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This one goes out to all the L&D folk who are wary of the "I haven't been trained" excuse.
Posted tagged 'informal learning'
I can't use Facebook27 May 2014
Top 5 benefits of open badges for corporates17 July 2013
I've been blogging a lot about open badges lately. That really means I've been thinking a lot about open badges lately, as I use my blog as a sense-making platform.
Through my blogging, combined with the insightful discussions following both Badges of honour and The past tense of open badges, I have been able to consolidate my thoughts somewhat.
This consolidation I
rehash share with you now in the form of my Top 5 benefits of open badges for corporates.
1. Open badges can motivate employees to learn.
Badges are widely perceived as being childish, yet there is no denying that the game mechanics that underpin them can work. Some people are incredibly motivated by badges. Once they've earned one, they want to earn another.
You will note that I am using weasel words such as "can" and "some". This is because badges don't motivate everyone – just ask Foursquare! But my view is if they motivate a significant proportion of your target audience, then that makes them worthwhile.
I consider this an important point because as learning in the corporate sector becomes more informal, the employee's motivation to drive their own development will become increasingly pivotal to their performance, and hence to the performance of the organisation as a whole.
2. Open badges can credential in-house training.
Yes, corporates can print off certificates of completion for employees who undertake their in-house training offerings, only for them to be pinned to a workstation or hidden in a drawer.
And yes, corporates typically track and record completion statuses in their LMS, but that lacks visibility for pretty much everyone but the employee him- or herself.
In contrast, open badges are the epitome of visibility. They're shiny and colourful, the employee can collect them in their online backpack, and they can be shown off via a plugin on a website or blog – or intranet profile.
Badges therefore give corporates the opportunity to recognise the employees who have completed their in-house training, within an enterprise-wide framework.
3. Open badges are portable.
Currently, if you undertake training at one organisation and then leave to join another, you leave your completion records behind. However, if badges were earned through that training, their openness and centralisation in the cloud means that you can continue to "wear" them when you move to your next employer.
This portability of open badges would be enhanced if third parties were also able to endorse the training. So an APRA-endorsed badge earned at Bank A, for example, would be meaningful to my next employer, Bank B, because this bank is also regulated by APRA.
Still, the concept holds without third-party endorsement; that is to say, much of the training provided by Bank A would probably still be meaningful to Bank B – because Bank A and Bank B do very similar things.
4. Open badges are task oriented.
Despite my talk of "training" thus far, open badges are in fact task oriented. That means they recognise the execution of specific actions, and hence the mastery of skills.
I love this aspect of open badges because it means they don't promise that you can do a particular task, but rather demonstrate that you have already done it.
That gives employers confidence in your capability to perform on the job.
5. Open badges can formally recognise informal learning.
I have argued previously that in the modern workplace, we should informalise learning and formalise assessment.
My rationale is that the vast majority of learning in the workplace is informal anyway. Employees learn in all kinds of ways – from reading a newsfeed or watching a video clip, to playing with new software or chatting with colleagues over lunch.
The question is how to manage all of that learning. The answer is you don't.
If a particular competency is important to the business, you assess it. Assessment represents the sum of all the learning that the employee has undertaken in relation to that competency, regardless of where, when or how it was done.
I see open badges as micro-assessments of specific tasks. If you execute a task according to the pre-defined criteria (whatever that may be), then you earn its badge. In this way, the badge represents the sum of all the learning that you have undertaken to perform the task successfully, regardless of where, when or how that learning was done.
This is my blog, so of course all of the above assertions are the product of my own opinion. Naturally, I believe it to be an opinion informed by experience.
Other people have different opinions – some concordant, some contrary, as the comments under Badges of honour and The past tense of open badges will attest.
So, I'm curious… what's your opinion?
10 hot tips for moocers1 April 2013
Now that I have participated in a mooc, I am naturally qualified to dispense expert advice about them. Lol!
Seriously though, one aspect of moocs that I think requires urgent attention is the sense that many participants feel of being overwhelmed. This was certainly the case for some in the EDCMOOC, and I fear I was too dismissive of the issue in my previous blog post.
Upon further reflection, I appreciate that what gave me an edge in this mooc was my experience in studying at postgraduate level. By that I don't mean so much the knowledge acquired from the instructors, but (on the contrary) the skills developed in learning how to learn for myself.
You see, in postgrad you are left very much to your own devices. You are given a tonne of readings, and the most instruction you can hope to extract from the professors is "read this". The theory is that the students will collaborate with one another, share their diverse experiences, and contribute to robust conversations. Too bad most of them are straight out of undergrad, inexperienced, and don't have a collaborative bone in their body.
So if you actually want to learn something rather than skate through each subject, it's up to you to do your prescribed readings, seek more from blogs and journals to enhance your understanding, reach out to your network to ask questions and gather feedback, and generally drive your own education.
The successful postgraduate student is highly motivated, autodidactic, connected, and participatory. I suggest the successful mooc participant shares these same qualities.
So what I'm really trying to say is: I've been there, done that. If you trust me, you may find the following tips useful as you embark on your own mooc voyage…
- Before doing anything, ask yourself three fundamental questions.
Firstly: "Why a mooc?" It may very well be the right mode of study for you, but of course there are many others to consider. Compare the advantages and disadvantages of this mode in light of your personal circumstances.
Secondly: "Why this mooc?" There are plenty of them around, pitched at different levels and targeting different audiences. Analyse the pre-information of your chosen mooc to ensure it will give you what you need.
Thirdly: "What do I want to get out of it?" Be very clear in your own mind about the WIIFM, then doggedly pursue that during the mooc.
Having said that, remain open to new ideas that foster other lines of inquiry. Your goals may change. That's fine; it's called learning.
- Follow the sequence of the curriculum as arranged by the mooc coordinators. It may be tempting to jump ahead or even lag behind, but it's wiser to pace yourself week by week.
- Read the mooc's instructions! I've added the exclamation point in case you think words on screen are merely decorative. Sometimes they're informative, so take notice.
- Prioritise the core videos and readings. At the very least, all these should be watched and read. The other stuff is a bonus if you get around to it.
- Participate actively in the discussion forum. This is your opportunity to share your understanding of the key concepts with your peers and receive valuable feedback from them.
Don't just talk at your peers, but rather engage with them. Reply to their posts, build upon their ideas and suggest alternative thoughts. Challenge them (politely) to clarify their position if they appear to be waffling.
- Blog. More specifically, use your blog to articulate your learnings from the mooc. Focus on the practical applications that you have drawn from the academic concepts.
I found it helpful to use the discussion forum to post preliminary drafts of my ideas, refine them, then blog them.
- Concentrate your discussion activity on only one or two threads each week. You'll go mad trying to keep up with all of them, so narrow your field of vision to what really matters to you.
At the end of the week, abandon those threads. Again, this is about pacing yourself. While the conversation may be rich and rewarding, you can't afford to go down any rabbit warrens.
If you're super keen, you can always continue the conversation with your new-found friends after the mooc has ended.
- Pick a social media platform to support your progress. I made the mistake of bouncing between Twitter, Google+ and Facebook in case I missed out on anything, but all that did was waste my time. Next time I'll pick my favourite platform and stick with it.
- Do something daily. Whether it's watching a video, reading an article, discussing an idea, writing a blog, liking something on Facebook, or mulling over a thought in your mind, it's important to keep the momentum going.
- Think of moocing as informal learning. If you remember your WIIFM, it will ease the pressure that you put on yourself. You don't have to finish the course. In fact, you don't have to do anything. Assume control of your own actions, and become the master of your destiny.
In other words, be the tiny ship of order in the vast sea of chaos.
The future of learning management11 February 2013
People familiar with my blog will know that I'm not a member of the anti-LMS brigade.
On the contrary, I think a Learning Management System is a valuable piece of educational technology – particularly in large organisations. It is indispensible for managing registrations, deploying e-learning, marking grades, recording completion statuses, centralising performance agreements and documenting performance appraisals.
In other words – and the name gives it away – an LMS is useful for managing learning.
Yet while LMSs are widely used in the corporate sector, I suspect they are not being used to their full potential. You see, when most people think of an LMS, they think of formal learning. I don't.
I think of informal learning. I think of the vast majority of knowledge that is acquired outside of the classroom. I think of the plethora of skills that are developed away from the cubicle. I think of reading a newspaper and chatting around the water cooler, and the myriad of other ways that people learn stuff. Relevant stuff. Stuff that actually makes a difference to their performance.
And I wonder how we can acknowledge all of that learning. We can hardly stick the newspaper or the water cooler into the LMS, although many will try in vain.
No – the way we can acknowledge informal learning is via assessment. Assessment represents the sum of learning in relation to a domain, regardless of where, when or how that learning was done.
The assessment need not be a multiple-choice quiz (although I am not necessarily against such a device), nor need it be online. The LMS only needs to manage it. And by that I mean record the learner's score, assign a pass or fail status, and impart a competency at a particular proficiency.
In this way, the purpose of learning shifts from activity to outcome.
Having said that, the LMS suffers a big problem: portability.
I'm not referring to the content. We have SCORM to ensure our courses are compatible with different systems. Although, if you think migrating SCORM-compliant content from one LMS to another is problem free, I have an opera house to sell you. It has pointy white sails and a great view of the harbour.
No – I'm referring to the learner's training records. That's the whole point of the LMS, but they're locked in there. Sure, if the organisation transfers from one LMS to another, it can migrate the data while spending a tonne of money and shedding blood, sweat and tears in the process.
But worse, if the learner leaves the organisation to join another, they also leave their training records behind. Haha… we don't care if you complied with the same regulations at your last organisation. Or that you were working with the same types of products. Or that you were using the same computer system. We're going to make you do your training all over again. Sucker.
It's hardly learner-centered, and it sure as hell ain't a smart way of doing business.
Enter Tin Can.
According to my understanding, Tin Can is designed to overcome the problem of training record portability. I imagine everyone having a big tin can in the cloud, connected to the interwebs. When I complete a course at Organisation A, my record is recorded in my tin can. When I leave Organisation A for a better job at Organisation B, no worries because I've still got my tin can. It's mine, sitting in the sky, keeping all my training records accessible.
This idea has taken the education world by storm, and some LMSs such as UpsideLMS have already integrated the API into their proprietary architecture.
Furthermore, I can update my tin can manually. For example, if I read a newspaper article or have an enlightening conversation with someone around the water cooler, I can log into my account and record it.
This sounds admirable prima facie, but for me it raises a couple of concerns. Firstly, the system is reliant on the learner's honour – ! – but more concerningly, its philosophy reverts back to activity over outcome. Recording reams and reams of minor learning interactions all seems a bit pointless to me.
So where to from here?
Enter Plurality.
Plurality is a brilliant short film watched by the participants in Week 2 of The University of Edinburgh's E-learning and Digital Cultures course.
The film paints a dystopian vision of the future whereby everyone's personal details are stored in an online grid, which is controlled of course by the government. When you swipe your finger over a scanner, the computer reads your DNA and identifies you. This is convenient for automatically deducting the cost of a sandwich from your bank account, or unlocking your car, but not so convenient when you are on the run from the cops and they can track you through everything you touch.
Despite the Big Brother message pushed by the film, it prompted me to recognise an emerging opportunity for Tin Can if it were to re-align its focus on assessment and exploit the Internet of Things.
Suppose for example you are sitting in a jumbo jet waiting to take off to London or New York. If the cockpit had a scanner that required the pilot to swipe his finger, the computer could check his tin can to confirm he has acquired the relevant competencies at the required proficiencies before activating the engine.
Or suppose you are meeting a financial advisor. With a portable scanner, you could check that she has been keeping up with the continuing education points required by the relevant accreditation agency.
Competencies and assessment tend to cop a beating in the academic sphere, but in the real world you want to be reasonably confident that your pilot can fly a plane and your financial advisor knows what she's talking about.
If the film's portrayal of DNA is too far-fetched, it need not be the mechanism. For example, the pilot could key in his personal credentials, or you could key in the financial advisor's agency code.
But maybe it's not so far-fetched after all. The Consortium for the Barcode of Life – based at the Smithsonian Institution's National Museum of Natural History, no less – is currently researching DNA barcoding.
And still, maybe Plurality is looking at it the wrong way around. We can already store digital information in synthetic DNA. Perhaps in the not-too-distant future our training records will be coded into our natural DNA and injected back into our bodies. Then instead of the scanner referring to your tin can in the cloud, it mines your data right there in your genes.
And you thought science fiction was scary!
The moot point of MOOCs21 January 2013
Some people are head-over-heels in love with MOOCs. Or perhaps more accurately, the idea of MOOCs. They believe the new paradigm will democratise – and even revolutionise – education.
Others, however, consider MOOCs a passing fad, an unsustainable business model, yet another a buzzword destined for the scrapheap like so many before it.
I happen to stand somewhere in the middle. I believe MOOCs will democratise education to some extent, and they will revolutionise the delivery of education. Importantly though, I don't think they will revolutionise the science of education; after all, a MOOC is arguably an extensible version of what we've been doing all along – albeit on a massive (and free) scale.
I also think the business model will become sustainable, as soon as the providers adopt a freemium model. By that I mean the content is free, but the formal assessment and certification attracts a premium.
And don't forget the intangibles of marketing. Perhaps a MOOC is a loss leader, or a branding exercise, or a CSR strategy. The ROI might be more complicated than the profit-and-loss statement suggests.
So I appreciate the arguments both for and against MOOCs pitched by their proponents and detractors. Nonetheless one aspect of the argument that I don't grasp is the high dropout rate. Apparently if relatively few participants officially complete the course, then the educational experience must have been be a failure. I just don't buy it.
Annie Murphy Paul recently blogged about this phenomenon (The Truth About MOOCs: Only 10% Of Students Actually Finish Them), in which she makes the point that…
…for all the hype about making education available for free on the web, we need to work a lot harder to create the psychological conditions that promote persistence, accountability, goal-directedness, responsiveness to instructors' and classmates' expectations, and whatever else it is that makes students keep going to class in the real world.
Fair call, but I think there's more going on beneath the surface, and the post attracted some excellent comments to that effect. For example, Arthur Clarke commented…
…I wonder if we might not overstate the problem. How many unfinished books do you have lying around? If you are like me you have quite a few. Does that mean that I have wasted my time and, puritanically, should castigate myself for being a quitter? Perhaps we need to look at learning differently.
Perhaps we need to look at learning differently indeed.
My reaction to the 10% completion rate for MOOCs is:
Who cares?!
The proponents of informal learning don't care. Nor do the proponents of constructivist learning. Nor, dare I suggest, do the proponents of social, mobile and blended learning. To these people, the completion rate of a MOOC is a moot point.
The only people who seem to care are the MOOC providers themselves (naturally), the proponents of formal learning, and the ever-present killjoys.
To the MOOC providers I say: Adopt the freemium model already! I'm no accountant, but I expect a 10% completion rate would be financially viable.
To the proponents of formal learning I say: Formal learning certainly has its place, but that doesn't mean it meets everyone's needs. One size does not fit all.
To the killjoys I say: Identifying an obstacle does not impress me. Explaining how to overcome it does.
E-Learning Provocateur: Volume 217 September 2012
Following the modest success of my first book, I decided to fulfil the promise of its subtitle and publish E-Learning Provocateur: Volume 2.
The volume comprises a collation of my articles from this blog. As in the first volume, my intent is to provoke deeper thinking across a range of e-learning related themes in the workplace, including:
• social business
• informal learning
• mobile learning
• microblogging
• data analysis
• digital influence
• customer service
• augmented reality
• the role of L&D
• smartfailing
• storytelling
• critical theory
• ecological psychology
• online assessment
• government 2.0
• human nature
Order your copy now at Amazon.


