text:
More New and Used
from Private Sellers
Storytelling : Art and Techniqueby Greene, Ellin
List Price:
Usually Ships in 2-3 Business Days
We're Sorry
Not Available
We're Sorry
Sold Out
Starting at $38.48
Questions About This Book?
Why should I rent this book?
Renting is easy, fast, and cheap! Renting from eCampus.com can save you hundreds of dollars compared to the cost of new or used books each semester. At the end of the semester, simply ship the book back to us with a free UPS shipping label! No need to worry about selling it back.
How do rental returns work?
Returning books is as easy as possible. As your rental due date approaches, we will email you several courtesy reminders. When you are ready to return, you can print a free UPS shipping label from our website at any time. Then, just return the book to your UPS driver or any staffed UPS location. You can even use the same box we shipped it in!
What version or edition is this?
This is the 4th edition with a publication date of 1/12/2010.
What is included with this book?
- The Used copy of this book is not guaranteed to include any supplemental materials. Typically, only the book itself is included.
- The Rental copy of this book is not guaranteed to include any supplemental materials. You may receive a brand new copy, but typically, only the book itself.
Ten years ago, Book Report called the third edition of Storytelling: Art and Technique, "invaluable ... a volume no librarian will want to be without." This fourth edition of the classic storytelling "how to" is even better ¿ with 30 percent new material, additional chapters, new stories, and updated bibliographies. This edition provides both a history of storytelling in libraries and accessible instruction for bringing storytelling to contemporary listeners. It details the selection, preparation, and presentation of stories, as well as planning and administration of a storytelling programme. Full texts of 13 stories for various ages and occasions are included, as is an extensive list of resources. Bonus essays offer a fascinating international perspective through a survey of storytelling in England, Wales, Scotland and Ireland, plus a look at storytelling in contemporary China. Complete with everything one needs to know to launch a successful storytelling program, this is the perfect book for librarians, teachers, parents¿and professional storytellers, too.


text:
Northridge 4X4 Jeep JK Grade 8 Hardware kit$44.95
To View Install
CLICK PDF VIEW BELOWLearn More
To View Install
CLICK PDF VIEW BELOWLearn More
Customer Service Hours:
Monday - Friday
9:00am - 6:00pm PST
Store Addresses:
Northridge 4X4 - Washington
7976 Rubicon Trail Pl. NW
Silverdale, WA 98383
Northridge4x4 - Colorado
4107 S Valley Dr
Longmont, CO 80504
We accept the following methods of payment:
We Install What We Sell!
Northridge 4x4 is a full service off-road shop with a specialty in Jeeps. From installing fender flares to building the most extreme rockcrawler you can imagine, we do it all.
Make Shopping Easy With A Northridge 4x4 Gift Card
Redeem online or at our retail store. Available in any amount from $10 to $1,000.
Buy Now Gift Card

