complete control over what would be done with the work. The assurance that this copyright provides in a way gives authors an incentive to create.
With regards to the other argument concerning creativity and copyright, the one in which it is claimed that copyright limits creativity, Lessig states that copyright law has, until now, for the most part "steer[ed] a middle course" and remained balanced by protecting the rights of today's creators and simultaneously limiting these rights so that the next generation is free to borrow what they want from the previous. However, Post tells of what is currently happening and states that copyright has "swollen to gargantuan proportions" and no longer resembles, not even closely, what it originally was.
Lessig's contention for why copyright is killing creativity is that power is now concentrated in the few hands of the big media companies. Post does not agree with this for lack of evidence and denies Lessig's substantiation of a few anecdotes. However, with reference to film, this claim is not far from true. Film production companies are now few in number, and even those that we believe are small indie companies are in fact owned by Fox 20th Century, Miramax, Paramount, or MGM. Even those movies that we believe are far from being under the influence of big media are in reality being dictated by the same big names and the same big money that your average major Hollywood production is.
In the end, whether Post agrees with this claim of Lessig's or not, he praises the author's attempts and goes as far as to say that one beginning to study copyright could "do much worse than to start with Lessig's book."
tagged copyright creativity intellectual_property public_domain by alexisbb ...on 28-NOV-06


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Glenn Close: Mental Illness Shouldn't Be Old News
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Acclaimed actress Glenn Close is perhaps best known for her films Fatal Attraction and Albert Nobbs. But she's also an advocate for mental health issues and even co-founded the group "BringChange2Mind" to help reduce the stigma attached to mental illness. She talks with host Michel Martin about how mental illness affects her own family.

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Ugni molinae "Chilean Guava"
photo: (right) Far Out Flora
Are you weary of common hedges? Let me introduce you to Ugni molinae, a must-have plant of myriad virtues! Handsome, densely leafy & forest green foliage with bronzy new growth sets the stage for exquisitely fragrant tiny white bell shaped flowers in Spring. These mature to deep red fruits that are beautiful & uniquely tasty. When picked early they have a bit of a pine flavor (still good!) but allow them to stay on the bush into Fall & they become even more delicious & strawberry-esque. Reportedly, the fruit was Queen Victoria's favorite & makes a divine jam. Grows from 1-6' tall & 1-3' wide – pruning will decide its ultimate shape, so really it's up to you. Not the fastest grower, but beautiful even while small & totally pest free. Easy in a large container, or as in informal (or even formal!) hedge. The leaves are also used as tea & roasted seeds can be used as a coffee substitute.
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Opinion | August 19, 2011
By: William Y. Brown
The range of cannon balls shot from land was the 17th Century definition of the "high seas". -- if they couldn't reach you, then you were there. Now the term is defined by Article 86 of the United Nations Convention on the Law of the Sea (UNCLOS): the high seas include "all parts of the sea that are not included in the exclusive economic zone, in the territorial sea or in the internal waters of a State, or in the archipelagic waters of an archipelagic State." This means that the high seas are more than 200 nautical miles beyond the coastal baselines of any country and beyond national exclusive economic zones (EEZs). They encompass the water and the seabed beneath, unless the continental shelf of a nation extends out more than 200 nautical miles.
The high seas cover approximately half the Earth and include a wealth of geology and biology. Beneath the surface lie trenches, canyons, mountains - including what some consider the tallest mountain in the world, Mauna Kea in Hawaii, rising over 10,000 meters from the sea floor. They include erupting volcanoes, thermal springs and cold seeps, vast plains of silt, and expanses of hard, mineral-laden floor. The high seas also harbor diverse and abundant life. Some animal species move great distances through or over them - whales, elephant seals, tunas, great white sharks, eels, albatross, sooty terns, and many more. Plankton, animal and plant, congest its upper levels in life and, in death, rain on the seabed below. Its waters and seabed harbor fish and invertebrate animals of many stripes - including squid, octopus, clams, worms, crustaceans, jellyfish, cold-water corals, and sponges. Microbes make it a living soup, with bacteria that feed on inorganic chemicals and can live where the temperature is 110 degrees Centigrade. Albatross and shearwaters dive below its surface for food while other birds, preferring not to get wet, snatch what they can at the surface. The high seas are a place full of life, but that life is threatened. Greenhouse gases top other concerns, mostly carbon dioxide from fossil fuels that are warming and acidifying the seas. The evident solution is to reduce emissions from these mostly land-based sources, but that's not currently happening. Fertilizers and other chemicals run-off into coastal waters and affect seas further out. Marine debris, from activity on land and sea concentrates in vast gyres and entangles sea life. Fishing, however, is the primary threat to life from activities conducted on the high seas. Its history is 'anything goes'. "Freedom of the high seas" -- including "freedom of fishing"-- is enshrined in UNCLOS and customary international law. Many individual nations do little to regulate their own fishermen beyond the EEZ. Furthermore, many regional and subregional fisheries organizations have jurisdiction on the high seas, and their number and complexity confuses management. In consequence, high seas fishing is often excessive, illegal, unreported, unregulated, and done with destructive practices such as dragging nets over bottom habitats. It's been detrimental to whales, sharks, tunas, and many other target and non-target species. Commercial whaling knocked blue whales - the planet's largest animal - to a fraction of their original populations, and since whaling stopped for them any recovery has been slow; Blue fin tunas, prized for their sushi, have plummeted in the Atlantic and Mediterranean to the point where survival is questionable; The Great White Shark is now vulnerable to extinction; Long-lived, slow-reproducing Orange Roughy have been depleted by fishing on the sea mounts where they live in the South Pacific, and the bottom-trawling that catches them is destroying habitat for all the species living on those mounts. Fortunately, UNCLOS and other international agreements authorize the actions needed to conserve highs seas life. Monitoring and enforcement remain a problem, with limited resources hampering efforts by nations that intend to comply, and flags of convenience from non-complying nations facilitating overfishing. Another fundamental problem, addressed below, is lack of clarity in conservation standards. Better guidance is needed, and a clear, authoritative voice is needed to be the steward of that guidance. The principal global agreements regulating high seas fishing are UNCLOS and the 1995 "Agreement for the Implementation of the Provisions of the United Nations Convention on the Law of the Sea of 10 December 1982 Relating to the Conservation and Management of Straddling Fish Stocks and Highly Migratory Fish Stocks", which is sometimes referred to as the UN Fish Stocks Agreement and sometimes just UN Fishing Agreement (UNFA). Article 119.1 of UNCLOS addresses conservation of the living resources of the high seas, and provides: "In determining the allowable catch and establishing other conservation measures for the living resources in the high seas, States shall:
"the variability among living organisms from all sources including, inter alia, terrestrial, marine and other aquatic ecosystems and the ecological complexes of which they are part; this includes diversity within species, between species and of ecosystems. "
William Y. Brown
Nonresident Senior Fellow, Global Economy and Development
Blog Post
May 23, 2013, Jenny Perlman Robinson
May 23, 2013, David Dreier and Joshua Meltzer
May 22, 2013, Julius Agbor and Tatah Mentan
May 22, 2013, Sally P. Paxton and George Ingram
May 21, 2013, Joshua Meltzer
May 20, 2013, Allison Anderson
May 2013, John McArthur
May 20, 2013, Djavad Salehi-Isfahani
Global Economy and Development ›
July 2011, William Y. Brown
July 27, 2011, William Y. Brown
July 20, 2011, William Y. Brown
April 25, 2013, William Y. Brown
February 13, 2012, William Y. Brown
August 8, 2011, William Y. Brown
October 7, 2011, William Y. Brown
June 8, 2012
September 23, 2012, William Y. Brown
January 4, 2012, William Partlett
December 4, 2012, Timmons Roberts
March 2013, William Y. Brown