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subset: commoncrawl


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Performing Arts Workshop (P.A.W.) has been offering high-calibre dance training to the greater San Diego dance community since 1996. Our studio is a safe, inclusive, environment for everyone from the dance appreciator to the professional dancer. PAW enables each student to reach his or her full potential through hard work, encouragement, discipline, individual focus, dance education, correct technique, creativity, and artistry.
Try a MODERN DANCEclass with us! Be a part of moving dance history in Duncan Technique with Elyssa
or get your groove on in Modern/Soul with Beth.
All ages and abilities welcome!
Artistic Director: Emily Miller
Studio Manager: Alyson Klier
Office: 760-753-2671
E-Mail: firstname.lastname@example.com
Performing Arts Workshop
681 Encinitas Blvd. Suite #309
Encinitas, CA 92024


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Tottenham face Southampton needing a win to end their run of 4 games without a win since the defeat of Cardiff City at the beginning of the month. The draw in Lisbon restored some pride for Spurs and it's hoped that there will be similar endeavour this afternoon.
Date: Sunday, 23rd March, 2014
Kick-off Time: 1.30pm (UK time)
TV Channel: Sky Sports 1
Team: Lloris; Naughton, Kaboul, Vertonghen, Rose; Lennon, Bentaleb, Chadli, Dembele, Eriksen; Soldado
Subs: Friedel, Dawson, Fryers, Paulinho, Sigurdsson, Townsend, Kane
Southampton have won their last two games, at Crystal Palace (1 – 0) and at home to Norwich City (4 – 2) which has lifted them up to 9th position in the Premier League with 45 points.
At Southampton
Tottenham's win at Southampton in late December was Tim Sherwood's first Premier League game in charge of Tottenham. Still in his capacity as interim manager following the departure of Andre villas-Boas, the team made a positive start under their new manager. Southampton took an early lead but Emmanuel Adebayor equalised midway through the first half. An own goal put Spurs ahead after the interval but Southampton again levelled before Adebayor added a second.
Last Season
Last May, in the penultimate home match of the season, it took a Gareth Bale goal in the final minutes to break the deadlock as another of his memorable strikes defeated his former club at White Hart Lane. The win enabled Spurs to complete the 'double' over Southampton.
Tottenham's Home League Record against Southampton (inc. PL):
P 50 W 32 D 9 L 9 For 127 Ag 53
Home Record in Premier League:
P 14 W 10 D 2 L 2 For 34 Ag 13
The Southampton team has a number of exciting young players and they started the season well, winning at Anfield at the beginning of September. They are the only team to prevent Liverpool scoring at home this season and one of only two teams to deny them a goal hone or away.
Southampton have recorded 6 away wins in the league this season, also taking three points at West Bromwich Albion on the opening day of the season, at Cardiff (3 – 0), at Fulham (3 – 0) and at Hull and Crystal Palace. Their win at Anfield and the other away victories were by a 1 – 0 scoreline. They have drawn at Manchester United, Newcastle, Sunderland and Stoke and in their last 4 away games, they have dropped only 3 points, losing 1 – 3 at West Ham last month.
Leading Goalscorer: Rodriguez is their leading goalscorer with 14 goals in all competitions. Ricky Lambert has 10 and Lallana has scored 8 goals.
Team News
Tottenham should have Jan Vertonghen and Younes Kaboul back in central defence while Mousa Dembele and Emmanuel Adebayor could also be available.
For Southampton Morgan Schneiderlin is doubtful in midfield. They will be missing Jack Cork and Victor Wanyama in their midfield while there are doubts over the fitness of Guly Do Prado and Kelvin Davis.
Tim Sherwood will want to maintain the levels of commitment shown against Benfica while bringing back his first choice players. Spurs will need to show the urgency they displayed in the final minutes in Lisbon from the start against Southampton as they look to score a goal in a league game in opening 15 minutes for the first time this season. There are only 8 games left but they could determine the future of the manager and a number of players at White Hart Lane.
Looking for Spurs vs Seattle Sounders tickets? Visit TiqIQ.com
Tags: Preview Soccer Tottenham Hotspur


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i need to get my shit together. i am not used to this. gah. how to balance how to balance.
flylikeahurricane- said: I love you <3
gah. i miss you! come visit soooonnnn! i would say that i could come visit you but……….. no car. anyways. hope everything is getting better. keep your chin up and remember i'm always here for you. love you too!


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Eagle DECANTER, LARGE ,green glass, neat item!.
Eagle DECANTER, LARGE ,green glass, neat item!.
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Sold Date: 04/02/2009
Channel: Online Auction
Source: eBay
Category: Advertising
GLASS EAGLE DECANTERREMOVABLE glass LID. Abt. 11 " height , 4 .5 " base excellent condition. GREAT usable COLLECTIBLE! FREE SHIPPING IN USA VISIT MY STORE FOR MORE GREAT BUYS! Be sure to add me to your favorites list !
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Fire Destroys Severn Home, Family on Vacation
June 2, 2013 4:45 PM
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SEVERN, Md. (CBSDC) – A fire gutted a home in Severn early Sunday morning, the family was on vacation.
A neighbor saw smoke and called the fire department around 6:30 a.m. but the flames were too intense for them to fight the blaze inside.
Firefighters had the fire under control about an hour later, but only the shell of the first floor remained.
Neighbors say the family left for a vacation in Aruba the day before.


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All Items > Knives > Folding Knives > $15 through $29.99
Douk-Douk Black Slip Joint Pocket Knife - Satin Plain
- Overall Length: 6.375"
- Blade Length: 3.00"
- Cutting Edge: 2.625"
- Blade Thickness: 0.11"
- Blade Material: Carbon Steel
- Blade Style: Clip Point
- Blade Grind: Flat
- Blade Finish: Satin
- Edge Type: Plain
- Handle Length: 3.50"
- Handle Thickness: 0.22"
- Handle Material: Stainless Steel
- Handle Color: Black
- Weight: 1.35 oz.
- Knife Type: Manual
- Lock Type: Slip Joint
- Brand: Douk-Douk
- Model: 815PM
- Country of Origin: France
- Best Use: Everyday Carry
Douk-Douk Folder is a thin pocket knife with a simple design and reliable performance. It has a carbon steel blade and black finished folded steel handle with bail loop. The front handle is etched with Douk Douk artwork and the blade has scroll etching.
Famous in the former French colonies for over 70 years and used recently for decades by the Army and in the French Foreign Legion, these are tough, working knives.
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Copyright ©2014 Blade Play. All rights reserved


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From 1949deal we get two promotions with which we can take one of the smartphones that are on their website for a special price. On the one hand, they offer a Doogee Smartphone Special Deals and on the other hand a special offer with free gifts when we buy the NO.1 V phone i6.
Steps of the Android Rooting method: MTK6589. Root many Mediatek phones1.- Download Driver MT65xx_USB (MTK6589 compatible)
2.- Unzip MT65xx_USB_Driver.
3.- Connect your device to your computer's port.
4.- Install Driver, Right-click the device name which was detected and select update driver software. This will launch the Hardware Update Wizard
5.- Locate the USB driver folder that you unzipped and click next.
6.- Put your phone on USB Debugging mode (activate checkbox on Settings>Development options>USB debugging or Settings>Applications>Development>USB debugging).
7.- Alternative, you can download the PDAnet or Generic Adb Driver
8.- Download root package and unzip.
9.- Double click the RunMe.bat and follow instruction to ROOT your MTK6589 Android phone.
10.- If you want to check if you are already root or superuser in your Android phone or tablet you can download HowToRoot app from Google Play Store and click over the padlock in the top-right of the screen. It will show you a message about if your device is rooted or not.
Android USB Drivers app
Download sourcesDOWNLOAD MT6589_rooter
DOWNLOAD DRIVER alternative PDA
Remember, you must root your device at your own risk.
Other important informations. Read before rootingThis rooting method is compatible with MTK6589 devices running on Jelly Bean (Android 4.1 and 4.2)
SourceSource MTK6589 _rooter Method
Legal conditionsHexamob is not responsible for any damages caused directly or indirectly by a rooting method. Any action for rooting your device is done it only under your responsibility.
We recommend that you read all the instructions related to each root method and follow them step by step as indicated by the developers. If you have any question or need support, on every page there are links to the developers of each method.
Android Rooting method: MTK6589. Root many Mediatek phones


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North San Diego County School News Briefs: 'Night in Venice' gala planned
'Virtual school' to offer information
NORTH COUNTY -- Connections Academy is recruiting students for the current school year.
The academy is a an online kindergarten through ninth-grade public school serving families throughout Southern California. Free virtual information sessions are taking place for families to learn more about this educational option for their children. At Connections Academy, students benefit from personalized attention, integrated technology, a flexible schedule and a challenging public school curriculum tailored to individual needs and abilities.
Since Connections Academy is a public school, there is no tuition to attend. The virtual information sessions utilize online conferencing technology to bring the information session directly to a family's home. Each online session includes a presentation covering how the program works, a question-and-answer period, and technology examples and demonstrations.
Registration is required for the online sessions any time prior to the start time. Sessions will be offered from 6:30 to 8:30 p.m. today, Oct. 17 and 25, and 1 to 2:30 p.m. Nov. 1. To attend, log on to http://www.connectionsacademy.com/state/sessions.asp?sid=ca .
Connections Academy is operated in partnership with charter schools and school districts. The program delivers top-quality, personalized education for students that combines certified teachers, a print-rich curriculum, technology tools and community experiences to create a supportive and successful environment for children who need an individualized approach to education.
Students use daily lesson plans and curriculum materials provided by the academy. Teachers develop a personalized learning plan for each student, whose progress is tracked through a proprietary, Web-based Learning Management System. Connections Academy serves students in Arizona, California, Colorado, Florida, Idaho, Minnesota, Ohio, Oregon, Pennsylvania, Washington and Wisconsin through its high-tech, high-touch public "schools without walls." For more information, call (800) 382-6010 or visit http://www.connectionsacademy.com .
Arts education workshop offered
CARLSBAD -- The CAPE Arts Integrated Education Workshop Series will continue from 3 to 5:15 p.m. Oct. 16 at Jefferson Elementary School, 3743 Jefferson St.
Open to teachers at no cost and with a $20 donation requested from all others, the workshop's topic is "Using Drama and Music to Teach K-6 Language Arts, Social Studies and Math" and will be conducted by Eduardo Parra, an accomplished professional artist, set designer, actor and director with extensive careers in Mexico and the United States. He also has developed drama, music and visual arts curricula for middle school students through La Jolla Playhouse, the Oceanside Museum of Art and the teenagers at risk REACH program.
The workshop will teach basic drama and music techniques to help students develop listening, speaking, reading and writing skills for language arts. Teachers will apply these techniques to teach social studies and math by creating plays, songs, dances and games.
The CarlsbadArtsPartnership, a nonprofit corporation, and the Carlsbad Unified School District are presenting the workshop as one in a series of 10 arts-integrated teaching workshops. The workshops are made possible in part by a city of Carlsbad Arts Education Grant and are designed to provide arts-integrated teaching tools to teachers, teaching students, parents, grandparents and any other community members concerned with the quality of education and the promotion of arts education in particular. Teachers from other districts and education students are particularly welcome.