subset: commoncrawl


text:
Movement 1: Andante [6'34]
Movement 2: Allegro con brio [4'02]
Movement 2: Allegro con moto [2'37]
Movement 3: Presto [5'37]
No 2: Wo die Berge so blau [2'09]
Movement 1: Prelude [2'35]
Movement 2: Fugue [3'04]
Ciacona [9'06] Sofia Gubaidulina (b1931)
No 7: Funérailles [12'35]
Other recommended albums
Milhaud: Music for two pianists
CDA67014 Archive Service
The performances on this two-CD set were recorded during Piano Masterworks, a series of six concerts given by Nikolai Demidenko in Wigmore Hall, London, between January and June 1993. Devised by Ates Orga, under the patronage of The Lord Birkett, sponsored by Lloyds Private Banking, these recitals ranged across 250 years of keyboard music, instrumental technique and the development of modern piano resource – from Scarlatti to Gubaidulina. As a concept the series was modelled on nineteenth-century Romantic practice. In Paris, between 1873 and 1877, Charles-Valentin Alkan gave regular 'Petits Concerts de Musique Classique' – six recitals each, surveying the repertoire from Couperin, Bach, Handel and Scarlatti to Weber, Chopin, Schumann and Mendelssohn. Later, the Russian Anton Rubinstein created a cycle of seven Historical Recitals with which he took his farewell of Europe in the mid-1880s. At over three hours individually, these embraced a repertoire from Byrd and John Bull to Balakirev and Tchaikovsky. Like Franz Liszt, Ferruccio Busoni, too, was historically aware, his programming ranging from Bach to Liapunov.
The Bohemian Jan Václav Vorísek, an exact contemporary of Czerny, studied with his father (like Schubert's, a schoolmaster) and then with Tomásek, who thought he had such 'grosses Talent' that he taught him for nothing. In 1813 he settled in Vienna, 'the undisputed musical capital of the world' (Spohr). Here he had lessons from Hummel and Moscheles. He became associated with Beethoven's circle. He befriended Meyerbeer and Schubert. He conducted concerts of the Gesellschaft der Musikfreunde (including Beethoven's Second Symphony in 1819). And, supported by Salieri, he became first organist of the Imperial Chapel (in 1824).
Gently dynamic, a rural melodist sympathetic to Baroque and Classical thought, alert (like Weber) to the expanding Romantic possibilities of the piano, Vorísek's output was small but serious: a Symphony in D (recorded on Hyperion CDA66800); some concerted variations; a Grand rondeau concertante for piano trio and orchestra (cf. the Beethoven Triple Concerto); a Violin Sonata dedicated to Beethoven's patron, the Archduke Rudolph; and a 'Sonata quasi una fantasia' for piano in B flat minor (retrospectively Beethovenian, prophetically Chopinesque), whose cyclic construction places it on a level with the contemporaneous 'Wanderer' Fantasy of Schubert. A quantity of church music, austere and Catholic. And eighteen Rhapsodies and Impromptus for piano dating from between 1812/13 and 1822 – explorations in early Romanticism providing a transitional bridge between Tomásek and his compatriots and the folklorism to come of Smetana and Dvorák.
The Fantasia, Op 12, was published by Artaria of Vienna in 1822. When it was written is unknown; however, a surviving autograph of the second movement (marked 'Allegro di bravura' and shorter than the printed version in a number of important details) bears the date 29 September 1817. Vorísek was considered by his peers to have been one of the best improvisers of his time. According to Alois Fuchs (in his 'Biographische Notizen über Johan Hugo Worzischek', Monatsbericht der Gesellschaft der Musikfreunde, Vienna 1829), he 'excelled [Moscheles] in extemporaneous fantasizing; … in this genre, where the individual genius expresses itself most unmistakably, Vorísek was surpassed only by his model Hummel'.
If the Op 20 Sonata was Vorísek's 'quasi una Fantasia', then his Op 12 Fantasia is his 'quasi una Sonata'. The first movement combines rhetoric, Beethovenian allusions, and Baroque polyphony (the 'learned'/connoisseur style) with a strain of arabesque (the 'modern'/popular) reminiscent of Weber. The virtual omission of the first subject in the reprise, and the absence of a coda, will be noted.
In the style of Hummel's Op 18 Fantasy (1811), the Allegro (triplet-dominated and pianistically challenging) is interesting for how its initial subject – incorporating changes in mode (from major to minor), metre (from 3/4 to 4/4), figuration and tempo – is an exact metamorphosis, anticipating Liszt, of the corresponding idea of the first movement: an inventively organic cyclic feature shared later by the development section boldly opening, like that of the first, with a chord of the diminished seventh. The lyrical component of the second subject group (characterized otherwise by rapid runs, hand-crossings and passages of broken tenths) originates from Beethoven – the first movements of the First and Third Concertos. In the published text (but not the manuscript, where its inclusion on a separate page at the end shows it to have been an afterthought), it is used to generate contrast and relief in both the development and (modified) recapitulation.
In one of his notebooks (No 18, Prague/Vienna c1812-15), Vorísek listed the emotional characteristics keys were supposed to have. C major, he sensed, was 'bright, cheerful, pure'. C minor, by contrast, he believed to be symbolic of 'profound lamentation'.
Among the last keyboard compositions of Franz Joseph Haydn, the Variations in F minor (known also as 'Sonata un piccolo Divertimento') were written in 1793 for Mozart's former pupil, Barbara von Ployer. Published by Artaria & Co in 1799 (as Op 83) and dedicated to the Baroness Josefine von Braun, its creation, Robbins Landon has suggested (1955), may have been prompted by the death in January 1793 of Marianna von Genzinger, the most understanding and intimate of Haydn's Viennese friends (she was the wife of Prince Esterházy's physician). The autograph (New York Public Library), Robbins Landon believes, bears 'silent and tragic witness' to her passing: 'The work originally ended with the last variation; on some spare pages … Haydn then added the coda, and there is no other explanation for the desperate, passionate outcry of this afterthought, the wild grief that pours forth, unexpected and unprepared.'
An essay of concentrated power and emotional depth culminating in a chapter of high psycho-drama, the music, after the model of Emanuel Bach, is cast in the form of a double-variation structure – that is to say, two binary themes (the first a funereal Andante in the minor, the second a reflective consolation in the tonic major) are used alternately as a basis for extended elaboration and development. Harmonically, the Neapolitan G flat chord in the second half of the first theme, prophetic of things to come in middle-period Beethoven (not least the Appassionata and the Op 95 Quartet), is a landmark of especially telling intensity.
It is by his extraordinary single-movement keyboard sonatas, or Essercizi – over 550 of them – that Domenico Scarlatti, a contemporary of Bach and Handel, is best remembered today. 'Elegant, lively, clever, brilliant in their virtuosity … rococo music of the finest type' (Hugo Leichtentritt), a treasury of miraculous fantasy and invention, they are revolutionary and revolutionizing expressions of genius. Designed, the composer tells us, not to display 'any profound learning, but rather an ingenious Jesting with Art', the vitality of their imagination, the pungent audacity of their harmonic language, the tension of their displaced accents and cross-rhythms, the style and texture of their keyboard manner (with colouristic effects and extravagant three-dimensional leaps and changes of position that transform our whole conception of classical bass and treble registration), the flamboyance of their dynamic and kinetic energy is remarkable. They sound youthful. They aren't. As Ralph Kirkpatrick comments in his famous study of the composer published forty years ago: 'Unlike Purcell, Mozart, or Schubert, Domenico Scarlatti was not born with the gift of prophecy. Like Rameau, Haydn, or Verdi, he discovered his richest channels of inspiration in his old age … what looks like the development of a lifetime actually took place after Scarlatti was fifty, and largely after his sixty-seventh year!' The Sonata in C minor, Kk11, comes from the printed Essercizi of 1738/9; the B minor, Kk377, from a manuscript collection in a copyist's hand, prepared for the Queen of Spain in 1754 (Biblioteca Nazionale Marciana, Venice).
Admired by Brahms and first played played in public by him six years after the composer's death, Robert Schumann's five-movement Sonata in F minor, Op 14, or Concert sans orchestre (1835/36, revised 1853), was conceived during the most stressful period of Schumann's courtship of Clara Wieck (1819-1896), 'the first German artist'. He dedicated it to Moscheles – who wasn't encouraging: 'The work does not fulfil the requirements of a Concerto though it possesses the characteristic attributes of a Grand Sonata in the manner of Beethoven and Weber, and its prevailing seriousness and passion are the very reverse of the attributes expected by concert audiences these days.' Dealing in love, obstruction and obsession, in heartache publicly chronicled, its slow movement, 'Quasi Variazioni, Andantino de Clara Wieck', is a song of poignantly autobiographical sentiment. 'What mad inspirations one can have.'
Completed on 29 January 1833, with a dedication to Moscheles, Felix Mendelssohn's Fantasy in F sharp minor, Op 28, was originally called 'Sonate ecossaise'. Accordingly, William S Newman (1969) suggests, 'it belongs with the numerous nineteenth-century sonatas of Beethoven, Schubert, Schumann, Liszt, and others, that raise the question of sonata or fantasy. In this instance the fantasy predominates over the sonata in the sense that free passagework predominates over phrase-and-period syntax, or that leading ideas tend to lose themselves in the passagework'.
The opening movement is in five sections, made up of Agitato and Andante material in alternation, with each tonic key presentation of the main Andante idea texturally or dynamically varied. The final unharmonized appearance of this measured theme, coalescing out of tierce de Picardie shadow, is striking. An A major Schubertian Scherzo in 2, with a quaver-motion 'trio' in the subdominant, D, comprises the second movement. Its good humour unprepares us for the dramatic contrast of the finale, a study in sonata form calling for consummate pianism to do justice to the storms and stresses of its tidal race. All three movements are linked cyclically by the same descending triadic figure – which, however, Mendelssohn artfully disguises through harmonic change or decorative elaboration.
Dedicatee of Chopin's E minor Concerto, the teacher of Marie Pleyel and Charles Hallé, admirer of Clementi, Field and Hummel, the German Friedrich Kalkbrenner was a man esteemed by the early Romantics but not universally liked. Of him Chopin said (Paris, 12 December 1831):
If Paganini is perfection, Kalkbrenner is his equal, but in quite another style. It is hard to describe to you his calm, his enchanting touch, his incomparable evenness, and the mastery that is displayed in every note; he is a giant, walking over Herz and Czerny and all – and over me … You must know that Kalkbrenner's person is as much hated here as his talent is respected by all and sundry; he does not make friends with every fool, and … he is superior to everything that I have heard.
Tripartite in form, with a more harmonically agitated middle section and coda, the Nocturne in A flat major (before 1837) is an atmospheric period piece, evoking the sound and imagery of an aeolian harp, an outdoor gut-stringed contraption (popular with Romantic landscape gardeners) set into vibration by wind currents (Aeolus was the ancient keeper of the winds), with an unfocused sound like that 'heard from telegraph wires, but with the added resonance of a hollow sounding-board, and the added complexity of a distinct chordal suggestion' (Scholes). (Curiously – coincidentally? – Chopin's own allusions to the instrument [the opening Study from Op 25, the Introduction of the Polonaise-Fantasy] are also in A flat.)
Historically, Ludwig van Beethoven's An die ferne Geliebte ('To the distant beloved', Op 98, 1815/16) was the first example of a unified, musically continuous, Lieder cycle. 'A favourite source-book' of Schumann's, memorably alluded to in his Op 17 Fantasy, it was widely admired by early critics: 'Among the most beautiful of all [songs] we possess … when he so desires … [Beethoven] can write vocal music as well as anyone else' (Allgemeine Musikalische Zeitung, Leipzig 1817). Combining facets of sonata design, variation and strophic form, its six songs are arranged 'in a purposeful order of keys and [feature] a recapitulation followed by a miniature 'symphonic' coda' (Joseph Kerman, 1980). Texted and essentially faithful to the original, the Liszt transcription dates from 1849, the year of Chopin's death.
Alban Berg's Sonata in B minor (Vienna, 1907/08) belongs to his student years under Schoenberg. A dark work of penetrating tragedy, of impassioned post-Tristanesque shadow, of late Romantic Mahlerian imagery, the tonal ambiguity of its augmented triads and tritone … the suspension and dissolution of its harmony … the complexity of its rhythm … the concentrated nature of its motivic growth … the resignation, the climactic swell, the tensile drama of its spiritual cry … the way it glimpses the thinker to come, the visionary creator of Wozzeck and Lulu … mark it among the most remarkable early documents of the twentieth century. In speaking of its 'subjectively 'emotional' sound world' and its 'singular economy of means', its wholehearted romanticism yet its 'astonishing restraint', Susan Bradshaw (1972) identifies its essential paradox. It is an extraordinarily powerful statement – spiritually naked, formally contained – its continuously evolving and developing event unfolding within nine pages of the most intricate contrapuntal voicing, intimate, chamber-like delicacy and massively structured pianistic climax. The overall ground plan alludes, seamlessly, to a single-movement sonata design with (repeated) exposition, elaboration (Leibowitz's term) and recapitulation, plus interpolated fragments suggestive of Scherzo and Adagio. Important germinally to everything that follows, the opening is sculpted out of a piano/accel/rit gesture comprised of three basic cells: ascending perfect and augmented fourths (borrowed from Schoenberg's First Chamber Symphony of 1906, and used both thematically and harmonically); descending major thirds (spelling out an augmented chord); and a falling semitone suspension.
Published at the composer's own expense in Berlin in 1910 (without, on Schoenberg's advice, the addition of two planned extra movements), the first performance was given at a concert organized by the Viennese Society for Art and Culture on 24 April 1910. A critic reported the occasion: 'Mr Berg has written a piano piece (boldly entitled 'Piano Sonata') which shows traces [sic] of talent and musicality'.
In his Memoirs, published posthumously in Moscow in 1973, Serge Prokofiev describes how, as an aspiring pianist at the Conservatoire, he was introduced to the music of Buxtehude by Taneyev: students 'always play Bach', Taneyev told him, 'but you play something older – say, Buxtehude. When Bach was a young man, he walked all the way to the next town [Lübeck] to hear him [in 1705/06]. For some people his music will be a novelty … He wrote pieces for organ. You can transcribe one for piano. The transcription won't involve much work and the piece will be fresh and not threadbare.' Always attracted by the unusual, Prokofiev took heed. 'Last spring,' he wrote to Taneyev (19 August 1910), 'following your advice, I played Buxtehude's Fugue in A minor (which I had earlier transcribed for piano) for A N Esipova's examination. I got an A, and Anna Nikolayevna [Esipova] became very interested in Buxtehude's fugues. I know that later she got an entire volume of them from A K Glazunov.'
The Prelude and Fugue in D minor was arranged for piano, post-First World War, specifically for Prokofiev's concerts in the United States: 'I … recalled the composer that Taneyev had recommended to me, of whom I had a pleasant memory. And since in America the audiences were getting tired of programmes consisting entirely of my own works and demanded that part of the programme be devoted to classics, I preferred to choose classics that would at the same time be novelties – if only because of their decrepitude.' Published in 1923, it was first heard at a recital in Chicago on 19 January 1922. At the time, Prokofiev was in the midst of a busy schedule conducting the first production of The Love of Three Oranges, premiering the Third Piano Concerto, and playing Mussorgsky's Pictures at an Exhibition for a newly-formed American society of conscience, The Friends of Soviet Russia.
Universally considered to be one of the most significant creative forces of the post-Prokofiev/Shostakovich generation currently working in Russia, the Tartar composer Sofia Gubaidulina studied piano and composition in Kazan. Subsequently, between 1954 and 1963, she attended the Moscow Conservatoire where her teachers included Shebalin and Peiko. A rebellious student drawn to the unorthodox, she enjoyed in her youth both the approbation and disapproval of Shostakovich: 'I want you to continue along your mistaken path', he is once said to have advised her. Of strong religious faith and mystical persuasion, a disciple of the philosopher Nikolai Berdyaev, Gubaidulina lives in Moscow where she divides her time between composing, writing scores for documentaries, films and cartoons, and experimenting with unusual sounds and materials. (Since 1968 she has been associated with the Electronic Music Studio, Moscow, and in 1975 formed a group, Astreya, specialising in improvisation using folk instruments from the Trans-Caucasian and Central Asian republics.) Denounced by the Soviet Composers' Union in 1980 for cultivating an avant garde style preoccupied with 'the resolution of problems of secondary importance … outside real life', Gubaidulina won the Seventh International Composers' Competition in 1975 and received the Prince Rainier of Monaco Foundation Composition Prize a decade later.
Bach, Webern and Shostakovich, she says, have been the principal influences on her musical development. All three, to a greater or lesser extent, underwrite the Ciacona for piano of 1962. This is an extraordinary tour de force. On the one hand it is chroma-diatonically tonal: it begins and ends in B minor. On the other it is freely serial: its ground bass, spelt out in octaves at the end and proclaimed horizontally and vertically at the beginning, adds up to a 23-note tone row, using (and variously repeating) all twelve pitches of the chromatic scale and fashioned out of adjacent and dovetailed minor and major thirds rounded off by segments of two whole-tone ascents. This tone row is subjected to processes of inversion, retrograde motion and retrograde inversion. By transposing it to different degrees of the scale, an illusion of changing 'key' centres and 'modulation' is created. In the spirit of Bach, no less than Brahms (the finale of the Fourth Symphony), Gubaidulina's Ciacona is in essence both chaconne (a recurrent harmonic sequence) and passacaglia (a recurrent ground bass). Structurally, as a variation cycle, it is rotational. But at the same time, alla the great masters, its outline is informed by subtle departures of the most inventive flexibility. It may open, for instance, pseudo-baroque-like, with a grand statement, Andante maestoso, eight bars long. But in the interests of musico-dramatic need few of its 23 subsequent sections (as many sections as notes of the tone row) – each audibly distinguished by changes of texture, tempo, rhythmic pattern, dynamic level, and keyboard figuration – are confined to this length. Most expand or contract instead.
Aurally and visually, the music – framed, spectrally, by a disembodied Busoni aura – evokes images of Bach and Brahms, or introspective late Beethoven, no less than memories of uncompromising Mussorgsky (the final tableau of Pictures at an Exhibition), of angular Prokofiev. In its journey, old devices come across with revitalized energy: the bizarre più mosso two-part fugal imitation and stretto by inversion of the fourteenth section, for example; the inverted 'dominant' pedal points of the twentieth and twenty-first sections, getting faster and faster by progressively shortening note values; the massively monumental return – re-harmonised, blackly pathétique – of the ciacona 'ground' in the penultimate 'chapter'. From blocks of sound to breaths of whispered murmur, from granite-hewn immediacy to cosmically nebulous distance, from thunderous octaves to spare linearity, from densest texture to brightest metallic glitter, is the breadth of its pianistic horizon.
The seventh of the ten pieces that make up Franz Liszt's Harmonies poétiques et religieuses, Funérailles essays the monumental and the tragic. An extraordinary, lingering in memoriam of epic vision and elegiac song, torn by anguish and tears, its pages commemorate not the death of Chopin (a once-popular view based on the association of the rotating left-hand octaves of its fourth section with those of the trio in Chopin's Polonaise in A Flat, Op 53) but rather the doomed Hungarian uprising of October 1849. In its unfolding we find 'not simply the expression of a personal sorrow', Alan Walker believes (1989), 'but a symbol of that universal suffering felt by mankind when great ideals perish and the heroes who espoused them (of whatever nationality) are no more'.
Published over a thirty-year gap between 1827 (Nos 1 and 2) and 1857 (Nos 3 [transposed up a semitone] and 4), Franz Schubert's Impromptus D899 (his first set) were completed in Vienna during the second half of 1827. In the autograph MS (now in New York) neither title, nor Schubert's name, are in his own hand.
Like their companions D935 and D946, they are statements related in freedom of Romantic lyrical spirit to the 42 Eclogues, 15 Rhapsodies, 3 Dithyrambs and 6 Allegri of Tomásek (music spanning a period from 1807 to 1823); and, in broad structure, to the Impromptus Op 7 of Vorísek (printed in Vienna in 1822) – coincidentally both Bohemian composers from Prague. No less, they are innovative, inquiring creations informed, as Alfred Einstein reminds us, by an originality at once unmistakably Schubertian, by dimensions of organic growth and colour wonderfully unified and varied.
No 4, the most outwardly Vorísekian in its ternary shape, contrasts étude brilliance with a tenor melody of singing 'cello' eloquence and a throbbingly elegiac middle Trio section in C sharp minor. The cast of its first page, rich in cascading broken chords and repeated notes in six-bar (4+2) phrases, is striking for establishing the tonic home key (bar 31) only after beginning in the minor, followed by two side-stepping diversions in the direction of B (= C flat) major and minor respectively.
Ates Orga © 1998