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Q. Is this Iona defensive driving course certified by the state of Idaho? A. Of course! Our course is certified by the Idaho DMV and can be used to remove points from a traffic ticket or for driver improvement.Return to Top Sign Up
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Q. How long is the final quiz? Do I take it from my personal computer, too?A. In order to comply with state requirements, the final quiz must be taken at an approved testing location after showing photo ID. The final test is proctored, and is composed entirely of multiple choice questions taken from the DrivingUniversity.com website. It usually takes around 10 minutes to complete. Click here to find a convenient testing location. The majority of our customers pass the test the first time they take it. However, if for some reason you do not pass, you can keep trying until you pass it. We do not charge for retakes.Return to Top Sign Up
Q. Can I switch computers while I work on the course? A. Of course! When you log out of the course, our system tracks your progress automatically. Then, you can log back in from any computer and be taken to the same page you were on when you left.Return to Top Sign Up
Q. Is it necessary to download any files? Do I need special hardware or software?A. You don't need any special hardware or software. Since the course is hosted on our website, you won't need to download anything, either. Our course is compatible with any computer, whether Mac or PC. Internet access is all you need.Return to Top Sign Up
Q. Can I take the course in different sessions? A. Definitely!. The course will save your place for you whenever you log out. Then, when you log back in, you can start working from there.Return to Top Sign Up
Q. How much time am I allowed to take to go through the course? A. You can take as much time as you need to. Your login and registration information will remain in our system for up to 90 days after the first time you log in.Return to Top Sign Up
Q. Can I take the Iona defensive driving course at any time of the day or night? A. Yes! Our course is always available, so you can log in at any time to work on it.Return to Top Sign Up
Q. How will I get my Idaho Certificate of Completion?A. Your Certificate of Completion for the Iona defensive driving course will sent right to your mail box via first class mail. Finish before 2pm on a weekday (Pacific time), and we'll send it out the same day! If you need it more quickly, just choose the FedEx Express shipping option when you sign up. You'll have your Iona defensive driving school certificate in 1-2 days!Return to Top Sign Up
Q. Do I need to advise the DMV that I've finished the Iona defensive driving course?A. Yes, you do. Once you've successfully passed the course, we'll put your Certificate of Completion in the mail for you, but it's your job to make sure it gets to the DMV.Return to Top Sign Up
Q. Will the Idaho DMV take points off from driving record if I take your course?A. Yes, once you complete the course, they will remove 3 points.Return to Top Sign Up
Q. Do I have to pay before I take the course?A. No, not if you don't want to. Just select "Pay Later" when you sign up and you can start the course after you register.Return to Top Sign Up
WHAT'S THE IDAHO DMV ONLINE DEFENSIVE DRIVING SCHOOL ABOUT?Brick and mortar Iona driving schools have always been the only option until now. The Idaho DMV/DOT allows you take the Driving University online school as an alternative to going to a classroom. So if you need to take driving school for tickets, points or auto insurance, do it online at Driving University and enjoy the simplicity and convenience.
WHO BENEFITS FROM TAKING THE DRIVING UNIVERSITY COURSE?Every Iona Idaho driver benefits. Whether you have a traffic ticket, points on your record or can get an insurance discount, drivers across the great state of Idaho satisfy their defensive driving alternative by taking the Driving University online traffic school. From any computer – any time – Driving school online is convenient at Driving University!
HOW DOES THE IONA IDAHO ONLINE DEFENSIVE DRIVING SCHOOL WORK?It's very simple. Following the sign up and payment for the course, the course will begin. You simply read through the material and answer questions that come up along the way. The Driving University Iona course allows you to finish in one sitting or you can log in and out as often as you want to. The Idaho DMV requires you take the final quiz at the end of the course and score at least 80%. If you score less than this, the DMV requires you re-take just the final quiz until you do – no extra cost.
Idaho DMV School Certificate of CompletionWhen you finish the Driving University online course, we will mail your driving school Certificate to you. Those who complete the traffic school course after 2pm or on the weekend have their certificates processed the next business day. If you're taking the course for court, be sure to give the Iona court your driving school Certificate when you receive it. Return To Top | Sign Up
School Certificate by Fed ExIf you're in a hurry to receive your Iona Idaho driving school certificate right away, select Fed Ex ($22.95) and have receive overnight delivery from Fed Ex. Return To Top | Sign Up
HOW IS THE DMV ONLINE DEFENSIVE DRIVING SCHOOL DIFFERENT?You can either drive to and from a Iona brick and mortar school where you have to sit through the class all at one time or you can stay in the comfort of your home where you can take the course at your own pace. Convenience makes up the difference between this Iona online school and one that's not. You can complete the course in one evening or you can log in and out as often as you want to. It's entirely up to you.
WHEN CAN I BEGIN THIS DMV ONLINE COURSE?You can immediately begin the Iona course following the sign up process. Simply sign up and pay for the course and then the course starts. Remember, you can log in and out as often as you need or you can complete it at one sitting. Defensive driving school has never been so simple! Return To Top | Sign Up
Better Business AccreditedDrivingUniversity.com is an accredited member of the Online Better Business Bureau. Return To Top | Sign Up
Defensive Driving / Traffic School course offered in these and other cities statewide:


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CORNWALL, Ontario — With an extra large Tim Hortons coffee in one hand and a pregame cigarette in the other, Tommy Sosnowsky said that he normally wouldn't have been outside the Ed Lumley Arena in the cold and drizzle of Thursday night.
Like many hockey fans here, he would have been watching the Ottawa Senators, who play about a hour to the northwest, challenge the Montreal Canadiens, who play about an hour east, in the opening night of N.H.L. action.
Instead Mr. Sosnowsky, along with perhaps 1,000 others, was making do with the Cornwall Colts, the city's "Tier 1" Junior A team who, on Thursday night, were in action against the Kemptville 73s, another Ottawa Valley team.
Cornwall sits on the St. Lawrence River near the boundary between Ontario and Quebec and near the border with the United States (a Mohawk casino in New York State is a prominent advertiser on the arena's ice surface and scoreboard). Its mayor, Bob Kilger, is a former N.H.L. referee and his son, Chad Kilger, is a retired N.H.L. forward who played for Montreal and the Toronto Maple Leafs.
Inside the arena, another father-and-son team taking tickets at the door were uncertain if the N.H.L.'s loss would be the Colts' gain. While Terry and James Bergeron didn't have a ticket count for the number of fans in the 5,800-seat arena, they speculated that the impending debut of the Cornwall River Kings, a North American Hockey League team, may have reduced early season enthusiasm for the Colts.
"It's higher ranked hockey, but I think it's going to be dirty hockey," Terry Bergeron, the son, said.
The Bergerons are on the Montreal side of the local fan divide. Terry, who was wearing a scuffed Canadiens cap while taking tickets, boasted that the garage door at this home features a giant Canadiens logo.
In exchange for their $12 tickets, the Colts, who play in an arena named for a former federal cabinet minister and local member of Parliament, offered their fans a scaled-down version of what they would find in Montreal or Ottawa during a normal season. The music, while loud, wasn't bone shaking. A single bar, sitting at ice level in one corner, was enough to serve the night's crowd as were just two of the concession stands.
While the fans were heavily weighted to silver-haired men, the mix included a few young couples apparently on dates as well as some fathers and grandfathers with young children. In most corners at the top of the stands, gaggles of teenagers, who showed little obvious interest in the play but a great interest in each other, congregated.
Corey Boisvenue, another spectator who said that he would rather be at home watching the Canadiens and the Senators, said that he would be making his way to the Ed Lumley Arena for the foreseeable future.
"It's something to watch on a Thursday night," he said. "It's not the N.H.L. But if the Habs aren't playing, I'm here."