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Director: Gus Van Sant
Mala Noche is a low-budget adaptation of an autobiographical novella, shot in black and white. It seems to be aiming for a style that has emerged recently in the USA with Jim Jarmusch's Stranger Than Paradise: a streetwise feel of improvised fictional worlds slanted very much towards the plight of the individual in the big world.
The central character, Walt, is gay. He works in a small store in Portland, Oregon, and falls in love with a young Mexican immigrant, Johnny. Walt is let down when Johnny falls for Walt's sister and Walt has to settle for Johnny's young friend. The two young Mexicans eventually become victims of their own predicament: illegal, jobless, displaced from their own country. Johnny ends up back on the street while his friend is killed by the police.


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Although the name The Oral Slut makes it sound like a site starring one specific cock-sucking babe, it in fact refers to dick-swallowing females in general and features numerous babes filling their mouths with a hard shaft. So that's a good start.
Once you arrive on TheOralSlut's homepage, it'll take no time at all to get right to the hardcore throat-banging action. There is only one page and all the content is right there in front of you. There are no seperate photo and video sections. Instead you just need look below each thumbnail to see if it has video and a photo set or just a photo set.
I did exactly that and counted 123 videos. They can be downloaded as clips or as full-length films. The newer vids come in a good-quality Windows Media format, but the older ones are far less impressive. The majority come with a set of vid caps, leaving you with 60 photo galleries. Some are comprised of low-res images while others are much more clear and sharp.
Each scene features some hot chick sucking on a dude's cock. That big-titted black babe, Sierra, is in one episode. She plays a cashier who loves to give head and gets paid in full with a nice big load of sperm sprayed all over her face. Another scene features Gauge as an incredibly horny groupie who wants nothing more than to get her face autographed with jizz.
Not all the scenes have a story or setup though. One I watched had some girl naked on a chair. The doorbell rings, she gets up to unlock the door and then the scene cuts to her on her knees undoing the belt of some dude. Sara Jay is another episode and she displays why she is one of the most popular cock suckers in the entire adult business.
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West End Theatre
362 W. 125th Street,
New York,
No one has favorited this theater yet
Showing 12 comments
The West End appears in a Paramount Week ad in 1921. It was already open in 1903 when the Sunset was being constructed next door.
In the 1934 Film Daily Yearbook the West End is listed as closed with 1672 seats. In the 1937 edition a De Luxe theatre at this address is open with 1672 seats, so it must be a name change that went along with renovation and re-opening. By 1941 it was the West End again.
It stopped showing films in 1975.
Fight in the theater in 1906, from the LA Times:
I apologize for any confusion that I might have caused by mentioning another West End Theatre in Harlem. A picture and more details about that other West End can be found under the listing for Loew's Seventh Avenue, which occupied the same ground site that had been intended for it on the NE corner of Seventh Avenue & 124th Street.
In 1937, the West End was treated to a $150,000 renovation, and re-opened in November with a stage and film policy. The management couldn't afford the "big names" that performed at the rival Apollo Theatre, so the emphasis was on scantily-dressed chorus girls and what Variety described as "smutty Negro comedians." The movies were late-run, after they'd finished their tours of the RKO and Loew's circuits. In about a year, the West End returned to and remained a cinema with late-run double bills changing several times a week.
I've seen literature on such a theatre in "free Renaissance" style at the Performing Arts Library in Lincoln Center, NYC. There was a prospectous with several drawings of it, but no actual photographs. It was supposed to be called the West End, but I don't think that it was ever built, and the name was later used for this theatre on West 125th Street. I made some notes. If I can find them, I will post further.
Al; The West End Theatre is now the Lagree Baptist Church. The West End Theatre is located in the middle of the block and only has a frontage on 125th Street. The building you are searching for would have been built to the left of the West End Theatre. In the photo posted by Warren on 20th November 2005 there is a building next to the West End, which is still there today (just seen in my photo posted 8th May 2006). To me that looks too low a building to be a 1,800 seat theatre on a single floor. But I could be wong…..I will try and check out the next door building when I am in NYC in a couple of weeks time and see what lays behind and whether the facade goes around the corner to St. Nicholas Avenue.
I have been searching for a theatre called the Palace St Nicholas which was showing movies in 1918. I finally found something about it in a 1903 NY Times article.
It was to be built as a playhouse adjoining the West End Theatre property on St. Nicholas Avenue and Hamilton Place. It ran boxing and plays as well as movies and also had an Annex (roof?).
It was built by a sindicate of theatrical and business men and has a frontage of 188 feet on St. Nicholas and 100 feet 11 inches on Hamilton (125th St?).
Louise M. Goldstein (Murray Hill Lyceum), Charles Bimberg, and Archibald Bimberg composed the syndicate who expect the building to be ready by February 1904.
The building style will be free Renaissance and the material Roman buff brick, limestone and terra cotta with a seating capcaity of 1800.
Is this the LAGREE BAPTIST CHURCH?
Photographed in July 2003:
The West End when it first opened in 1902 under Weber & Fields management:
An undated exterior photo: www.i8.photobucket.com/albums/a18/Warrengwhiz/westend.jpg
The comedy team of Joe Weber and Lew Fields built the theatre in 1902; in 1904, according to papers in the Shubert Archive, they leased it to Edward W. Stair and Albert L. Wilbur and it continued in service as a vaudeville and legit theatre. A year or two later, the Shubert Theatrical Company acquired a half-interest in the lease. Business relations between the Shuberts, Edward Stair (long a partner of J. H. Havlin in ownership of vaudeville and cheap melodrama theatres) and Albert Wilbur (Boston-based theatre owner and manger) were fluid and complex, but Wilbur probably provided Shubert access to the property. The West End Theatre lease was assigned to the United States Amusement Company, a Shubert-Erlanger vaudeville venture in 1907-08. From 1908 to 1912 it was booked as a part of the Shubert's "subway circuit" by the Sam S. Shubert Booking Agency. 1912-14 it was subleased to managers who installed stock companies. Shuberts disengaged in 1914.
The West End Theatre opened in 1902 as a live theatre. It is listed in Film Daily Yearbook;1926 edition as having a seating capacity of 1,500. The 1927 edition gives it 2,000 seats and the 1930 edition of F.D.Y. list it as 'Closed' with 1672 seats.
In the 1941 edition of F.D.Y. it is listed with a seating capacity of 1,670 and this has been reduced to 1,100 in the 1943 edition and also the 1950 edition.


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Comfort Inn
11401 Hall Rd.
Utica, MI 48317-5900
Phone: (586) 739-7111
Fax: (586) 739-1041
11401 Hall Rd., Utica, MI, US, 48317-5900
- Phone: (586) 739-7111
- Fax: (586) 739-1041
4.6 out of 5 (120 reviews)
96% of guests recommend this hotel
The Spirit of Detroit
The Spirit of Detroit has provided a location for reflection for Detroit residents and visitors since 1958. Located at the foot of the Coleman A. Young Municipal Center, this twenty six-foot Norwegian-made bronze behemoth was the largest statue of its kind created since the Renaissance. Despite the gravitas this sculpture commands, the city often dresses the statue up in local sports jerseys or other theme-appropriate costumes during large civic events.
2 Woodward Avenue
Detroit, MI 48226
+1 313 202 1800 (Toll Free)
Earn valuable points toward free nights.