text:
The stately design of this mailbox is the perfect match for both traditional and contemporary architecture. Made to last with solid construction, this box will definitely add curb appeal to your home.
Ships in 7 - 10 Business Days
Product Details
- Material: Aluminum
- 10-1/2" W x 10-3/4" H x 21" D.
- Made of durable powder coated cast aluminum.
- Rust-proof construction.
- 3-4 week lead time.
Write Your Own Review


text:
Nmap Development
mailing list archives
On Tue, Dec 11, 2007 at 11:42:10PM +0100, Diman Todorov wrote:
so here's my second attempt at a zenmap logo: http://diman.todorov.googlepages.com/zenmap2.png
I don't like the fonts at all. I might eventually try drawing the
"zenmap" part free handedly.
Thanks Diman. This looks quite promising. I wonder if there is a way
to integrate the Insecure.Org eye into the figure, rather than having
it floating in the corner. For example, the midsection made with his
arms is shaped in an oval like an eye. Maybe he could be holding an
iris. Or perhaps he could just be holding a whole eye (maybe a much
more simply drawn one than the insecure logo). Or maybe that would
just add too much complexity to the simple shape.
Do you have ideas for adding colors to this? I suppose it could all
just be on a colored background as a square. Or maybe it could all be
inside a zen-style circle. For example, look at the circles
incorporated in these images sent by Jah:
I'm interested in seeing your Zenmap font selections or freehand
Maybe the monk would stand out more with thicker lines, but it is hard
to tell.
We would probably need the final version in SVG so we could scale it.
I also liked this Logo that Jah sent:
Zen solutions doesn't seem to be using that logo any more, so I sent
them an email asking if they would give us permission to make a
derivative out of it for Zenmap. We could probably change the
power-on button their budda is holding into an Nmap eye. If they say
yes, we can consider that as another option.
Sent through the nmap-dev mailing list
Archived at http://SecLists.Org
By Date
By Thread


text:
Is Persistent Cough And Hiv Symptom
Here's a taste of what TheBody.com has to offer on this topic:
Ask the Experts
URGENT"PERSISTENT SYMPTOMS PLEASE WILL DONATE PLEASE ANSWERHello..Doctor please review this again I have some more details that are very alarming here is a recap..16 weeks ago I had oral sex with a girl who is HIV positive almost certain..2 weeks after the encounter I got a sinus infection and very dry...
Response from Robert J. Frascino, M.D.
The Robert James Frascino AIDS FoundationHello,I've reviewed everything again. I do not find your additional details "alarming." Here are the facts and my advice.Your HIV risk is negligible at best. Oral HIV tests at 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15.5 weeks are... Read more »
Persistent Cough and TirednessI was diagnosed with HIV in December 2010 with a cd4 count of 565 and a viral load of 75,000. I am... Read more »
Persistent HIV symptoms for 2 yearsHi Shannon,I appreciate what you and your team are doing for the world. I'm from Nigeria, west... Read more »
Sangamo Presents New Clinical Data at CROI 2012 Demonstrating Persistent Positive Effects of ZFN Therapeutic for "Functional Cure" of HIV/AIDSRichmond, Calif. -- Sangamo BioSciences, Inc. (Nasdaq: SGMO) announced that new data from its program to develop a 'functional cure' for HIV/AIDS were described in two presentations at the 19th Conference on Retroviruses and Opportunistic... Read more »
Aging and HIVIntroduction Non-AIDS Events The Consequences of Low-Level, Persistent HIV Aging and HIV and the Immune System Research Is Needed Introduction As a result of tremendous community outcry for more attention to the topic of aging and HIV,... Read more »
Dealing With FatigueBy itself, fatigue is not a "disease." When persistent and severe, however, fatigue (feeling tired all the time, lacking stamina, having too little energy to do things) can disrupt one's life, interfering with daily activities, socializing, or... Read more »
Approval of Fulyzaq (Crofelemer) to Relieve Symptoms of Diarrhea in HIV/AIDS Patients Taking Antiretroviral TherapyOn December 31, 2012, FDA approved Fulyzaq (crofelemer) to relieve symptoms of diarrhea in HIV/AIDS patients taking combination antiretroviral therapy. The recommended dose is one 125 mg delayed-release tablet taken orally two times a day, with or... Read more »
Connect With Others
Same symptoms, tests trump? but symptoms persist..
Posted by SRCHFRANS34So, fellow posters & experienced responders. Why is it that positive individuals and negative testers have such similar symptoms..?At approx. 6 MONTHS post possible exposure had Unigold instant blood :NEGATIVE , Elisa blood draw full panel... Read more »
Persistent Symptoms
Posted by Anonymous, 2 RepliesHello. I have posted before and would like to ask again about symptoms. I have had for over 1 month now swollen glands on and off, fever daily, headache daily, fatigue, on going sinus infection. I have been to the doctors and have gone through the... Read more »
persistent symptoms
Posted by Anonymous, 1 ReplyI was exposed to viginal fluid. few weeks later i became sick with flu like symptoms and had a rash on the face and forehead. After that i felt fine till 6 to7 weeks later i develop pain over the URQ. I thought it was HPV. I had a test done at 45... Read more »
Posted by Anonymous, 1 Replydoes anyone know the symptoms of early infection?....Is a persistent cough and shortness of breath one of them ...how long do symptoms last?
Read more »
Guides for People With HIV


text:
The coolest place on the internet, according to this tagline.Ask • Archive • FAQ
So, cool deal for our readers. Our friends at App.net, the ambitious Twitter-like platform started by Dalton Caldwell, have given us 100 invites to give to whomever we want. The invites are for free accounts, which allow you to get a taste of the service, which went freemium earlier this year. We want to give them to you guys. It's a cool network looking for cool people, and there are some apps for the service which run circles around Twitter's own apps (we recommend the super-slick Riposte, though definitely take a look through the app directory, which shows some true lightning-in-a-bottle creativity). Anyway, these 100 invites won't last forever, so we recommend clicking this link as soon as you get a chance. You're welcome! :)
EDIT: The first giveaway worked so well that they gave us more invites. You can find those over here.