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< |
Phables: Dec. 3, 2007in Phables by GuigarSunday, December 02, 2007 - 11:59 PM
Mice. Nobody admits to seeing one in his house, yet we all know it's a problem -- and most of us Philadelphians live in attached housing. So in the interest of sharing information here's some... Do's and Don'ts of Mouse Control.
Discussion: Phables: Dec. 3, 2007 | Login/Create an Account
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Neil Reddy
No.07 from the series 'Three Feet to Infinity'
© Neil Reddy
Neil Reddy
Silver Gelatin Print
Neil Reddy creates images by recording the tracks, pulses, and flares that light makes inside the camera as it travels across the negative. By manipulating the angle and speed at which pinholes of light fall across emulsion, Reddy paints images with light that become visible only once the film has been developed. By carefully manipulating the passage of light through the lens and into the camera, Reddy draws our attention to the photographic process itself.
Reddy's images remind us that each photograph is a constructed image, and by recording the play of light inside the camera normally invisible to the human eye, Reddy makes visible a light show of his own devising.
Group exhibitions include Seeing Things: Photographing Objects 1850-2001, Victoria & Albert Museum, London (21 February – 18 August 2002); Light Matters, Michael Hoppen Contemporary, 2001 [catalogue available]; Kiss the Sky, Ikon Gallery, Birmingham, 2000. Reddy's work is housed in permanent collections of The Museum of Fine Arts, Houston, Texas, and The Victoria & Albert Museum.


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Controversial plan to axe Pendle's luncheon clubs put on hold (From Lancashire Telegraph)
When news happens, text LT and your photos and videos to 80360. Or contact us by email or phone.
Controversial plan to axe Pendle's luncheon clubs put on hold
8:00am Sunday 30th September 2012 in News
CONTROVERSIAL plans to axe luncheon clubs and council shops in Pendle have been put on hold following public consternation.
An urgent review has been pledged for luncheon clubs after plans were revealed to close the nine existing services, to make a saving of £52,000.
Town hall officials had also recommended providing a fighting fund of £5,000 to assist groups in making alternative provisions.
But councillors have now drawn up 11th hour proposals to safeguard as many clubs as possible after the original moves were widely condemned.
Coun Tony Greaves will head a working group which will consider whether each can now be run by either a parish council or a community or voluntary group.
The closure of the clubs has still been agreed in principle but will not take place before each one has been visited and assessed to see if someone else can take over their management.
Coun Greaves told a full council meeting that historically Pendle, unlike other authorities, had provided luncheon clubs, even though it was not a statutory duty.
Demand for the clubs was not the same as in the heyday of meetings at the Lower Colne Muni or Silverman Hall or Civic Hall in Nelson, he added.
"If they are going to continue then there should be a social function as well as providing food," said Coun Greaves.
Unpopular plans to close council shops in Earby, Brierfield, Barnoldswick and Colne, after the implentation of a system called Allpay, to handle council tax, rent and business rate payments.
Under the scheme residents can use Post Offices and any shops with Paypoint facilities to pay such bills, with only the cash office at Number One Market Street in Nelson remaining.
But while Allpay will happen, plans to close the shops, making a saving of £145,000 will be deferred pending a review by council leader Coun Joe Cooney, who will tour the locations before a further report is presented to the borough's executive.
Comments (2)
5:07pm Sun 30 Sep 12
coates warder says...
7:32pm Sun 30 Sep 12
tonygreaves says...
Tony Greaves
Comments are closed on this article.


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Blue MannaTM is a proprietary extract of the blue-green algae known as AFA (Aphanizomenon flos-aquae) containing significant concentrations of Phycocyanin and PEA (Phenylethylamine).
Phycocyanin contains bioactive components that promote healthy joints and tissues and has also been shown to have potent antioxidant properties. More info
PEA (phenylethylamine) is an endogenous brain compound found naturally in only two foods: chocolate and AFA algae. When taken consistently, PEA enhances concentration, attention, and creates a feeling of joy or well-being. More info
Blue MannaTM promotes: . Greater mental energy, attention, memory, and focus. . Emotional and mental balance. . Healthy joints and tissues. *
Blue MannaTM was developed especially forindividuals requiring ultimate nutritional support for the brain and nervous system, as well as the joints and tissues. Blue MannaTM is not a substitute for Crystal MannaTM--when it is used regularly with Crystal Manna the range of benefits is broadened and the effectiveness of both is greatly enhanced.*
What's in Blue Manna?
Phenylethylamin (PEA) is a compound naturally produced by the brain and is responsible for the meditation experience associated with pleasure and mental awareness. For example, PEA is released in the brain when one experiences a feeling of love and joy; for this reason it is often referred to as "the molecule of love" and as a "mood elevator". PEA has been shown to be deficient in the brain of many people suffering from depression, ADD, and ADHD.
Mechanism of action of Phenylethylamine When taken orally, PEA is known to readily cross the blood-brain barrier and be immediately available to the brain. In the brain, PEA acts by increasing the concentration of dopamine in the synaptic cleft. Naturally enhancing dopamine transmition in the brain has been associated with greater experience of pleasure.
Effect of dietary Phenylethylamine Daily consumption of 10 mg of Phenylethylamine has been shown to alleviate the symptoms of depression. Consumption of 3-5 mg is effective at increasing attention, elevating mood, and increasing the overall quality of life. Phenylethylamine may also prove to be safe and effective alternative for the management of ADD and ADHD.*