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You may have read an article on The Hardball Times recently that wasn't very kind to Kansas City ace Zack Greinke. It wasn't quite a screed against the 2009 Cy Young Award winner, but the article was quite pessimistic about Greinke's ability to be the starter he's hyped up to be.
Much of the article is focused on the shift from 2009 to 2010, and to compare the two seasons, it's obvious that his follow up season was a disappointment. But, as the article states in the opening, Greinke's 2009 was the season with numbers that "come along only about once a decade" so that's a tough bar to reach anyway on that standard.
The following is my defense of my favorite player in baseball, the enigmatic Donald Zachary Greinke:
First, it's fair to express disappointment with Greinke's 2010. I fell into the trap just like many. Once we saw the peak of Greinke's abilities, we wanted more. It's not a surprise to expect him to keep his magical run going despite a full offseason of teams scouting specifically to find a way to counter his tremendous skills.
Greinke's ERA of 4.17 was right in line with the league average. When being average is a disappointment, you've got one of those good kinds of problems. However, despite that high ERA, Greinke's component ERA (a formula devised by Bill James to try to limit the stat to measure just what the pitcher has control over) was 3.48, which is significantly better. Greinke's strikeout rate of 7.40 K/9 wasn't far off from his career 7.56 K/9 rate, though it's a significant drop from his 2008 and 2009 seasons. He missed less bats overall and it shows in his hit totals. He gave up 219 hits in 2010 after only giving up 195 hits in 2009, though a lot of those would have probably been scooped up if he wasn't saddled with an infield that consisted of Billy Butler, Wilson Betemit, and Yuniesky Betancourt.
One of the criticisms of Greinke is his pitch selection. That's fine, though it's a rough metric to follow, depending on the stadium in which pitches are charted, the individual charter, and all that fun stuff. One man's slider is another man's two seam fastball. After watching most of Greinke's starts, I remember noticing that he seemed tentative, and seemed to try to throw more breaking pitches over for strikes, and didn't use his fastball as much. Fangraphs, though, seems to think Greinke is pretty much within a normal range of the same pitch selection he used in 2009. One of Greinke's goals going into 2010 was to refine his changeup, so he may have used it more, but the numbers don't indicate much.
Greinke's curve is in question too, but he's adapted it to be less of a specialty pitch (like the slow eephus) and more of a pitch to mix in. He seemed to throw it to start an at bat more than usual, as a get-me-over pitch. His velocity didn't seem to take a hit, though, as he ended up with an average fastball of 93.5 mph, good for sixth in the American League according to the Bill James Handbook.
Does this mean Greinke's going to return to his 2009 levels of production? It's not certain. But after a solid 2008, Greinke broke out in 2009. Would anybody be disappointed if he "only" went back to 2008 levels? I think not.
I really don't get the fuss over Greinke's struggles. Despite his average season, he still had a strikeout to walk ratio of nearly 3/1 and for his career he's got a 3.18 K/BB ratio. That's damn solid.
Am I worried about Zack? Not even close. I still think he's among the top ten pitchers in the game today. Will he repeat his 2009? Maybe not to the extent of dominance – that 2.17 is awfully tough to maintain over a full season of starts – but he should approach it at least once more in his career as long as he stays healthy (which he should, since he has no problem with injuries in his history and a mechanically smooth, repeatable and easy delivery).
He'll be fine.
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Tags: AL Central Baseball Kansas City Royals KC MLB Royals Zack Greinke