text:
FAO says rice production outpacing consumption
Global rice production for 2012 is forecast to outpace consumption in 2012/13, resulting in an upward revision of 5 million tonnes in 2013 closing inventories, according to a new forecast by FAO's Rice Market Monitor (RMM) issued this week.
"Compared to last year, world rice carryover stocks are expected to rise by 7 percent, or 10 million tonnes, to a new high of almost 170 tonnes, marking the eighth consecutive year of stock accumulation," says the RMM. "As a result, the world rice stock-to-use ratio is forecast to rise from 33.6 percent in 2012 to 35.5 percent in 2013."
Global Rice Production
FAO raised its July forecast for global rice production in 2012 by 4.2 million tonnes to 729 million tonnes, or 486 million tonnes on milled basis, largely because the 2012 season has been "progressing satisfactorily, especially after a revival of the monsoon rains since mid-August allayed fears of a repeat of the 2009 drought in India."
Prospects improved not only for India, but also for Egypt, the Democratic People's Republic of Korea, the Philippines, the United States and Viet Nam, while they worsened in Myanmar, Colombia and Senegal.
In Asia, where rice is the staple food, FAO projects paddy output will reach 661 million tonnes, or 441 million tonnes on milled basis, up 0.8 percent on 2011, underpinned by widespread gains and particularly large increases in Bangladesh, China, Indonesia, the Philippines, Thailand and Viet Nam. "Beyond India, where production may fall by 4 percent, Cambodia, the Republic of Korea, Nepal and Turkey are also predicted to witness a decline."
Production beyond Asia
Output is rebounding in Africa because of better weather, which "has led FAO to raise the region's production forecast to 26.4 million tonnes," or 17.3 million tonnes on milled basis. This is 4 percent more than in 2011. Much of the growth comes from Egypt, where attractive prices again prompted farmers to exceed their cultivation limits. But increases also come from Mali, Ghana, Mozambique, Sierra Leone, Tanzania and Nigeria.
The outlook for rice production in Latin America and the Caribbean points to a 6 percent contraction to 27.4 million tonnes, (18.3 million tonnes milled basis), as insufficient irrigation water and expectations of low margins depressed rice cultivation in many South American countries. In other regions, FAO anticipates that output in the United States will be boosted by record yields, while Australia is heading towards its best season since 2006. The Russian Federation looks set to harvest a bumper crop of rice, while unfavourable weather curbed production in the European Union.
Buyers Guide
Latest News
- Fall tests for nematodes help keep crops healthy
- National Agricultural Genotyping Center announces partnership
- Surging soy, U.S. dollar quotes highlight Friday futures trading
- EU's leading plant scientists call for action to defend research
- Digi-Star introduces WeighLog hydraulic weighing system
- Surging U.S. dollar values weighed on ag markets Friday morning
Most Popular
Most Comments
Smooth Wall Grain Bins
Meridian's SmoothWall bins are the ultimate storage bins, used to handle and store fertilizer, grain, feed and seed, and extend ... Read More
View all Products in this segment


text:
- Welcome
- About Us
- Agenda for Growth
- European Funding
- Enterprise Zone
- Innovation
- NE Investment Fund
- Business_Support
- NE Rural Growth Network
- News
- Contact Us
The North East economy is changing. Employment is at a record high. Economic output is at a record high. Labour productivity is at a record high.
At the North East Local Enterprise Partnership we are working together with partners to maximise these opportunities and bring long term, sustainable growth to the North East.
By taking a strategic lead to deliver economic growth we are bringing in public and private investment to the North East, including a £290m North East Growth Deal and £460m from European Structural and Investment Funds.
Working with local businesses and organisations we are shaping how these investments will be used. In particular our North East Strategic Economic Plan sets out how we can create more and better jobs so that by 2024 the North East economy will provide over one million jobs.
Find out more about how we are driving forward this agenda for growth.
Read our newsletter Insight North East
Follow us on twitter @northeastlep
Sign up here for to recieve our newsletter Insight North East.


text:
'DNA Origami' Nanorobots Could Find and Destroy Cancer Cells [VIDEO]
Packages constructed of DNA dubbed "DNA origami" might one day be used to create nanorobots capable of finding and destroying cancer cells in the human body. The nanorobots mimic a cell's receptor system in order to communicate with cells. The cells can carry materials -- a "payload" -- to cancer cells, and when the nanorobot detects the cells it's hunting for, it will spring into action. The study was published in Science on Thursday.


text:
Love Worth Finding - January 2
January 2
Giving the Devil His Due
"And lead us not into temptation, but deliver us from evil: For Thine is the kingdom, and the power, and the glory, for ever. Amen." - Matthew 6:13
Mike Kolen, who played linebacker for the Miami Dolphins, told this story once. "When I graduated from Auburn University, Coach Shug Jordan asked me to do some scouting for him. I said, 'Sure coach, what kind of man do you need?'"
"Coach said, 'You know the guy you can knock down and he stays there?' I said, 'Sure!' Coach said, 'We don't need him. You know the guy you can knock down, he gets up, you knock him down again, and he gets up?' I said, 'Yes! You want him?' 'No,' said Coach, 'I want the guy that's knocking everybody down. That's the guy I want.' "
I am grateful that Jesus picks us up when we are knocked down. But wouldn't you like to do a little knocking down of the devil for a change? You can if you will learn to pray, "Lord, lead me not into temptation, but keep me from evil."
For more from Love Worth Finding and Pastor Adrian Rogers, please visit www.lwf.org.
You can also listen to Adrian Rogers at OnePlace.com.
Watch Adrian Rogers and Love Worth Finding Video Online.
Daybreak: Practicing the Presence of God
This devotional journal with daily applications was designed several years ago by Adrian Rogers. This leather-bound keepsake will be a treasured addition to start your day out right!
Each day you will begin with a nugget from one of his messages, a reading from God's Word, and a place to write your "Spiritual concerns and prayer requests." Order your copy today.
For more Adrian Rogers resources you may visit the Love Worth Finding bookstore at www.lwf.org.
Recently on Adrian Rogers' Daily Devotionals
Follow us on Facebook
Get Adrian Rogers' Daily Devotionals devotionals directly to your News Feed.
Get Adrian Rogers' Daily Devotionals devotionals directly to your News Feed.
Editors' Picks
Have something to say about this article? Leave your comment via Facebook below!
Listen to Your Favorite Pastors
Add Crosswalk.com content to your siteBrowse available content


text:
Tag Archives: hostess gift
The Perfect Paperwhite Hostess Gift
By Wenderly | Published: January 19, 2011
Have you ever planted a Paperwhite bulb? And then watched it grow from an ugly little orb into a brilliant white blossom? It's quite an amazing experience. The sweet scent of these darling little star-like blossoms is intoxicating to say the least. They lift my spirits and make me smile just when I seem to [...]
Posted in Living, The Silver Lining | Also tagged how to plant a paperwhite, paperwhite | 28 Comments


text:
i accidentally pokemon au'd and now i cant get out
i rewatched kiki's delivery service the other day and got really sad about leaving home and going to college and all those sorts of things i'm a big sappy nerd
"Alright, just this once."
"this ground smells really.. JUST KIDDING CHECK DIS BITCHES"
a baby burd o no (he doesn't have the backpack on purpose shh)
I'm gonna pee this is so cute
Zelda fan universe where tiny babby Link meets an older Midna who recognizes the tiny hero.
I've been replaying Zelda games and I've been having a lot of Midna feels okay
Happy bertday everyone (it's technically tomorrow in this timezone but hoo hah who gives a fuck)
Oh my god this is awesome. They got a piano that appears to score people by itself (but a dude is probably playing it remotely) and it's in a train station and all these people react to it and play instruments with it and it's so fuckin cute
It plays piano duets with people too waaaah I'm gonna cry at this piano
Death Buy Lemonade
My husband got 2 chicks for me before the second surgery on my arm. Turned out they were sick and, despite my best care, one died. The other became very attached to me, and I to her, and we've kept each other company ever since. She follows me everywhere, but still lets me know if she would prefer to go somewhere else, she calls me to share food with her, to preen or sleep, she pays attention to where I tap my finger (like it's a beak!) and she still hides her head under my arm if the hawks appear. Almost every day we go hunting for bugs together and she even learned to strip aphids off my vegetables. Since I was bedridden for a long time, she's very patient if I'm on the phone or computer, because that is what she grew up being use to (She likes to watch the screens. She also loves to try and play Pokemon on the DS) but, besides that, I try not to ask her to be anything but a chicken. Because it's that she's a chicken that I am so in love with her. Seeing the extreme joy she experiences from just a dust bath in the sun, or her curiosity at life around her, turns out to have been everything I needed to overcome my worries.
Adam And Dog
The oscar nominated short film by Minkyu Lee.
"The Disney animator ("Wreck-It Ralph") made the exquisite hand-drawn work independently and out of his own pocket for about $25,000. It's an artful riff on the Genesis story with Adam discovering the friendly canine companion in the Garden of Eden and complicating his relationship with Eve."
just watched; currently crying
Russell's first time in the snow


text:
ConAgra's Dividend Outlook Isn't Exactly Rosy
Josh Arnold • Tue, Oct. 14 • 3 Comments
- ConAgra pays a nice dividend of about 3%, but has had trouble with increasing its payout.
- The business is experiencing slow revenue and margin growth, making it difficult to raise the payout.
- I think CAG will continue to pay the same distribution for the foreseeable future, limiting upside potential in the stock.


text: Mankind prayed for salvation. As the gods of mythology fought and destroyed around them, they hoped and spoke in hushed tones of the return of the Christian God. Jesus was the savior of the human race and he would return to do so again. Or so they believed. Now the Son of God has come back but the images of his gentle touch are absent. Join the ranks of the blasphemous as MIKE COSTA delivers a story that will take you screaming into the pits of Hell.


text:
This blog is a place for lovers of architecture, both for those who made it their profession, and those who get excited with their presence.
Frank Lloyd Wright
Guggenheim Museum, New York.
By Federico Gonzalez of Fedelpeye &
Arq. Andrea Stinga of Ombú Architecture Studio
You can see complete the video of the ABC of architect here: https://vimeo.com/56974716# .
Next >>>
<<< Prev


text:
"Hail Mary full of Grace the lord is with thee, blessed are thou amongst women and blessed is the fruit of thy womb Jesus"
I heard recently that the Virgin Mary was the person that Loved Jesus so much, that we can learn from her how to Love Jesus more. She always points us and directs us to her son Jesus. So in Mary we have a the most perfect and pure mother who only wishes us to do Her son's will as at the wedding at Cana when she says "Do whatever He tells you " ...
Blessings to us as we try to share the truth of Mary to our fellow Christians that do not understand our beautiful mother's role.
Thank you Kathleen! I have read that Mary is the mold of Christ. When we try to be like Christ on our own, we are like a sculptor chipping away at a block of stone. It's alot of work and mistakes are made easily and often. If we entrust ourselves to Mary, She will melt us and shape us into Christ more easily and more perfectly!
Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.


text:
Carlos7 Wrote: 3 minutes ago (11:18 PM) "In the beginning, God created the heavens and the earth. The earth was without form and void" — Genesis 1:1 Phu(ck you muslim OBAMA
Obama is up 5 points... With a D+15 sPREAD
Flag as Offensive Carlos7 Wrote: 1 minute ago (11:08 PM) Romney/Ryan ...16 full years of prosperity. ____________________ At least 8 years, for sure.
1 minute ago (11:06 PM) TIME FOR GOVERNOR PERRY TO CALL IN THE NATIONAL GUARD AND LOCK UP THESE VOTER FRAUD CRIMINALS................
Some 2000 meters
ok Amy this is repeat, training really counts. http://good-taliban-h.blogspot.com/ Enjoy Yes this is their bodies.