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Apr 24, 2012 3:55 PM
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Hey guys beezybaby here and today im here to share with you guys I video i just uploaded today,this is episode 6 of my highly known series called MW3 Tips And Tricks and what i do is that in each episode i cover a different gun and give you tips and tricks like its stats, the best way to use the gun, perks, attachments etc. i work really hard on these so if you could just give me some feedback it would be great! and if you enjoyed it dont forget to subscribe for more episodes.!!! thank you guys for taking the time to read this and if you watched the video thank you too! have a nice day everyone
no replies </3
Thought it was well thought out and presented. Thanks
thank you!
Tmartn has already said everything you put in there...
What's new?
when did tmartn say what i said? cna you please link me to that video?
ah man they removed the video from youtube can i get an alternate link?


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Yuba-Sutter reacts to governor's State of the State Address
Gov. Jerry Brown's soaring State of the State address last week in Sacramento touched on many themes as he outlined his vision for California.
He touted huge investments in water and rail systems while also saying the state should not live beyond its means.
We asked people who will have direct impact from the governor's proposals what they thought about the speech and what their hopes were for the state this year.
Jonathan Barth, assistant superintendent of Business Services at Yuba City Unified School District:
It's good to see that he's really sticking to his commitment with Proposition 30, (voter approved tax to fund schools) and that he plans to keep those funds where he originally said it was going to go to. I'm delighted to see his commitment to building a reserve fund, or rainy day fund. And I'm glad to see his willingness to work with Republicans and not just steam roll over everyone just because of the Democratic super majority.
John Fleming, economic development coordinator for Yuba County:
A few years ago, Gov. Brown got rid of redevelopment agencies, and it's clear enterprise zones are next on his list. I think from an economic development perspective, we have few tools in the tool chest, and our work with the enterprise zone is up on our priority list. A case can certainly be made that enterprise zones are extremely important and very efficient.
In terms of our fiscal future and how we're seen by Washington, DC, and the markets, this particular governor has put us on the right track.
State Sen. Jim Nielsen, R-Gerber:
Although the governor argued for fiscal restraint, he was silent on critical budget reforms like a hard spending cap and a real reserve. The budget is not fixed; it is funded with temporary tax increases. ... The proposal to build two tunnels around the San Joaquin Delta is not the way to go; it is a pipe dream.
The costly high speed rail and the peripheral canals are unnecessary, and we simply cannot afford them.
I am encouraged that the governor expressed a desire to rethink CEQA and the hurdles this law places on job creation and retention across the state.
Mike Wade, executive director, California Farm Water Coalition:
We are supportive of the projects proposed by Gov. Brown. For 20 years, we've had difficulty moving water through the Delta to meet water needs in both urban and farming areas. We believe that some kind of improved way to get that water in or around the Delta is needed. The twin tunnels project (Brown has proposed) does that, it helps improves habitat for fish. ... There's some light at the end of the tunnel for ways to move forward. The ecosystem is suffering; there are water users who are suffering. It's a bad situation all around. We're hoping this proposal will fix that.
Mark Allgire, assistant superintendent of Business Services, Marysville Unified School District:
The governor didn't propose any mid-year budget cuts (to education) and that's a welcome change after many years of cutbacks. It's the first time in several years that we're not facing more cuts, and that's outstanding news. He's made a significant proposal (Prop. 30) that appears will increase (school) funding over time. That's the highlight of his proposals for us.
Brynda Stranix, Yuba Sutter Economic Development Corp. president and chief operating officer:
I really hope Gov. Brown puts funding resources in the state office of Economic Development, help make it a priority. We didn't have much economic development energy under (Gov. Arnold) Schwarzenegger, but when Brown came in, he put the money back into it. But it has to be more than just bodies, there have to be resources behind it.
Miriam Root, Yuba College spokeswoman:
He (Gov. Brown) has really been an advocate of education and has been taking those issues head-on. He's said the tuition increases are not the answer and that he doesn't believe students should become the default financiers of college education and I think he's going to try and maintain the same state-mandated fees. I know that really helps students plan their education.
Assemblyman Dan Logue, R-Loma Rica:
We have to make sure education remains on the top of our list of priorities. California is seeing some tough times, but if we work together with the governor and our Democrat colleagues, we can get this state back on track again.
(The state's high unemployment rate) is unacceptable. We need to change the culture in Sacramento from hunting, stalking and fining businesses to supporting business. We need to bring back jobs.
Caleb Dardick, executive director, South Yuba River Citizens League:
The Delta is a very fragile ecosystem, and it's also the gateway for salmon to and from the Yuba Watershed. I think as the state seeks to satisfy our thirst for more water, we're going to have to be very careful that the water diversions don't further imperil the fish. They're in jeopardy of extinction. And if juvenile salmon can't get back to the ocean and spawning salmon can't get back here, it will be bad for California's fisheries and our economy. We hope these proposals (from the governor) will be studied carefully with the best science and have a comprehensive approach.