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Eagle Watches In Connecticut
Connecticut is the Prime Winter Destination for Eagle Viewing
Polish those binoculars and get ready for eagle viewing in Connecticut! Up to 100 beautiful eagles spend winter along Connecticut waterways. February and early March are prime times to spot the largest concentration of eagles in the Northeast, as our country's national symbol perches and flies high above the trees.
Start in Haddam at Eagle Landing State Park by boarding RiverQuest, the 64' vessel run by Connecticut River Expeditions, and head down the river. The quiet RiverQuest has a heated enclosed cabin, but dress warmly so that you can enjoy the full beauty and solitude of the river on its open decks. Listen and observe as seasoned, experienced naturalists point out and educate all on local wildlife and other points of interest.
Another excellent location is the Bald Eagle Observation Area at the Shepaug Dam in Southbury, where thousands of visitors spot eagles this time of year. A popular resting area for eagles who appreciate the unfrozen water conditions, the dam offers exceptional views of the birds' temporary habitat along the Housatonic River as well as educational exhibits and breathtaking photographs.
For more up close and on the water eagle viewing options, climb aboard the Project Oceanology's 65' Enviro-Lab III vessel for an Eagle Watch Boat Tour launching from the Connecticut River Museum in Essex. Enjoy a warm beverage in the heated cabin or on the ample deck area and listen to educators describe the behaviors and travel patterns of the eagles you'll see. The trip also includes admission to the museum and its Eagles of Essex exhibit.
And lastly, for those who prefer to stay on land the Audubon Shop in Madison is conducting guided Eagle Watches on the Connecticut River on Saturdays through March 3rd. Pre-registration is required and please remember to bring your binoculars.
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Just publishing out-of-context comments, because I can.
With the incendiary claim that the "Obama presidency is the greatest threat the American people have ever faced," Gingrich has launched a massively funded effort to mobilize ten million conservative voters this November. In an online video promoting the "Power of 10" campaign by his American Solutions for Winning the Future (ASWF) 527 group, Gingrich rails against the "genuinely radical, secular socialist machine" of the "Obama-Pelosi-Reid team" who "simply run over the beliefs and values of the American people." Images of Tea Party rallies and the right-wing enemies list — Michael Moore, Sean Penn, and Katie Couric — scroll by as Gingrich pleads for "we the American people" to "go all out":
You know, I don't remember any time in American history where we had such a threat to our basic way of life: A genuinely radical, secular socialist machine ramming things through with no regard for American values or the beliefs of the American people.
You know, I don't remember any time in American history where we had such a threat to our basic way of life: A genuinely radical, secular socialist machine ramming things through with no regard for American values or the beliefs of the American people.
American Solutions for Winning the Future is bankrolled by a cadre of the right-wing billionaires and oil and coal companies who put George W. Bush into office and destroyed the national economy.
c. 1700: Sex "invented.""Some time in the 18th century, sex as we know it was invented," writes Berkeley historian Thomas W. Laqueur. Before that time, Laqueur argues, most anatomists accepted the ancient idea expressed by the Greek doctor Galen that there was really only one gender: Women's sexual organs were essentially the same as men's, except they were inverted due to a lack of "vital heat." The vagina was matched by penis, the ovaries by the testicles ("stones of women"), the labia by the foreskin, the uterus by the scrotum. This appealed to classical notions of cosmic harmony, and allowed doctors to argue that women were simply inferior versions of men. But in the 18th century, scientists began to see men and women as complete biological opposites – profoundly different creatures, distinct in body, character and even soul. (This was no great improvement for women's rights, since male thinkers promptly argued that men were "sexually charged" and essentially active, and that women were essentially passive). c. 1730: Female orgasm officially demoted.For most of Western history, doctors believed (despite some fairly obvious evidence to the contrary) that conception could only occur when both men and women experienced sexual pleasure; this immutable law of nature was even written into many handbooks for midwives in the Renaissance. Scholars believed the buildup of "female semen" in unsatisfied women could be downright dangerous, resulting in hysteria and melancholia. Then, around 1730, anatomists proved that the female orgasm was not essential for reproduction. The Dark Age of the bedroom had begun, as male medical experts played down the importance of female satisfaction to the sex act and to women's happiness in general. By the Victorian era, doctors were asserting that women were not, in fact, capable of a true orgasm. "As a general rule," intoned the English urologist William Acton in 1875, "a modest woman seldom desires any gratification for herself. She submits to her husband's embraces, but principally to gratify him; and were it not for the desire of maternity, would far rather be relieve of his attentions."1864: Smut identified.The word "pornography" first appeared in the English language at the height of the Victorian period, when Webster's Dictionary listed it in 1864 to describe "licentious painting employed to decorate the walls of rooms sacred to bacchanalian orgies examples of which occur in Pompeii." The word had actually been invented in Italian four years earlier by the Neapolitan museum curator Giuseppe Fiorelli, when he wrote a brief catalog to the notorious Secret Cabinet of the Naples Museum, packed with ancient Roman erotic art for discerning (and generally lascivious) visitors. Fiorelli combined the ancient Greek word for prostitutes, pornai, with writing, graphos, to describe the restricted-access collection. Over time, pornography became synonymous with any image that should be viewed privately and furtively. Cultural censorship had been born.1892: Homosexuality acknowledged.It wasn't until 1892, three years before the Oscar Wilde trials, that the word "homosexual" entered the English language, when an 1868 work by the Austrian sexologist Richard Freiherr von Krafft-Ebbing, Psychopathia Sexualis, was translated. (Along with this "male-on-male activity," the word "bisexual" also premiered in the same opus). Although sodomy had been illegal in Britain since 1533 — and a capital offense since 1562 — men had never been labeled purely "gay" or "straight." Obviously, this is not to say that homosexual activity did not exist. Far from it. In ancient Greece, it was openly acceptable for men to have physical relations with teenage boys. In the Middle Ages, the prodigious amount of homosexual behavior was regarded as just one of the many categories of carnal sin, to be dealt with by priests and church courts, not the state. However, as the 19th century wore on, there was an increasing tendency for men to define themselves — and be defined by the law — as part of a distinct sexual category, either heterosexual, homosexual, or bisexual. Although the death penalty was dropped from sodomy charges in the 1860s, pressure built for the passage of the Criminal Law Amendment Act in 1885, which made acts of "gross indecency" between males "in public or in private" subject to two years of hard labor. The criminalization of homosexuality, copied in the United States, remained on the books until the 1960s.1908: Age of Aquarius foreseen.According to Virginia Woolf, the modern world began on the day fellow author Lytton Strachey visited her apartment and, pointing to a stain on her friend Vanessa Stephen's dress, inquired politely, "Semen?" The upper-crust Bloomsbury author was impressed by the refreshing openness about the body, which she contrasted to the hypocrisy of the 19th century: "It was, I think, a great advance in civilization." As if to confirm her conviction, a mini sexual revolution got underway after the First World War, heralded by popular books such as Dr. Harland Long's Sane Sex Life and Sane Sex Living (1919) and Dr. Lee Harlan Stone's classic It is Sex O'Clock (1928).
Deerhunter / Helicopter, Holcyon Digest, 2010
Can't stop listening to this album.
Once a serious journalist, the Washington Post's Bob Woodward now makes a very fine living as chief gossip-monger of the governing class. Early on in his career, along with Carl Bernstein, his partner at the time, Woodward confronted power. Today, by relentlessly exalting Washington trivia, he flatters power.
Essentially, news reports indicate that Woodward's latest book, Obama's Wars, is an updated script from the 2002, Bush at War. The characters have different names, but the plot remains the same. So we learn that Obama political adviser David Axelrod doesn't fully trust Secretary of State Hillary Clinton. National security adviser James Jones, a retired Marine general, doesn't much care for the likes of Axelrod, and will say so behind his back. Almost everyone thinks Richard Holbrooke, chief State Department impresario of the AfPak portfolio, is a jerk. And — stop the presses — when under the influence of alcohol, General David Petraeus, commander of U.S. and allied forces in Afghanistan, is alleged to use the word "f**ked." These are the sort of shocking revelations that make you a headliner on the Sunday morning talk shows.
Based on what we have learned so far from those select few provided with advance copies of the book — mostly reporters for the Post and The New York Times who, for whatever reason, seem happy to serve as its shills — Obama's Wars contains hints of another story, the significance of which seems to have eluded Woodward. The theme of that story is not whether Dick likes Jane, but whether the Constitution remains an operative document. The Constitution explicitly assigns to the president the role of commander-in-chief. Responsibility for the direction of American wars rests with him. According to the principle of civilian control, senior military officers advise and execute, but it's the president who decides. That's the theory, at least. Reality turns out to be considerably different and, to be kind about it, more complicated.
Obama's Wars reportedly contains this commentby Obama to Clinton and Gates regarding Afghanistan: "I'm not doing 10 years… I'm not doing long-term nation-building. I am not spending a trillion dollars."
Aren't you, Mr. President? Don't be so sure.
Obama's Wars also affirms what we already suspected about the decision-making process that led up to the president's announcement at West Point in December 2009 to prolong and escalate the war. Bluntly put, the Pentagon gamed the process to exclude any possibility of Obama rendering a decision not to its liking. Pick your surge: 20,000 troops? Or 30,000 troops? Or 40,000 troops? Even as Obama opted for the middle course, the real decision had already been made elsewhere by others: the war in Afghanistan would expand and continue.
And then there's this from the estimable General David Petraeus: "I don't think you win this war," Woodward quotes the field commander as saying. "I think you keep fighting… This is the kind of fight we're in for the rest of our lives and probably our kids' lives."
It is a cliché that the brain is the "largest sex organ," but the repetition of the phrase doesn't make it any less true. The mechanics of its role during sex are less obvious and less well understood than that of the body's other sex organs, but by using brain imaging scans, neuroscientists have begun to get a sense of what parts of the brain light up during sex, especially at the moment of orgasm.
One early study of orgasms suggests that the subjective experience of orgasm is very similar between men and women. Despite having different anatomies, men and women seem to be hard-wired to experience sexual pleasure in the same way. But does this translate to a similarity in the brain? (…)
Much more so than men's brains, female brains go mysteriously silent during orgasm. In particular, the left lateral orbitofronal cortex and the dorsomedial prefrontal cortex, areas involved in self-control and social judgment, respectively, are deactivated. Brain activity also fell in the amygdala, suggesting a similar, albeit more drastic, drop in vigilance and emotion as in men. "At the moment of orgasm, women do not have any emotional feelings."
Rutgers psychologist Barry Komisaruk's research suggests another way that women's brains are different than men's when it comes to sex: some women can "think themselves off"—induce orgasm without any physical stimulation. This special talent, he says, comes from the fact that "when women think about their finger being stimulated, or they think about their toe being stimulated, or their nipple, the corresponding part of the body, the representation of it in the sensory cortex… is actually activated just as if they are really being stimulated physically."
"The question is, if we can see our own brain activity in near real time in specific regions, can we voluntarily increase the activity of that part of the brain just by thinking about it."
At this point, I didn't believe it was possible, but the Obama administration has just reached an all-new low in its abysmal civil liberties record. In response to the lawsuit filed by Anwar Awlaki's father asking a court to enjoin the President from assassinating his son, a U.S. citizen, without any due process, the administration late last night, according to The Washington Post, filed a brief asking the court to dismiss the lawsuit without hearing the merits of the claims. That's not surprising: both the Bush and Obama administrations have repeatedly insisted that their secret conduct is legal but nonetheless urge courts not to even rule on its legality. But what's most notable here is that one of the arguments the Obama DOJ raises to demand dismissal of this lawsuit is "state secrets": in other words, not only does the President have the right to sentence Americans to death with no due process or charges of any kind, but his decisions as to who will be killed and why he wants them dead are "state secrets," and thus no court may adjudicate their legality.
I would hope that nobody needs me or anyone else to explain why this assertion of power is so pernicious — at least as pernicious as any power asserted during the Bush/Cheney years. If the President has the power to order American citizens killed with no due process, and to do so in such complete secrecy that no courts can even review his decisions, then what doesn't he have the power to do?
— Glenn Greenwald