text:
Release Date:
September 25, 2009
Studio: MGM
Director: Kevin Tancharoen
Screenwriter: Allison Burnett
Starring: Asher Book, Kristy Flores, Paul Iacono, Paul McGill, Naturi Naughton, Kay Panabaker, Kherington Payne, Collins Pennie, Walter Perez, Anna Maria Perez de Tagle, Debbie Allen, Charles S. Dutton, Kelsey Grammer, Megan Mullally, Bebe Neuwirth
Genre: Drama, Musical
MPAA Rating: PG (for thematic material including teen drinking, a sexual situation and language)
Official Website: GenerationFame.com
Review: 5/10 rating
DVD Review: 7/10 rating
DVD: DVD (Extended Dance Edition) | Blu-ray Disc (Extended Dance Edition)
Movie Poster: One-Sheet | Poster 1 | Poster 2 | Poster 3 | Poster 4
Production Stills: View here
Plot Summary: A reinvention of the original Oscar�-winning hit film, "Fame" follows a talented group of dancers, singers, actors, and artists over four years at the New York City High School of Performing Arts, a diverse, creative powerhouse where students from all walks of life are given a chance to live out their dreams and achieve real and lasting fame...the kind that comes only from talent, dedication, and hard work.
In an incredibly competitive atmosphere, plagued by self-doubt, each student's passion will be put to the test. In addition to their artistic goals, they have to deal with everything else that goes along with high school, a tumultuous time full of schoolwork, deep friendships, budding romance, and self-discovery.
As each student strives for his or her moment in the spotlight, they�ll discover who among them has the innate talent and necessary discipline to succeed. With the love and support of their friends and fellow artists, they�ll find out who amongst them will achieve Fame...
The cast includes Asher Book as Marco, Kristy Flores as Rosie, Paul Iacono as Neil, Paul McGill as Kevin, Naturi Naughton as Denise, Kay Panabaker as Jenny, Kherington Payne as Alice, Collins Pennie as Malik, Walter Perez as Victor, and Anna Maria Perez de Tagle as Joy. Their instructors include Debbie Allen as Principal Simms, Charles S. Dutton as Alvin Dowd, Kelsey Grammer as Joel Cranston, Megan Mullally as Fran Rowan, and Bebe Neuwirth as Lynn Kraft.
Teaser (4.2.09):
QuickTime, High Definition
Flash Player
Trailer (6.16.09):
Flash Player
'Hogwarts' Trailer (7.13.09):
Flash Player
Trailer 4 (8.18.09):
Flash Player, Various
International Trailer (8.14.09):
Flash Player
Featurette - 'Meet the Cast' (2.20.09):
QuickTime, High Definition (1080p)
QuickTime, High Definition (720p)
QuickTime, High Definition (480p)
QuickTime, High Definition (240p)
QuickTime, Hi-Res
QuickTime, Lo-Res
Windows Media Player, Hi-Res
Windows Media Player, Lo-Res
8 Clips (9.18.09):
Flash Player, Various
Music Video (9.21.09):
Flash Player
First 6 Minutes (9.24.09):
QuickTime/Flash Player, Various
Vin Diesel Hits Theaters as The Last Witch Hunter October 23, 2015
Female Director Sought for Wonder Woman
Oscar-Worthy: Juliette Binoche on Her Fantastic Year in Roles
Todd McFarlane Reveals Art for New Spawn Animated Project
Nintendo Unveils Over 50 New Features for Super Smash Bros. for Wii U
AMC Networks Acquires 49.9% Stake in BBC America
Archie Comics Goes Dark and Weird as Riverdale Script Heads to FOX
The Martian Adds Mackenzie Davis, Chiwetel Ejiofor and Sebastian Stan
The Hobbit: The Battle of the Five Armies Debuts an International Poster!
Jena Malone's Mystery Batman v Superman Role on This Week's Most Craved


text: O'Connor House measures would reduce ballot initiative fraud By: Jim Small March 25, 2010 , 11:35 am Andrew Chavez has made his living from initiative ballot campaigns for a decade, but he's never seen anything like the debacle of 2008. "For years now, we've been dealing with a system that wasn't broken, but definitely needed fixing," he said. "By far and away, (2008) was the worst year." Subscribe Login Email Address: Password: Already a paid subscriber but not registered for online access yet? For instructions on how to get premium web access, click here.Forgot your password? Share this:EmailPrintFacebookLinkedInTwitterGoogle +1 H2647 HCR2018 initiative reform O'Connor House Project Sandra Day O'Connor 11:35 am Thu, March 25, 2010 Arizona Capitol Times Jim Small tweet


text:
Submit Review
Campground Search
224343 User submitted reviews online!!
Location :
Fruita, Colorado
Monument RV Resort
[ 1/10 ]
Rude, Rude, Rude. These words say it all. I have never ever been treated so horrible in my life. This campground should be shut down or sold to nicer people. The park manager (don't know his name) was very loud and cursing rude. The red head behind the counter; Oh my Word! I will pray several times a day that God will save you. She thinks the only way is her way, and if you don't go and ask her permission you will be in for the most horrible ride of your life. Please stay somewhere else and save yourself a lot of pain. The showers and washer and dryers where filthy and made your clothes stink. I stayed here for three months, and it was like I was in HELL!! It should be named HELL ON EARTH because the Devil and his witches live there. I paid over $500.00 a month for this pain.
Fruita, Colorado
James M. Robb-Colorado River State Park (Fruita Section)
[ 10/10 ]
Very Good Experience! Very Clean, a lot of help giving directions. Helpful in every way. I wish they where open for longer than 2 weeks stay at a time. I highly recommend this State Park.
Rifle, Colorado
Rifle Gap State Park - Lakeview Loop
[ 8/10 ]
Very Nice park! I would stay here more often if they had better cell service. I tried getting a booster added to my RV and truck. People there where very helpful and nice and knowledgeable about the area. I would recommenced this park but don't expect your cell phone to work.
Copyright © 2000-2013 RVParkReviews.com and CampgroundReviews.com All Rights Reserved
Factory Tours USA
Campground reviews - Campground ratings - RV Park reviews - RV Park ratings
Contact Us
Internet Disclaimer and Terms


text:
Frequently Asked Questions
All of the answers to your most frequently asked questions...
Can I bring my bike on board the bus?
Two bike racks are on the front of ALL METRO buses, so take your bike with you.
To take your bike, remove loose items from your bike, release the latch on the bike rack and load your bike onto the rack in front of the bus. Then board the bus. Enjoy the ride. Inform the driver that you will be unloading your bike as you exit the bus.
Click here for additional information and instructions on taking your bike on the bus.
Where do I find a schedule?
Bus schedules are available at the METRO Office at 114 Valley Street, METRO PULSE at Elm Street (METRO's hub located in downtown Portland off Congress Street, across from the Portland Public Library) and on METRO buses.
Schedules are also available at the Convention and Visitors Bureau, Portland's Downtown District and several other locations in Greater Portland.
Schedules are also available online. Click on the route # under "Route Maps and Schedules" on the left of your screen.
METRO Office hours:
M-Th: 8 a.m. - 4:30 p.m. / F: 7:30 a.m. - 4 p.m.
METRO Pulse hours:
M-F: 9 a.m. - 7 p.m. / SA: 9 a.m. - 5 p.m.
How do I ride the bus?
Find out where you want to go and what time you want to get there and then determine which bus routes serve your destination point and starting point. Check the route schedules online or pick up a schedule at a convenient location (please see above).
Look at the schedule serving your destination first, and find the time point on that schedule nearest your destination. Time-points are landmarks or intersections that show estimated arrival times of the bus. Each schedule shows a map of the route, and time points. In most cases, you can get on and off the bus at bus stops between these time-points (there are hundreds of bus stops located along METRO routes).
Then check the schedule for where you want to begin your trip to determine when you need to catch the bus. You should plan to arrive at the bus stop at least five minutes before the scheduled time.
Where do I wait for the bus?
Look for a METRO bus stop signs (located throughout the Greater Portland area.) The routes served are listed on the sign. Use a hand motion to signal the bus driver at the bus stop. It is a good idea to arrive at your bus stop five minutes before the bus is due to arrive. The route you want to take will displayed on the top of the bus (this is called a Destination Sign). But, remember, don't be afraid to ask the bus drivers questions about the route, when you get on the bus. They are there to help. Most buses also stop at the DownTown Tranportation Center (METRO PULSE), located at the Elm Street Garage.
What is the METRO PULSE?
This is the hub for METRO Bus. Most METRO buses (#2, #3, #4, #5, #6, #7) begin and end their route at the METRO PULSE at Elm Street in Portland. The METRO PULSE (also known as the Downtown Transportation Center) is located at the Elm Street Garage (Elm Street is off Congress Street, near the Portland Public Library).
For many routes, this is the place to transfer to another bus (For example, if you live in Falmouth and want to go to the Maine Mall, you would take the #7, Falmouth Flyer to the METRO Pulse location at Elm Street and then transfer to the #5 Maine Mall bus--don't forget to ask for a transfer).
This facility (Open Mon-Saturday) has a large waiting room, rest rooms and a dispatcher available to answer questions and sell bus tickets.
Please note: On Sunday, Routes #1 & #5 are combined for limited service; the route #1/#5 stops along Congress Street but not does not service the METRO Pulse location. METRO Routes #1 and #8 do not service this location directly but they can be accessed along Congress Street, which is a block from this location.
How do I pay to ride?
Deposit exact fare into the fare box. If you have purchased a Regional Monthly Pass (to travel on METRO and South Portland Bus Service), show the bus operator your Pass.
METRO has partnered with middle and high schools in our service area to offer a reduced fare during the school year ($1). Students attending participating schools should present CURRENT student photo ID and ride for $1. If you have a Ten Ride ticket, the driver will punch your ticket.
Regional Monthly Passes and TenRide tickets can be purchased at most Hannaford and Shaw's supermarkets along bus routes and at the METRO Pulse (METRO's intown hub), located at 21 Elm Street in Portland, off Congress Street, near the library or our METRO office, 114 Valley Street in Portland.
How do I signal to get off the bus?
Pull either the vertical or horizontal cord inside the bus or press the yellow strip one stop before your desired stop.
How do I transfer to another bus?
If you need to change buses, ask the bus driver for a free transfer when you pay your fare. When you change to another bus, give this transfer to the next bus driver. Transfers are to be used on the next available bus going to your destination. The time limit on transfers is approximately 1/2 hour.
Please note additional information on transfers:
- Transfers are valid only on the date issued and are issued when bus fare is paid.
- Transfers are not transferable.
- Transfers can be used for continuous travel in one general direction only.
- Transfers may only be used where bus routes intersect.
- The only time a transfer can be used on the same bus is when a METRO Bus & Buy
or Park & Shop stamp is affixed to the back of the transfer.
- Rider must ask for an additional transfer (from the second bus) to transfer more
than once.
METRO also accepts transfers from South Portland City Bus (FREE transfers are available between METRO and South Portland) and ZOOM Bus.
FREE transfers between METRO routes, South Portland Bus Service and Zoom/ShuttleBus within Portland area.
Transfer to South Portland Bus and ShuttleBus/Zoom along Congress Street and at the Maine Mall.
Are wheelchairs accessible to buses?
Yes. All METRO buses are equipped with passenger lifts or ramps that can be used by persons with wheelchairs, walkers or persons with disabilities that may require on-boarding assistance. (Weight limits vary and are posted on buses.)
Can I get on an "Out of Service" bus while I am standing at a bus stop or stay on the bus after it's out of service?
It might be possible for a passenger to board or stay on an "Out of Service" bus, but passengers cannot plan or depend on this option. In some cases, if an "out of service" bus operator sees someone at a stop and their schedule allows, he/she may stop the bus and allow a passenger to board the bus before their regular service (the passenger would pay their regular fare). At the end of a service day, after the last scheduled stop, a passenger may ask the operator if they can stay on the bus to disembark at a bus stop along an operator's planned route back to the garage at St. John Street.
If I still have questions, how do I get answers?
Call 774-0351 or check out other areas of this site.
Or, ask the bus operator or dispatcher at the Downtown Transportation Center (METRO PULSE), located at the Elm Street Garage.