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A seemingly small mistake in a paper in The New England Journal of Medicine (NEJM) landed a Danish physician-researcher in hot water last month after a German company threatened to sue him for potential losses that could run in the millions of dollars. The exchange prompted media consternation in Denmark over whether academic freedom was being censored, but the researcher, Anders Perner of Copenhagen University Hospital has corrected the error, which occurred in the publication of a study of a widely used drug to prevent shock, and thereby averted legal action. Still, the episode has shone a light on a therapy that some researchers say may be doing more harm than good, despite its widespread use.
At issue is hydroxyethyl starch (HES), a synthetic derivative of regular starch that has been used globally for decades to prevent shock in patients who have lost large amounts of blood. It is also used to treat patients with sepsis, whose blood leaks out of their capillaries. "HES binds liquid, and the idea is that this keeps up the blood volume," explains Tobias Welte, a pulmonologist at the Hannover Medical School in Germany who has studied the compound.
On 27 June, Perner


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Our own Peter Churchill Smith, Managing Director, will be the keynote speaker at the CEO Global Networks' Annual Economic Outlook for Entrepreneurs on Thursday, February 23rd.
Peter's plain-speaking talk, designed specifically for the business audience, will look at where we are, where we're headed, and what you need to know to make smart decisions.
The cost is $129.00 per ticket and can be purchased on-line. Click here to register.
We have arranged for clients of Newport Private Wealth to attend as our guests. To obtain your complimentary ticket, simply contact us by email for on-line registration and the promotional code.
See event details below.