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Juniper Networks, Inc: Technology & Communications Company Profile, SWOT & Financial Report
iCD Research
February 4, 2012
33 Pages
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ICD Research's Juniper Networks, Inc: Technology & Communications Company Profile, SWOT & Financial Report contains in depth information and data about the company and its operations. The profile contains a company overview, business description, SWOT analysis, key facts, information on products and services, details of locations and subsidiaries, plus information on key news events affecting the company.
ICD Research's Juniper Networks, Inc: Technology & Communications Company Profile, SWOT & Financial Report is a crucial resource for industry executives and anyone looking to access key information about Juniper Networks, Inc..
ICD Research's Juniper Networks, Inc: Technology & Communications Company Profile, SWOT & Financial Report report utilizes a wide range of primary and secondary sources, which are analyzed and presented in a consistent and easily accessible format. ICD Research strictly follows a standardized research methodology to ensure high levels of data quality and these characteristics guarantee a unique report.
Examines and identifies key information and issues about Juniper Networks, Inc. for business intelligence requirements.
Studies and presents the company's strengths, weaknesses, opportunities (growth potential) and threats (competition). Strategic and operational business information is objectively reported.
Provides data on company financial performance.
The profile also contains information on business operations, company history, major products and services, prospects, key employees, locations and subsidiaries.
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Juniper Networks, Inc. (Juniper) is a provider of high-performance network infrastructure which finds application in the enhancement of deployment services and applications over a single internet protocol (IP) based network. The company serves global service providers, enterprises, governments and research and education institutions and helps them by providing network infrastructure for accelerating deployment of services and applications over a single network. The company offers routing, switching, security, application acceleration, identity policy and control, management, protecting the network itself, and protecting data on the network, to maximize existing bandwidth and acceleration of applications across a distributed network. The company operates through 109 offices in 46 countries across the globe. Juniper is headquartered in Sunnyvale, California, the US.
1 Business Analysis
1.1 Company Overview
1.2 Business Description
1.3 Major Products and Services
2 Analysis of Key Performance Indicators
2.1 Five Year Snapshot: Overview of Financial and Operational Performance Indicators
2.2 Key Financial Performance Indicators
2.2.1 Revenue and Operating Profit
2.2.2 Asset, Liabilities and Capex
2.2.3 Solvency
2.2.4 Valuation
2.3 Key Competitors
3 Mergers & Acquisitions and Partnerships
3.1 M&A and Partnerships Strategy
4 Recent Developments
5 SWOT Analysis
5.1 SWOT Analysis - Overview
5.2 Strengths
5.3 Weaknesses
5.4 Opportunities
5.5 Threats
6 Company Statement
7 History
8 Key employees
9 Key employee Biographies
10 Locations and Subsidiaries
10.1 Head Office
10.2 Other Locations and Subsidiaries
11 Appendix
11.1 Methodology
11.2 Ratio Definitions
11.3 Disclaimer
List of Tables
Table 1: Major Products and Services
Table 2: Key Ratios - Annual
Table 3: Key Ratios - Interim
Table 4: Key Capital Market Indicators
Table 5: History
Table 6: Key Employees
Table 7: Key Employee Biographies
Table 8: Locations
List of Figures
Figure 1: Revenue and Operating Profit
Figure 2: Financial Position
Figure 3: Solvency
Figure 4: Valuation
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Rx drug information, pharmaceutical research, clinical trials, news, and more
Butalbital, Aspirin, Caffeine, and Codeine Phosphate Capsules, USP C-III Revised: January 2007 Rx only
Each capsule, for oral administration, contains:Codeine Phosphate, USP.
Butalbital, aspirin, caffeine, and codeine phosphate capsules are indicated for the relief of the symptom complex of tension (or muscle contraction) headache.Evidence supporting the efficacy of butalbital, aspirin, caffeine, and codeine phosphate capsules is derived from 2 multi-clinic trials that compared patients with tension headache randomly assigned to 4 parallel treatments: butalbital, aspirin, caffeine, and codeine phosphate; codeine; butalbital, aspirin, and caffeine; and placebo. Response was assessed over the course of the first 4 hours of each of 2 distinct headaches, separated by at least 24 hours. The combination product of butalbital, aspirin, caffeine, and codeine phosphate, proved statistically significantly superior to each of its components and to placebo on measures of pain relief.
Evidence supporting the efficacy and safety of butalbital, aspirin, caffeine, and codeine phosphate capsules in the treatment of multiple recurrent headaches is unavailable. Caution in this regard is required because codeine and butalbital are habit-forming and potentially abusable.
Bariatric surgery may be risk factor for severe headache Source: Headache / Migraine News From Medical News Today [2014.10.23]Spontaneous intracranial hypotension - a leaking of spinal fluid - causes severe headaches. Weight-loss surgery patients may be particularly at risk for this condition.
Weight-Loss Surgery May Raise Risk of Severe Headaches, Scientists Report Source: MedicineNet Headache Specialty [2014.10.23]Title: Weight-Loss Surgery May Raise Risk of Severe Headaches, Scientists ReportCategory: Health NewsCreated: 10/22/2014 12:00:00 AMLast Editorial Review: 10/23/2014 12:00:00 AM
Headache Source: MedicineNet Anthrax Specialty [2014.07.15]Title: HeadacheCategory: Diseases and ConditionsCreated: 5/31/2002 12:00:00 AMLast Editorial Review: 7/15/2014 12:00:00 AM
Tension Headache Source: MedicineNet Cauliflower Ear Specialty [2014.07.10]Title: Tension HeadacheCategory: Diseases and ConditionsCreated: 2/4/2005 4:30:00 PMLast Editorial Review: 7/10/2014 12:00:00 AM
Doctor warns headaches during pregnancy could 'mask' serious conditions Source: Headache / Migraine News From Medical News Today [2014.06.06]A doctor based at Southampton's university hospitals has warned headaches during pregnancy could "mask" serious underlying health conditions.
Comparison of butorphanol nasal spray and fiorinal with codeine in the treatment of migraine. [1998.07]Butorphanol tartrate is a synthetic mixed agonist-antagonist opioid analgesic. Its transnasal dosage form, which may be self-administered when the use of an opioid analgesic is appropriate, was previously shown to provide rapid relief of migraine pain... Butorphanol patients had more side effects, less improvement in digestive symptoms, and less improvement in functional ability than Fiorinal with Codeine patients.
Fiorinal with codeine in the treatment of tension headache--the contribution of components to the combination drug. [1988]The contribution of the Fiorinal and codeine phosphate components to the effectiveness of the Fiorinal with Codeine combination in the treatment of tension headache symptoms was evaluated in a randomized, placebo-controlled, multicenter double-blind study...
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We really enjoyed London Wine Week earlier this month. Although we weren't official partners, we took it as an opportunity to explore some new venues (The 10 Cases), drink some better wines (The Chocolate Block) and share them with enthusiastic friends (hello It's Nice That).
There were many events aimed at the amateur-to-enthusiast level, including the Wine Car Boot and the London Wine Sessions. The wine world is becoming ever more accessible, unpretentious and, above all, fun and this is a Good Thing.
But still, across Twitter we saw many examples of the exclusive, invite-only world of fine wine. Premium producers presenting their wines to a captive audience of well-know wine writers and merchants. "Off to a vertical tasting of Chateau Megabuques!!!", "The 1945 was not a patch on the 1934", "So grateful to the Luxembourg High Commission for their champagne and unicorn tears reception". It's a different league of people and wine which feels very disconnected from what 'London' is probably drinking that week. (That is, whatever is around £8 in Sainsbury's or not-over-£25 in Byron.) And doesn't this just look awfully boring.
A recent post by 12x75.com entitled 'When ordinary people taste extraordinary wines' got me thinking about this. I am an ordinary person, but at the same time, no less important than those at the Bruno Paillard tasting. If those 'premium wines' are only every shared amongst and tasted by 'premium people' then they are as good as dead to the rest of us. How dull, how boring, how depressing to think that those wines are only ever shared and compared by the same small group of people, year-in, year-out. I'm fairly sure that just one bottle of Bruno Paillard, shared amongst six 'ordinary people' would produce more debate, pleasure and magic than however many were drunk in Michelin-starred establishments during London Wine Week.
There are great efforts to bridge the divide. Sager+Wilde are more than eager to open up something fine and old, and share it with anyone who wants to try. Similarly The Sampler has its 'Icons' tasting selection at both its stores. But on the whole it feels like the good stuff (as with most things, really) is kept for the rich and/or influential. Yes, this post is at least 80% jealousy – where's our sodding invite – but when Robert Parker tweets a $100 bottle of wine as a 'palette cleanser' it certainly leaves a sour taste in our mouths.
Yesterday was the last day of London Wine Week, and by the looks of it a glorious sun-filled finale at the Wine Car Boot. We, however, made do with some cans of Magners in a car park.