text:
Lightness of Being: Delicate and Disciplined. Sensual and Seductive.
Look 4. Ivory Chantilly lace shirtwaist gown with hand appliqué corded lace. Hand embroidered pearl and crystal grosgrain belt.
Look 6. Ivory and nude strapless pleated A-line gown with sweetheart neckline and hand placed ruched technique bodice accented by mermaid Chantilly lace underlay skirt.
Look 7. Ivory and nude hand draped tulle soft mermaid gown with hand appliqué Chantilly lace skirt accented by tulle overlay.
Look 8. Ivory pleated tulle mermaid gown with sweetheart neckline, cotton ribbon straps, cut-out back and godet skirt.
Look 9. Ivory one-shoulder mermaid gown with hand appliqué lace and floral beading accented by a soft tulle skirt.
Look 11. Ivory strapless mermaid gown with hand appliqué lace, flower embroidery and silk organza crescent technique.
Look 13. Ivory and nude A-line gown with sweetheart neckline accented by hand draped tulle bodice and straps.
Look 14. Ivory and nude high-low ball gown with hand appliqué Chantilly lace bodice and skirt accented by ruched tulle details and silk organza crescent technique.
Look 16. Ivory deep V-neck silk charmeuse halter ball gown with ruched tulle skirt and Chantilly lace appliqué accents
Look 17. Ivory strapless sweetheart ball gown with hand gathered tulle bodice and ruched tulle technique overlay.
Look 18. Ivory strapless bra with hand draped tulle detailing and organza flower technique. Ivory tulle ball gown skirt with ruched details.
Look 19. Ivory tulle ball gown with pleated bodice accented by cotton straps with ruffle accent and ruched skirt with floral embroidery.
Look 20. Ivory tulle ball gown with draped bodice, cotton straps and lace technique accented by silk chiffon and tulle technique.


text:
|Search Term: Add A Term (This Search Box Keeps Your Color Settings)
Expanded Search Colors
(Less Colors) - (More Colors) - (Stop Using Colors)
Emmaline Bride | The Wedding Guide for. . .
As Featured On "Wish I was Here Wednesday"
The Breakers Wedding Blog
As Featured On "Cool Down Your Wedding With An Ice Bar"
Samuel Lippke Studios
As Featured On "Samuel's life on Instagram"
Samuel Lippke - Instagram - Bali - Hawaii - HomePage
Wedding Library Buzz
As Featured On "This says it all"
As Featured On "LED Cocktail Tables"


text:
Andrew Cyrille tonite. (Anytime tonight, he says. And a cool "what's happenin'" to you.) 12:40AM
In 1974, percussion master Andrew Cyrille was living in Ridgefield Park, New Jersey. I was living with my great friend, roommate, and patron Nick Moy (that's Nick's handwritten note to me above) on 113th Street in Morningside Heights in Manhattan. Contradictory to his sometimes stern demeanor, Andrew was one of the friendliest, warmest men you'd want to meet, as I found out as we became acquainted when I recorded his bandleader Cecil Taylor several times over the year.
A budding music producer and engineer, I somehow persuaded Andrew to allow me to take a shot at recording his debut LP, a series of duets with another avant-garde great, Milford Graves. Dialog of the Drums (you can hear it here) would be a percussion only record, a music combination I was eager to hear and even more eager to capture on tape.
The only problem was I had no access to appropriate studio space.
Once, I dragged the equipment over to Milford's basement in Queens, where he day jobbed as a homeopathic pharmacist. Most absurdly, I suggested that Andrew record a piercing solo on an African drum in our 2nd floor apartment at 11 o'clock at night. I was naive, I guess Nick was too, but I really can't understand how we didn't get evicted.
My recordings were adequate, I think, but Andrew and Milford were unhappy with the performances. Ultimately, they released a live recording from Columbia University.*
A couple of years later I recruited Andrew for an early tour of the Carla Bley big band I was road managing. Soon after I head to a life in commercial radio and television and Andrew and I completely lost touch.
* I did the majority of Columbia's WKCR recordings during this period, but even though I'm the credited engineer in a few discographies, I ultimately had nothing to do with the released album. I wish I did, it's really good.
Click here for more posts about music and producing records.0 comments Tagged: producingrecords, jazz, drums, percussion,.
Click here for more posts about music and producing records.
In late 1971 my new friend Tom Pomposello and I decided to start a record company to record his music, and so I could become an instant record producer (it was easier than convincing some big company to let me do it). He was 21, married with a small child, and owned a local hippie record store in Huntington, New York. I was 19, single, a college student in New York City. By the time it was over, five years later, we had six world class releases.
We both emerged from the pop and rock fans of the 69s, but had broadened. Tom loved the blues. I loved jazz, especially the avant garde variety. We both wanted to do more to promote artists we believed in.
And it was the early 70s, the height of don't trust anyone over 30 and the man can't bust our music, and indie record culture was starting to flourish again.
It seemed like a smart move not to start with the unknown Tom's record —especially since we hadn't figured out exactly what it would be yet— but we had a viable, commercial tape we'd recorded of college concert star Mississippi Fred McDowell (with Tom on bass guitar) at the Village Gaslight in Greenwich Village. With the sales of this sure fire hit, we'd be on our way to the big time of indie labels [wink]. Our agreement was to make blues records for Tom and jazz records for me. We had a passion for underexposed American music and we were certain we'd be the two to bring unknown artists to prominence.
The only question that lingered was where we would get the outrageous sum of $1800 to press the first 2000 copies? Tom came to rescue by bringing in our third partner Richard (Dick) Pennington, a friend of his from, uh, somewhere (I never actually found out). Dick stepped right up with enthusiasm and verve and stayed until our fourth album when he and Tom fell explosively out over something neither of them ever revealed.
0 comments
Tagged: Oblivion Records, blues, jazz, producingrecords,.
Tom chose the name "Oblivion" off of the back of a Leo Kottke LP and we released Obivion OD-1 —'Mississippi Fred McDowell: Live in New York'— in 1972; altogether we put out six records in five years (it still feels like 100 records in 1000 years) before we flamed out with musical dignity intact. Tom's album was our last, so we had fulfilled our mission.
You can listen to the complete Oblivion Records library (and bonus tracks) here and get more of the stories behind the records here.
My Oblivion Records partner Tom Pomposello and I were incredibly proud of our discography of releases. We were two young guys in the thrall of the world's music explosion everywhere around us and we wanted to be part of it. (Just click on the covers and you'll be able to play the complete collection.)
Mississippi Fred McDowell Live in New York OD-1 (1972)
Not only our first record, but our most celebrated and successful. Fred McDowell had become a country blues world touring sensation in the late 60s and early 70s, and Tom, budding suburban bluesman, became his pupil and bassist. This was Fred's last recording before his untimely passing.
Johnny Woods Mississippi Harmonica o#2 (1972)
Our only single came during Tom's last trip to Mississippi when he asked Fred McDowell to locate harpist Johnny Woods, Fred's sometimes duet partner. They found Mr. Woods at his farmhand living quarters, and in true field recording style, Tom took out his trusty Panasonic cassette machine, gave Johnny one of his Hohner harmonicas, and recorded two songs. Then he whipped out his Kodak Instamatic, posed Johnny in front of Fred's Pontiac. Now we had enough for a record.
Marc Cohen, John Abercrombie, Clint Houston, Jeff Williams Friends OD-3 (1973)
When Marc Cohen (now Copeland) first showed up at my college radio station he played an awesome mainstream alto saxophone. So he shocked me the day he came in with a trio wired up and echoplexed I felt like I'd seen a future first defined by the Tony Williams Lifetime. We made a deal and he brought back a quartet, and before it was branded we called his music 'electronic jazz.' No jazz-rock here, just plugged in supercharged jazz.
Charles Walker & the NYC Blues Band Blues From The Apple OD-4 (1974)
Tom really wanted to discover a bluesman. Which was really hard to do in New York City. So a talented blues hustler called Charles Walker kept turning up musicians and songs and we kept recording them, for more than a year. Our smallest selling album, with one of my favorite tracks.
Joe Lee Wilson Livin' High Off Nickels & Dimes OD-5 (1974)
Never paying much attention to mainstream jazz singers, I initially paid no attention to the hubbub surrounding a session I missed one summer in 1972 at WKCR. But then I heard the tape. Joe Lee Wilson was great.
The record caused a sensation and became a turntable hit at the biggest New York jazz station, but we were too inexperienced and broke to work it properly. A great record faded again into oblivion.
Honest Tom Pomposello OD-6 (1975)
Tom Pomposello, my great friend and the artist that inspired our record company. And our final release. Recorded in bits and pieces over four years in dozens of locations, with Tom's truth telling slogan •file under: Suburban Blues.0 comments Tagged: LP cover, Oblivion Records, blues, jazz, music, record label, recording, records, producingrecords,.
Click here for more of my posts about music and producing records.
When I started out recording in the late 60s, my goal was to make hip and popular music. You know, like The Beatles. Since things rarely turn out the way one hopes, I spent most of my recording experience in jazz, particular avant-garde jazz. While it's music that reminds many of heavy traffic mixed with fingernails on a blackboard, for me it provided a thrilling window on expansive thinking. These were experiences that made sure I'd work hard to never be complacent. There's no trade I'd rather have for those times.
Almost 40 years after the fact, it's hard for me to imagine I was lucky enough to work with one of the great, world class talents like pianist/composer Cecil Taylor, who, along with John Coltrane and Ornette Coleman, was a leading figure in the resetting of jazz expectations for over 50 years. Especially considering that I was 22 years old. But often, cutting edge artists on the fringes of mainstream culture like Taylor don't always command the attention of the leading recording institutions, and it's the young, passionate fans (like I was) that can fill the breach.
Cecil's (temporary) manager enlisted me to record and "produce" only since I could access some premium tape decks and microphones, and because I'd work tirelessly for his music. We recorded the "Return Concert" in November 1973 at The Town Hall in New York, and later in the winter traveled to Washington D.C. and crashed in a friend's place to record a show at the Smithsonian. I spent months pouring over the tapes prepping them for release on Cecil's own label, Unit Core Records (only the Town Hall show was released, as Spring of Two Blue J's).
In the Village Voice, America's leading jazz writer Gary Giddins called the album Cecil's finest, and later said "it offers an improvisational coherence his earlier work only hints at."
I still have to pinch myself about my brief association with an artist like Cecil Taylor at one of the great peaks of his career.
You can listen to the entire album here (and bonus tracks here), and there are some of the stories of the recording too. Cecil's not an easy listen, but if you're up for it there are a lot of rewards.0 comments Tagged: producingrecords, jazz, composer, 1973,.
Click here for more posts about music and producing records.
Jazz recording entrepreneur Joe Fields
I've been posting quite a few of the records I produced or engineered at the beginning of my career, and lately in particular, the Muse records. Which has gotten me thinking about the incredibly important role Muse founder Joe Fields didn't mean to play in my work life.
Somehow or other I ended up in Joe's office (above the West 71st Street Bagel Nosh) in 1976 asking for a gig "producing" records (like I even knew what that was). Joe, in his always enthusiastic way, happily gave me an immediate assignment (I think it was the first Linc Chamberland LP), and for the next three or four years I was a willing student in his unintended record business class.
(For those who won't read the Wikipedia entry, Joe started Muse in the early-70s after a long stint at Buddah Records where he started an in-house jazz label Cobblestone. It was a label of jazz "blowing" sessions, meaning it was primarily mainstream jazz artists who'd come in the studio and in two union sessions –six hours– record enough material for a complete album. Muse Records was among the last of its breed, in a day where the most revered mainstreamers had gone corporate. The result was an unparalleled 20+ year archive of jazz in America from 1972-1995. And Joe continues to add to the legacy with HighNote Records.)
I won't bore you with all the things I got out of those "lessons," but suffice it to say that Joe had forgotten more than I would ever know. How to pick an artist? How to promote? What to ignore? How to negotiate? What's important, what's not? When's a good time to take a chance? Who was Juggy Murray? What was 'producing' anyhow?
A few of my Muse Records productions
Joe introduced me to the real world. Without him I never would've gotten to work with 24 track recording, or get to meet the legendary Rudy Van Gelder. To say nothing of the artists like Hank Jones, Willis Jackson, Jaki Byard, or the others. And, he didn't mean to change my musical tastes —I'm sure it was of no consequence to him whatsoever— but I walked in dedicated avant gardist and walked out a lifelong soul jazz devotee. (Soul jazz didn't only sell better and longer, but was a lot more fun.)
There was a lot of history in Joe that I just soaked up and it was always fun dropping by the office just to listen to him on the telephone, working it with an artist, a studio, or maybe a distributor or radio station. Things that were second nature to him were golden to my uneducated ears, and I just couldn't get enough. My only complaint is that I wanted more. More projects, more time, and more money. Mainly more projects, because they were just so much fun. But, I was going broke on the $250 a record he was paying me, though I now know if he paid me anything more he would've gone out of business. Lesson #1, being a survivor in the independent record business is never easy, and probably requires you to disappoint almost everyone wanting a better payday.
It was at a disastrous Muse session in Brooklyn that I called my friend, Muse liner note writer, and future partner Alan Goodman to come and help me figure out whether to stop trying to make a living at record producing and try my hand in the then revolution of cable television. You know who won.
Working with Muse Records was a once in a lifetime, unforgetable experience. Not all the records I worked on for Joe were wonderful. And some were beyond fantastic, truly world class. But, no matter the project, it was a rare privilege Joe Fields allowed me.
Joe was, and continues to be, a generous man. Thanks guy, I couldn't be a producer without you.0 comments Tagged: mentors, producingrecords, Muse Records, jazz,.
Click here for more posts about music and producing records.
Doesn't his name say it all?
Willis Jackson single handedly pulled me away from the avant garde and towards the soulful, bluesy expression of jazz that was popular in the African-American neighborhoods of mid-century America. He didn't try to, he didn't mean to, he didn't want to, it was just that he was so damn good.
In 1977, less a producer than a 'recording supervisor' (my credit on Single Action) I arrived at our first session together (In The Alley), and my first session for Muse Records, with virtually no information on what we were recording or who was playing. Willis was tough and a little paranoid and had no idea what to make of the skinny suburban white guy from the record company. He didn't want to talk to me unless he had too and so I barely knew what was happening minute to minute during the six hour session. Until that day I'd never heard any of his music (it wasn't cool enough within the jazzbo circles I traveled in) and when I looked into the studio I thought I'd been time warped into the 1950s: five African Americans 20 years older than me in conked processes and starched white shirts and ties. They hit the first tune and Willis looked up at me and asked if they had enough to fill the record, knowing full well he didn't; he started packing his horn up to psyche me out. By the end of five tunes I told him we were eight minutes short; he revved up a blues and kept it going until I faded it to make the length.
By the end of the six hour session I'd stopped making fun (in my head) of the tenor saxophone/organ based soul jazz, and realized why it spoke to so many millions of people. It wasn't an intellectual exercise but a human one. They were playing songs that people knew and loved, with a feeling that anyone could understand. I was late to the party, but it wouldn't be over for me even 30 years later.
(You can hear the entire albums by clicking here.)0 comments Tagged: producingrecords, soul jazz, jazz, Muse Records, 1977, 1978,.