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This travelodge is 10 minutes walk from the train station and has easy walking access to the centre of Bournemouth (again 10 minutes). Similar in all manners to other Travelodge, I did have a large room (sparse furniture) but had a window that opened and the traffic noise did not disturb despite facing onto the main road. The staff were... More
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When I was young, one of my favorite cartoon characters was Hanna-Barbera's Yogi Bear and his sidekick Boo-Boo Bear. In fact, my sister and I used to greet each other (okay... sometimes we still do) with the Yogi catchphrase, "Hey there, Boo Boo." I liked Yogi because he was always in search of pic-a-nic baskets, and I figured there must be yummy things in those baskets I would like to eat. So I was very happy when we decided to add a pic-a-nic blanket to this second week of the Weekend Wonders series with our friends at Fabric.com. As usual, we weren't satisfied with your av-er-age blanket (because we are not your av-er-age bears), so we made one side cotton sateen, the other side cotton laminate, and quilted them together with polyester batting sandwiched in between. Then, we created a clever carry wrap with shoulder straps. Fold and roll the blanket, wrap it up, Velcro® it closed, and you're good to go."Hello, Mr. Ranger, sir!"
Weekend Wonders are great projects you can whip out in a weekend; so, undoubtedly, you'll want to make each and every one! Check out these Wonders from Week #1: Kitchen Towels, Pocketed Placemats, Outdoor Pillows, and Reversible Apron, as well as this week's Beach Bag. There are Zippered Pouches to come, and on Friday... make sure stop by and enter to win an amazing Great Giveaway full of tools, books, notions and more all from our Weekend Wonderful Sponsor: Fabric.com!
Our fabric choices feature two of Westminster Fibers most popular designers: Amy Butler of Rowan Fabrics and Tula Pink of FreeSpirit Fabrics. We paired Amy's Lark cotton sateen with Tula's Prince Charming cotton laminate. It is a wonderful blend, but by no means the only choice. In fact, below are are few other combinations we put together and loved before deciding on our final pair. Spend a few minutes browsing on Fabric.com and you're sure to find much, much more!
Top : Amy Butler Cameo Laminated Cotton Tea Rose Silver, Michael Miller French Journal Laminated Cotton Belle Rose Pink, Greenhouse Laminated Cotton Buttonwood Grass, Urban Zoologie Slicker Laminated Cotton Owls Natural
Bottom: Heather Bailey Garden District Caiman Stripe Canvas PInk, Heather Bailey Garden District Mockingbird Sateen Turquoise, P Kaufmann Lila Raspberry (stain repellent cotton duck), Heather Bailey Garden District City Grid Sateen Pink
Sewing Tools You Need
- Any sewing machine (we recommend the Janome 3160 Quilter's Decor Computer)
- Walking foot (optional, but very helpful with the shifting layers)
- Ultraglide or other Telfon®-type foot (optional, but very helpful when sewing across the laminate)
Fabric and Other Supplies
- 2⅛ yards of 54-56" wide cotton sateen or similar for the blanket top and tote lining; we used 54" wide Sun Glow in Lake from Amy Butler's Home Décor Lark Collection from Fabric.com - it is 100% cotton sateen
- 2⅛ yards of 54-56" wide cotton laminate or similar for the blanket bottom, tote top and tote straps; we used 54" wide Frog Prince in Indigo from Tula Pink's Prince Charming Collection from Fabric.com - it is 100% cotton with a laminate overlay
- One 52" x 60" cut of Polyester Batting; we used Soft & Bright Polyester Batting in a twin size pre-cut from Fabric.com
NOTE: Batting comes in many widths and is available on rolls by the yard as well as in pre-cut bedding sizes. Simply keep your final size in mind when deciding the best option. Since this blanket is meant to be used outdoors, we recommend a polyester batting rather than a cotton. - ¾ yard of ⅝" sew-on Velcro®; we used black sew-in Velcro®
- All purpose thread to match fabrics
- See-through ruler
- Fabric pencil
- Iron and ironing board
- Scissors or rotary cutter and mat
- Seam gauge
- Seam ripper
- Straight pins
- Large safety pins for pin basting
- Clips to help hold laminate
Getting Started
- From the fabric for the blanket top (Amy Butler's Sun Glow in Lake in our sample), fussy cut the following:
ONE Width of Fabric (WOF) x 62" rectangle (54" x 62")
ONE 12" x 27" rectangle - From the fabric for the blanket bottom (Tula Pink's Prince Charming in Frog Price in our sample), fussy cut the following:
ONE 52" x 60 rectangle
ONE 12" x 27" rectangle
ONE 5" x 31" strip, which should then be cut in half into TWO 2½" x 31" strips - Cut the Velcro® into TWO 11" lengths
- Cut the batting into ONE 52" x 60" rectangle.
At Your Sewing Machine & Ironing Board
Our picnic blanket finishes at 52" x 60, so you'll need a large flat space on which to work: a table or more likely... a clean floor.
- Place the sateen piece wrong side up and flat on your work surface.
- Mark and press back the raw edges by ¼" all around.
- Place the batting down on top of the sateen.
- Place the laminate on top of the batting.
- Align the laminate with the batting so the edges of these two 52" x 60" pieces are flush on all four sides.
- Adjust the laminate/batting layers so they are centered on the sateen. There should be ¾" all around from the edge of the laminate/batting to the folded edge of the sateen.
- Clip around the edge, then use the large safety pins to "pin baste" through all three layers.
NOTE: If you are familiar with laminates (or you read our great tutorial about How To Work with Laminates), you know pinning laminate it not usually recommended. Be a bit frugal with your safety-pinning (pin-basting), but don't stress about the fact you are using pins. We are going for water resistant... not waterproof. - If possible, attach a Walking foot.
- Quilt the layers together a simple horizontal pattern. We marked our quilting lines at 9-10" intervals across the width of the quilt. Quilt with the sateen side facing up. This will allow the blanket to move more easily through the machine.
- This is a large project, it will help if you roll the blanket to get it to fit better in your machine and it will be easier to manage.
NOTE: If you are new to quilting, our good friend, Heather Jones did a fabulous Guest Tutorial for us on Straight Line Quilting. Her technique shows a much denser quilting, but you could certainly adapt it to these much wider lines of quilting. - When the quilting of the layers is complete, you will wrap the excess sateen from front to back to create the binding.
- Place the quilted layers flat on your work surface with the laminate side facing up. The original ¼" folded-in crease lines should still be visible along all sides of the sateen.
- At each corner, fold in the point of the sateen ¼".
- Bring in the folded point of the sateen to cover the point of the laminate. Pin in place.
- Fold in one side, creating a diagonal line at the corner. This is acutally a double fold, the ¼" of the original fold-and-press and an additional ½", encasing the first fold and wrapping around the laminate.
- Fold in the opposite side, matching the diagonal to produce a "faux" mitered corner.
- Continue folding in the sides to wrap the raw edges of the laminate and batting, and repeat the "faux mitering" process at each corner.
- Still using a Walking foot if possible, edgestitch around all four sides.
Blanket tote
- Find the two 2½" x 31" laminate strips.
- On one strip, fold in one long side towards the center of strap ¾". Finger press.
- Fold in the opposite side ¾", overlapping the first edge. Finger press and pin in place.
- The strap should now be 1".
- If possible, attach a Teflon® type foot. We used our Janome Ultraglide foot. Sew down center to catch both sides.
NOTE: If you don't have this type of foot, you can use wax paper or parchment paper between the laminate and the foot. Simply tear it away when the seam is finished. For more about working with laminates, take a look at our handy tutorial. - Repeat to create the second strap.
- Lay the 12" x 27" sateen piece flat and right side up on your work surface.
- Pin one strap along each 12" side of the sateen, aligning the raw ends of the straps with the raw edge of the sateen. The wrong side of the strap should be facing down against the right side of the sateen. Also, make sure the loops of your straps are not twisted.
- The outside edge of each strap should be ⅝" from the side of the sateen.
- Place the 12" x 27" laminate piece right sides together with the sateen, sandwiching the straps in between the layers. Pin in place around all four sides, leaving a 5-6" opening for turning along one 12" side between the straps.
- Using a ½" seam allowance, stitch around all four sides, pivoting at the corners. Remember to lock your seam at either side of the 5-6" opening left for turning.
- Clip the corners.
- Turn right side out through the opening. Pull out the straps. Gently push out the corners, using a long, blunt end tool, such as a chopstick or long knitting needle.
- Turn in the raw edges of the opening so they are flush with the sewn seam and pin in place.
- Switch to a regular presser foot.
- With the sateen facing up, edgestitch around the entire tote. This closes the opening left for turning and helps keep the layers stable.
- Find the two lengths of Velcro®.
- Pin the Velcro® in place on the sateen side of the tote along both ends. The Velcro® should fit just shy of edge to edge. If it overlaps at all, trim the Velcro® to fit edge to edge.
- Stitch the Velcro® in place around all four sides. Pivot at the corners and go slowly to keep your seams neat. You are creating a "box" of stitching that will be visible on the laminate side, so you want it to be pretty.
- Fold the blanket in thirds, then in half and roll. The finished circumference should be about 24"
- Wrap the tote around the blanket and head to your pic-a-nic.
Project Design: Alicia Thommas
Sample Creation and Instructional Outline: Debbie Guild