Last Thursday we were very pleased to serve up some vinous delights to the team at It's Nice That, and what could be a better match to their eclectic mix of art, design, music and publishing than an introduction the the what and why of wine blends.
First up was a classic Langudoc blend of Grenache, Marsanne, Vermentino and Rousanne. Well-balanced, with no particular grape making itself known, at 13.5% ABV is was a rich boozy mouthful – perfect with ripe soft cheeses – but not especially refined.
In contrast to that was the Evolution White '16th Edition' blend of nine different grapes. Heavenly honeysuckle scents and a sweet but fresh palate, like tropical Chewits, this wine would be a great match for fragrant Asian dishes and fresh sushi.
So pleased were we with the Schild Estate GMS that we tried last Tuesday, it was no issue to try it again here as an example of a Rhone blend with added Aussie oomph. Rich, bloody and spicy, it divided the group, some saying ti was too bitter, others enjoying its guts.
Lastly, and the most expensive wine of the evening, was the Shiraz-dominated The Chocolate Block 2012 from Boekenhoutskloof, South Africa. Powerful but balanced, with blackcurrant juice and rich, smooth flavours.It was certainly the winner of the evening, and a beautiful example of the power for blends to be greater than the sum of their parts.
We drank up the remainder and headed to Duke's Brew & Que for an astounding selection of pulled pork and beef ribs, plus a couple of pints. Many thanks to the It's Nice That team for their hospitality, questions and enthusiasm – cheers!
It's London Wine Week and we've been tagging along by drinking as much wine as possible and sharing it with
Earlier this week we had a mini tasting of two of our absolute favourite wine styles, Austrian Grüner Veltliner and an Australian Grenache/Mouvedre/Shiraz.
The Grüner was crisp and fresh, backed up by fizzy citrus fruit — lemon'n'lime Chewits. Clean and tingly, like electrified silver on the tongue.
The Barossa GMS was medium-weight, soft and boozy in the mouth, but with a bloody, farmyardy after taste, much more savoury than we were expecting. Would be perfect with some hay-roasted beef or charred lamb.
Both wines from The 10 Cases on Endell Street, London
As featured in HoHoHo magazine, December 2013
Christmas is coming and you want to buy a present for your wine-loving designer friend. Somewhere in the back of your mind you remember that they mentioned a love of fine Bordeaux. Or was it Barolo? What's the difference? Doesn't matter, they're both seem to be awfully bloody pricey.
If you find yourself in this situation, do not resort to the designer 'wine-ephemera' trap. Your wine-loving friend has a fancy over-engineered corkscrew, or ten, and I guarantee they use their cheap Waiter's Friend. They already have nice glasses, a handy foil-cutter ('knife') and elegant drip-collar ('kitchen roll'). And if you think that "I love to cook with wine, sometimes I even add it to the food" fridge magnet/coaster/tea towel is hilarity incarnate, well, your friendship is doomed.
Do you know what your wine-loving friend wants? Wine. Just wine. Wine, wine, wine. Red, white, fizzy or flat, they'll be grateful either way, whether it's a bottle they can keep for years or one to wash down their Friday fajitas.
We're not against choosing a bottle based on the label (if people didn't judge a book by its cover, graphic designers would be out of a job), but we've chosen six beautiful AND delicious wines for you to buy your wino/designo friend this Christmas. Just make sure to give it to them with a casual "Great label, huh? I wonder what it tastes like…"
1. Nyetimber Classic Cuvee 2009; Sussex, England – available from Waitrose, £29.99
English sparkling wine keeps on getting better and better, but sadly the same can't be said for their labels. In 2012, following over 20 years of using the same labelling and branding, Nyetimber worked with design agency Made Thought to modernise and refresh the brand. The end result (and the wine) is refined, elegant and with classic English reserve.
2. Evolution White; Oregon, USA – available from The City Beverage Company, £13.49
There's a lot going on with the design of this label, but there's a lot going on inside the bottle too. With nine different grape varieties blended together, this could be a recipe for disaster (as it says on the bottle 'Luck vs. Intention') but the resulting wine is fresh, fruity and very moreish.
3. Bergrettung Riesling 2012; Mosel, Germany – available from OddBins, £16.00
OddBins lost its way a few years ago, but there are signs that the old enthusiasm for unusual and creative wines is back. Bergrettung ('mountain rescue') comes from a collaboration between ten wineries to save historic vineyards in particularly steep sites in Germany's beautiful Mosel Valley. Restrained, crisp, clean – and that's just the typography.
4. Casa Mariol Samsó Criança 2009; Terra Alta, Spain – available from Bottle Apostle, £9.90
If your friends are the kind of hip young things spend weekends chewing their face off in underground Berlin bunkers, they'd probably appreciate the ravey aesthetic of this wine at their next Dalston house party. Produced by Casa Mariol from the naturally tannic Samsó (Carignan) grape and aged in oak for 16 months, this is rich, spicy and ideal for boxing day gammon.
5. Bodegas Carchelo 2011; Jumilla, Spain – available from Bottle Apostle, £10.35
This deep, gutsy, modern blend of Cabernet Sauvignon, Monastrell and Syrah from the lesser-known Spanish region of Jumilla has been our favourite wine for the last year. The bold design, from the Beetlejuice-striped foil right down to the quote printed on the side of the cork, is pretty natty.
6. Chateau Mouton Rothschild 2009; Bordeaux, France – available from your fine wine merchant, around £600
Since 1945, Mouton Rothschild have commissioned an artist to adorn their label, from Picasso to Warhol, Dali to, er, Prince Charles. For the more sophisticated (and much, much richer) gift-giver, then the 2009 vintage of this Premier Cru Bordeaux will certainly impress, featuring a rich, brooding canvas by Anish Kapoor.
We are very pleased to let you know that we have an article published in HoHoHo, a journal of Christmas creativity. We've written about what to buy for your wino-designo friend (wine, stupid!) and picked six of the most beautiful and delicious wines for you to enjoy this Christmas. All the wines are available in London from Waitrose, Bottle Apostle, OddBins and The City Beverage Company.
You can pick up a copy from various hip designy outlets across Clerkenwell and Covent Garden, including Magma, Workshop Coffee, Look Mum No Hands and Sadler's Wells theatre.
Thanks to Cai and Kyn for asking us to contribute! We'll post the article here in the new year – you'll have to get your own copy before then.
We just saw some shots of the new D&AD Annual (check it out here, it's beautiful) and one of the pages reminded us of an issue we've mentioned before, but we'd like to discuss further.
The striped barber's pole design for 'Rasurado' wine has been circulating across the internet, via Tumblr, Pinterest and The Dieline, and rightly so – it's beautiful, striking piece of graphic design and branding. But – and we have really tried – we have been unable to find any other photo of the wine bottles other than the images on the Moruba website. No boxes, crates, product shots or consumer-taken photos of Rasurado brand. It's not to be seen on the producer's own website, and seemingly there are no reviews or stockists of the wine.
(In addition, if you look closely, you can see that reflections on the necks of the two bottles are identical, and the embossed numbers around the bases appear in the same location, despite viewing the bottle from 'a different angle'.)
At Grogger, we see a lot of student work or concept visuals on blogs and websites, and a lot of it is creative, exciting and stunning work. But we are always reluctant to post any work that does not exist 'in the real world'. The reason is partly that we are a wine blog as much as we are a design blog; we want to know about the grapes, the winemaker and what the contents of the bottle tastes like. But the reason is mainly that design projects (packaging, branding, interiors) are hard work, requiring as much creativity as hard work, persuasion, perseverance and compromise. To actually produce a stunning piece of creative design in response to a real brief (we would choose Paul Belford Ltd's work for Waddeston Manor as a prime example) is a considerable achievement.
We can only assume (and we are happy to be corrected) that the Rasurado work produced by Moruba is a project that was never actually fully realised. Perhaps the images we see are concept visuals for a project that was never finished, or maybe they were a self-initiated project just for fun. Any creative agency will have hundreds of beautiful concepts and stunning visuals for projects that were never completed, or for routes that were developed or discarded. But we strongly believe that unless the work exists in the real world – a real thing that someone has asked for and received – it should not be entered into professional awards.
There have been increased debate about agencies entering mocked-up visuals as part of their awards entry. Is showing how your logo could look on a tote bag really such a crime? What if you comp the logo on billboard in Times Square? Or onto the moon? It's hard to draw the line between awarding the actual work that was produced and acknowledging the great idea that could've been.
To us, entering the Rasurado design into the D&AD awards was a cheeky decision. D&AD make it very clear in their Rules of Entry that entries must be 'commercially released', 'produced in response to a genuine brief from a client' and 'made available to the public through legal mediums'. We think that for D&AD to award it an in-book award is a dangerous precedent, and for those people entering real work that they have created and nurtured to fruition, it could leave a bitter taste in their mouth.