text:
KENMORE, NY (WKBW) - It was a celebration of art and music on Wednesday afternoon in Kenmore, as Mayor Patrick Mang dedicated a colorful new piano in the village gazebo.
The piano was painted and installed by local artist Mark Weber, as part of his "Pianos in Public" campaign. All of the pianos Weber paints are donated.
"The piano here in Kenmore was manufactured in Buffalo back in 1916," said Weber. "So it's pretty nice that we can have it 98 years later still being enjoyed by all people."
There is a daycare center situated right behind the gazebo where the painted piano now sits. Weber said he's hoping the bright colors and fun look of the piano will draw kids in and spark a love of music.


text:
Ask Slashdot: Is Samba4 a Viable Alternative To Active Directory?
Re:Nein. (388 comments)
You're out of date. Samba 4 (although at RC now) does Active Directory. Don't spread FUD please.
Welcome to the Slashdot Beta site -- learn more here. Use the link in the footer or click here to return to the Classic version of Slashdot.
Before you choose to head back to the Classic look of the site, we'd appreciate it if you share your thoughts on the Beta; your feedback is what drives our ongoing development.
Beta is different and we value you taking the time to try it out. Please take a look at the changes we've made in Beta and learn more about it. Thanks for reading, and for making the site better!
Re:Nein. (388 comments)
You're out of date. Samba 4 (although at RC now) does Active Directory. Don't spread FUD please.
Imagining cmdrTaco and Steve together on the bench (1521 comments)
Well it's a bit sad to see all the oldtimers go (sorry 'taco
I just try to picture you together with Steve on a bench together with Achmed the Dead Terrorist screaming 'I kill you'
'Virtual' (175 comments)
virtual(a): existing in essence or effect though not in actual fact; "a virtual dependence on charity"; "a virtual revolution"; "virtual reality"
So are you actually looking for the best way to create a team that does not exist but does produce an outcome? I think you are already there
Or are you looking for software to support the communication between teammembers in such a way that they really feel to be a part of a team? Then I would look for software that is already integrated with the way of working of your team members (msn, skype, email, subversion) etc
Banks (558 comments)
I know for a fact that a lot of banks have their account transfers for Businesses on 3.5" floppy disks. They can't even repair the machines anymore that write the disks
Re:Good for apple (1078 comments)
However, the very expensive treatment a smoker receives in hospital, the effect it has on second hand smokers (possibly also receiving treatment) and the loss of productivity of smokers negates easily any cost savings by moving over to the other side.
Re:Social networking is the new fashion (122 comments)
Although I think will right I also think it won't take off in any company. Putting it in a artificial boundary of an organization actually defeats the whole idea of social networking. My social network is not limited to my colleagues so why would I participate on a "platform" which is limiting my social network to those boundaries while I can find all my colleagues and others outside?
And while I am at it, when will we get that in the end social media is not about the functionality it provides but about the possible depth of the relationships?
Slow & Inefficient: Use mobilephone data (90 comments)
Why dont these companies use mobile phone data to update this information? Eg mobile phone companies can track how many phones are at a certain location. The more mobile phones are at a certain location (even speed could be measured) to more likely there are traffic jams.
To do this on your own (nav comapny) is just plain inefficient.


text:
BBC moves to put design first in property portfolio shake-up
The bbc's new £300 million property partner will be shut out of major design decisions for a giant new building at White City in London despite plans to introduce a more joined-up approach to property development across the corporation.
Subscribe to the AJ from £3 per week
for less than 46p a day
Join thousands of professionals who already subscribe to the Architects' Journal.
You'll get instant access to read this article - and 50,000 others like it.
- Trusted industry news & analysis, wherever you need itUnlimited online access and weekly magazine delivery – now also available on iPad/iPhone
- Get ideas, get inside buildings and check precedentsBuildings Library – images, drawings and plans for exemplar projects in British architecture
- Planning & regulation – what you need to know Protect your practice - the AJ keeps you up-to-date with changes to regulations and legislation
For less than the cost of a pint you can have the magazine, iPad edition, full access to TheAJ.co.uk and the amazing AJBuildingsLibrary.co.uk. Subscribe now and experience architecture from a British perspective. The AJ - it's your journal.