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Call now for a confidential consultation with Susie or Elizabeth • Atlanta: (770) 475-4499 • Beverly Hills (310) 776-7588
Dr. Moore Travels to London to Teach UK Surgeons New Techniques for Incontinence and Prolapse Surgery
Dr Moore was invited to travel to London, England in December (2010) to lecture and teach surgeons from throughout the UK on new techniques in minimally invasive surgery for Incontinence and Prolapse. As a key researcher and investigator on the Mini Arc single incision mini-sling for female stress urinary incontinence, as well as the Elevate procedure for vaginal prolapse including cystocele, vault prolapse and rectocele, he was invited to share his expertise on surgeons that are just learning these techniques. He lectured to surgeons from the University of London on innovations in Urogyn surgery including these new technologies, the research and data behind these procedures and how to avoid complications. Dr Moore and Miklos have published many of the key research papers in these areas and therefore are looked at as leading experts in these technologies by surgeons throughout the world. Dr Moore was also asked by American Medical Systems to lead the Mini-Arc Surgeon Advisory Board Meeting for the UK during his visit. Dr Moore was the principal investigator on the largest Monarc Study in the world and also has been one of the key investigators for the Elevate procedure which was developed to help reduce and minimize complications seen with other vaginal mesh kits.
Earlier this year, Dr Moore and Miklos published the FIRST chapter EVER written in a major textbook on Vaginal Cosmetic Surgery. Dr Linda Cardozo, from London, is considered the Leading Urogynecologist in the UK and invited the Dr's to write this novel chapter in her and Dr David Staskin's Urogyn and Urology Textbook….considered by most to be one of the hallmark textbooks in the field. Dr Moore and Miklos are highly respected throughout the world for their research and publications in vaginal reconstruction as well as other minimally invasive technology such as laparoscopy for pelvic floor reconstruction. Secondary to this they are invited to travel all over the world to operate, present their research and teach other surgeons. They have already been invited to go to Russia, Australia, Portugal, England, India, Argentina next year… looks like a busy 2011!!!!
3400C Old Milton Parkway, Suite 330 • Alpharetta (Atlanta) • GA 30005
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Ashton out of autumn opener (From Free Press Series)
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Ashton out of autumn opener
9:12pm Wednesday 31st October 2012 in National Sport News © Press Association 2013
Chris Ashton will miss England's opening QBE autumn international against Fiji after being suspended by a Rugby Football Union disciplinary panel.
Ashton was banned for one week after being cited for a dangerous tackle on Northampton wing Vasily Artemyev.
The level one citing equated to an off-field yellow card, taking Ashton's tally for the season to three and triggering an automatic disciplinary hearing. Ashton was previously shown yellow cards for dangerous charging in Saracens' matches against London Irish on September 1 and Exeter Chiefs on September 23.
The one-week suspension runs from November 4 specifically to include the Fiji game because Ashton was not released by England to play for Saracens this weekend.
Ashton will be available for England's autumn Tests against Australia, South Africa and New Zealand but he joins a lengthening list of absentees from the Fiji game.
Dylan Hartley and Courtney Lawes have both been ruled out of the match on November 10 with knee injuries while Jonathan Joseph is rated as doubtful after damaging his ankle at the weekend. Ashton's suspension opens the way for Ugo Monye and Charlie Sharples to be England's likely starting wings against Fiji.
In the meantime, Ashton has been urged by the RFU's disciplinary panel to work on his tackle technique after effectively receiving three yellow cards for dangerous play this season.
Panel chairman Judge Jeff Blackett said: "We are concerned about his tackling technique and encouraged that he and his coaches work to correct it. We were guided by the IRB recommendation that a one week suspension was appropriate for totting up offences.
"The player was not released back to his club by England for Saracens' game on Sunday, November 4 so it would be inappropriate to commence the suspension immediately.
"We have therefore deferred commencement until Sunday November 4 so he misses a game he would have played in. We would like to add that Chris Ashton took a realistic and mature approach to proceedings and expressed genuine contrition."


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Tag Archives: 6 day stage race
26th Marathon des Sables 2011 Results
The Marathon des Sables is a 6 day stage race that this year ran from Takkourt N'takouit to Kourci Dial Zaid in Morocco. Over 800 competitors had to carry food… Read more
The Star Tilt – L'Etoile Savoyarde 2010
Interestingly translated, there is a new 6 day stage race anounced on Ultrafondus taking place in July 2010. Six days on the road with stages ranging from 53 km 68… Read more
Trans-Rockies Run 2009 Updates
The Trans-Rockies run is a 2-person team, 6 day stage race in the Colorado Rocky mountains. The 113 mile course runs from Buena Vista to Beaver Creek through White River… Read more


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