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Insurance and Required Information
International alternative breaks require participants' careful attention to detail, because of the complexity and risk involved with international travel.
All participants in Branch Out International Alternative Breaks must:
- Read the Branch Out International Health & Safety Guidelines (.pdf)
- Submit the Participant Emergency Information form within 48 hours of acceptance on a trip.
- Secure international travel, health and evacuation insurance through Cultural Insurance Services International for $35 for each month of coverage. Teams are responsible for purchasing insurance for each of their members. Brochure from Cultural Insurance Services International (travel health insurance) (.pdf); Brochure for CISI Comprehensive Security Evacuation Coverage (.pdf)
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25 recommendations
1 recommendation
Wow, you went all out didn't you? Looks great all together like that.--»www.jrslaterphotography.com/Formerly JRSlater
Great job! this is really cool.
Was there a double post of this?BTW, Nice job!
Wow! You've managed to get them all. You are something special here. This had to have taken you a lot of time. Thank you so much!
Looks like a lot of patience and effort on your part. Thanks for such a wonderful job.--accusare nemo se debit, nisi coram Deo
Thanks for all your hard work! It's fun to look at those images and remember. Some of them I really enjoyed working on, and wouldn't mind going back to revisit them and play with them some more.
Thanks everyone. It took a while, but I enjoyed doing it.
Oh my!
Nice presentation. Thanks for sharing it.
You clever ol' Cat Very well presented.
This is very cool and well done!
CCat you're still going strong !!Thank youHank
WOW, impressive!
Nice work...!!!
As they say in the South, "ya' done real good."Outstanding job, CCat.
I don't see any paired images what is particularly Then and Now about it??? (not that the images aren't nice)--»haywardm.com (Hayward's Key West)
It's a compilation of all the Artify originals.
Oh OK now I get it.
2 recommendations
. . . it must be the water
Look at the forum favs vs direct forum list, its not separated from normal posts, and again it was just posted with no explanation of what it actually was, just the tilte and images. Then and now implies a 1-1 kind of comparison not a total history.--»haywardm.com (Hayward's Key West)
From someone in a Nirvana Coma.... OK... I don't like much of Florida much either that's why I live in Key West, only technically FL. We in fact have a publication here called Key West Then and Now full of pics and articles about specific things as theyu were ant X time and apear to day. Its not a Total history of Key West.--»haywardm.com (Hayward's Key West)
Tremendous, CCat ..
It was nice of you to do this CCat,but I must say you have more patience than me,that must have taken an age to compile and present.