text:
more anime screencap redraws! this one was a faster piece, but its my mafia son hayato
heck yeah! i finally got around to doing an anime screencap redraw. and of course its from my favorite anime samurai flamenco. i hope i can do more of these in the near future!
i got really into this one and accidentally stayed up all night working on it.
I strayed a weeee bit from the original pallet by blending colors with white but otherwise its pretty close. I got really excited about a Transistor!AU because I've been playing that game a lot. Masayoshi as Red would be really rad.
Also that makes Goto the Transistor and damn this AU is getting hella sad.
you kids today and your nudity and proposals at gunpoint
its finals week and my papers due on tuesday but hey i thought drawing the shojo club would be a good idea
Naoto vs Flappy Bird.
A short little comic I drew on a single page in about an hour. Because everyone seems to hate Flappy Bird and I love Kannao.I also love my girlfriend, since this is for her.
Shitty quality is shitty since my scanner is back at my house
quick 2 hour draw i slapped color on for my family
behold my robes behold my robes behold my robes
This is late now since it's taken like 6 hours to finish but its for my baby Kanji's 18th birthday! Happy Birthday Kanji Tatsumi, my king beefcake!
if only the weather was this nice on our actual date


text:
Download Groupon iPhone iPap iOS
iOS Groupon 2.0.2 Mobile
Customer Reviews
Thanks for fixing everything do fast
The quick turnaround is awesome. Thanks, Groupon.
Excellent software
It is much more convenience than online shopping! I really enjoy using it!
Found some great date ideas and some interesting ways to branch out!
Related - Lifestyle - Groupon 2.0.2
The "Download" link for Groupon 2.0.2 directs you to the iTunes AppStore, where you have to continue the download process.You must have an iTunes account to download the application. This download link may not be available in some countries.
More in Lifestyle - for Groupon iPhone iPhone
More by Groupon, Inc. - for Groupon app ioS


text:
Rochelle's January Cure: My Second Week
January Cure Diaries
I'm not going to lie, I'm having my ups and downs with the January Cure. I'm going to share my ups with you, but I gotta say, the downs are that this is harder than it looks. And there is a reason (I'm going to start pointing fingers now) — my family isn't entirely on board. Most specifically the kids.
Sure, they liked the idea of getting things in their rooms fixed up, and hopefully we will get to that, but as I read about this landing strip thing, I suddenly see the cure project spiraling out of control. I have a landing strip — it is a whole mud room devoted to this very thing — and if I am going to be honest, it is pretty functional. But kids walk into it and explode and the shards of the explosion have this way of ricocheting all over the house.
It really is a backpack and school paper and project issue. I have my mail under control (for the most part) and a place to put keys, take off boots and outside clothes. And if it were just me, this day #9 thing would have been a piece of cake, as in already done. But it is those backpacks that give us trouble. If they open up — watch out. Am I the only one that needs a kid cure?
But back to the ups — my daughter and I tackled the chaos in the pantry as part of the weekend kitchen cleaning. I took the 'before' picture and instantly experienced the magic of 'before picture' photography. Why is it that the moment you take a picture of something you see it in a whole new way? I can't explain it, but it is a universal truism — if you want to find new solutions, design new spaces, see things differently and for what they really are, look at them in picture form.
In this case, my immediate reaction was shame. (How did we let this pantry get that bad? Can I share this on Apartment Therapy and live to tell about it? Ugh!). But we worked through it. And it got worse before it got better — that middle image is when Zippy, our dog, had to jump in and help after a container of oatmeal on a high shelf toppled over us and spilled everywhere.
In the end, we, rather embarrassingly, removed 3 trash bags of stuff (not all food) in addition to storing a few less needed items away in the attic to arrive at a wonderfully cleaner and more organized pantry. I discovered that there are some items that I need not buy for a long time (there were 3 or 4 jars of pasta sauce that I unearthed, a couple bags of brown sugar, and ridiculous numbers of canned beans in all varieties). And now I can actually think through dinner options in a much healthier and sane way. Next up is the fridge — it needs the same.
Some of my other happy upgrades — the flowers. I love the greens in this grocery store bouquet. I was actually able to make one bouquet into two — now I just need to stop my cat from nibbling on them and constantly knocking them over (again with the family working against me thing).
Also, the cure inspired me to buy some room sprays from a new local business. They are wonderful — the lavender is (of course) relaxing as can be, but the jasmine puts me in a whole new state of mind. I had a jasmine plant next to the sofa when we lived in London. It is where my daughter was born and where I cared for her as a newborn. The smell of jasmine takes me right back to that warm nested newborn feeling and time. I am really enjoying having it here in this home… it has me thinking that even though this room spray is lovely, I might need to get a new real jasmine plant. More Cure ideas!
(Images: Rochelle Greayer)
27 Comments
Kudos to you and your family. Many would never have the courage to post the before pics, but you did. Keep up the good work! You have motivated us to keep chipping away too!
Love this! One of my biggest insights of the January Cure has been that lighting candles in the late afternoon/early evening when I get home makes me incredibly happy. Tealights are cheap and abundant and look great in small multiples on the bookcase in the bay window. Sitting with a cup of tea on the sofa as they glow in the failing light makes my week feel manageable. Thanks for this series!
Looks great! I feel like kitchen organizing is the most satisfying kind of organizing.
I did my fridge a few months ago and we had a whole boat-load of condiments and bottled stuff, many of them doubles. We consolidated as much into single bottles as we could and I arranged all the bottles and tubs on a tray and put the tray on the least handy shelf in the fridge. Now, when we need something we can slide out the whole tray to find stuff. It's much easier to sort through than trying to push bottles out of the way to find something pushed to the back. The second fridge tip I have is to set aside the most visible shelf for leftovers. If the leftovers are the first thing you see when you open the fridge, you're less likely to forget about them.
Great job! And high paw to Zippy for "helping".
Haha, Zippy. It's amazing what you find in the pantry when you just dig deep. I also have a jar of pasta sauce that was unearthed, but I actually threw it out (it was unopened) because it had expired. I'm pretty sure it's something that's moved from home to home for a few years now, a leftover from my first or second apartment.
Go Zippy! It's your oatmeal birthday!
My husband (love of my life, light of my soul) fully admits that for the house to ever be organized, he would have to leave and take all his stuff with him. :) He's definitely not on board with this Cure but I'm trying. Little steps that will hopefully help get him organized (my goal project is actually a simple organization system for some of this treasures that is neat and easy enough for him to keep doing). The toddler is so enthusiastic about helping--hopefully he picks up my habits rather than his father's. :)
Zippy looks like a great dog! I think you could use 2 more shelves on the left hand side- that is, only if you want to store more cans/ boxes. Your pantry is lovely in the after photo. I have yet to tackle my 3 small pantry cabinets.
At first glance I thought zippy was a lamb or goat...Iol...great job with the pantry. I fully understand how difficult it is to keep it organize. I think elves live in mine and knock stuff off the shelves for fun.
hahaha the dog. I wish I had a pantry of any sort! but nicely done and brave.
This is endearing! If it makes you feel any better, I'd be happy to have a room for a pantry in my house period.
I'm inspired to tackle our pantry when I get home tonight...I hope the feeling lasts! Where did you find the slide out wire "drawers" in the photo? I think something like that would be very helpful for my setup.
A word of advice on keeping your pantry and fridge clean: if you only shop 1-2 time per week for groceries you can create a menu (walk into that neatly organized pantry for inspiration!) make a shopping list (I have the "Shopper" app on my phone, it's a real lifesaver!) and go to the store. When you get home start unloading groceries into the fridge and clean it out as you go. I can buy a week's worth of groceries and it looks like we have no food in the house because the fridge is always cleaned out. Once you start the habit it's easy to keep up.
Correct me if I am wrong anyone but I always thought that those little white flowers in your bouquet, babys breath I think they are called, are extremely dangerous to cats?
Wow, nice job! I bet it feels amazing every time you walk in there. A newly organized space can feel so liberating.
Congrats the pantry looks great. We did our pantry on the weekend and I was horrified at the amount of food that was out of date. Horrible waste. So I made a list of what we had and I've set a reminder for six months down the track to do it again and hopefully that will help.
Nice work. Now, do you find yourself peeking back into the pantry over and over to see the nicely organized space? That's what I do every time I finish an organizing project. Dorky, but true.
Did the same over the new year weekend. Two days to get it all together but what a joy! Every friend who comes over gets to see our "new" pantry. It's on the calendar again for next year. Now, if only I had a dog and a daughter to help and to entertain!
Well done! I have a similar problem with buying certain goods over and over again (I'm forever forgetting that I have PLENTY of vinegar).
Jen -- yes I do find myself going into the pantry -- over and again -- and leaving the door open. I want every place in my house to be this put together.
Gypsymomma911 - yes - toxic - thanks for the reminder...but I am not too concerned...it isn't that he really wants to eat (or actually does eat) any thing -- he likes to topple flowers for the water - always has water, always wants the water I don't give him. Cats.
Hammond.design - thanks for the tip -- will give that a try.
MPcoady - the shelves and drawer where a Home depot standard product (nothing special) that I bought and installed about 7 years ago. (not sure if they still carry it).
When I had a pantry with wire shelves like you do (and which I am missing a lot in my new place!), things tended to topple over all the time until I placed plastic placemats on the shelves. It made a big difference.
What a wonderful memory associated with Jasmine!
Thank you for your post and link!
Nice work on your pantry! The fridge ... for me, the dreaded fridge. Something I must face soon too. I will check back for inspiration on your inspiration fridge fix!
You and your daughter did and great job I love the look of the new pantry. I want my closet to look as organize as your pantry does now.
I have been stopping in the middle of my kitchen and just staring at my clean counters since this weekend. Glad I'm not the only one doing this ;)
Oh man. I've got three roommates and they might as well be 3 children. I'm definitely the homemaker in the group. The apartment is somehow MORE messy than at the beginning of this cure...although that might have been from us all being out of town for the holidays.
Nice job! Projects like this one can seem so daunting, yet when we actually do the work of it, it rarely takes very long to fix and it provides exponential energy to fix other problems in our spaces. I adore the picture of your goat/dog :) -- it's refreshing to see those sort of keepin' it real pictures here at AT. And the jasmine memory is delightful. Thanks for sharing.
Great job!!!! Thank you for the before, and for all befores. because I realize I need not have shame!