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Bye Bye Liver - Spring Break Edition: New Cast Takes the Popular Show to Spring Break
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The last date listed for Bye Bye Liver - Spring Break Edition was Saturday May 11, 2013 / 9:30pm.
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Having seen the Bye Bye Liver a few times last year, I was pretty excited to see the Spring Break edition. I was expecting all new material, but unfortunately that was not the case. There were only a few new skits, which were not that funny, and the rest was reused from last year. There was a new cast, but I liked the cast last year much better. This cast did not seem to work and/or fit together. I saw people leaving early. Pretty disappointing.
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This is the second time I've seen this show in the last year, so my expectations were a little higher than before, but the cast still delivered. The cast is funny, and the skits are comical. They even had a few new bits this time around, which was...continued
Bye Bye Liver is a show premised on the simple joys and complex consequences that indulging in a drink or two or three can bring. Bye Bye Liver also runs in two other locales. In the Windy City it is known as the Chicago Drinking Play and has been selling out performances at The Pub Theatre. In Wisconsin, it is popularly known as the Milwaukee Drinking Play. The 90-minute show premiered in Chicago and was originally created by Nashville producer, writer and director Byron Hatfield.
About the Ticket Supplier: Actors Theater of Minnesota
Actors Theater of Minnesota is a professional theater company located in the heart of Downtown Saint Paul's charming Theater District.
The Creative Institute at Actors Theater of Minnesota is committed to provide a creative educational experience in an environment of collaboration and openness.


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2085 Views 1 Reply Latest reply: Jun 19, 2010 12:25 AM by MadisonP
MadisonP Jun 19, 2010 12:25 AM
in response to greeneggsnsamWelcome to Apple Discussions,
Remove the following to the trash and restart the computer:
Home > Library > Caches
Home > Library > Preferences > com.apple.imovie
If that does not resolve the issue:
_Go to Home > Movies
_Rename 'iMovie Projects" and "iMovie Events" to "iMovie Projects1" and "iMovie Events1"
If iMovie launches with these folders renamed that means you either have a corrupted event file or a corrupted project file.
Go back and get rid of the freshly created iMovie Projects and iMovie Events folders and rename iMovie Projects1 back to iMovie Projects.
Open iMovie. If it works then you have a bad Event. If it doesn't work then you have a bad project. Using a process of elimination you can take the projects out and test iMovie each time to see which one causes iMovie to become unresponsive. Use the same process to isolate a bad event.
Hope that helps.

subset: commoncrawl


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Leonardo in London
Painter at the Court of Milan
National Gallery, until February 5
Luke Syson et al
Painter at the Court of Milan
319pp. National Gallery/Yale University Press. £40 (US $65).
978 1 85709 491 6
A t the midpoint of the National Gallery's exhibition Leonardo da Vinci: Painter at the Court of Milan, you encounter the angel's hand. The angel sits between Mary and the infant Jesus in the version of Leonardo's "Virgin of the Rocks" owned by the Louvre, a loan which has been placed in the exhibition's central room so as to face the second, later version owned by the National Gallery. He (the pronoun feels ill-fitted to the angel's peculiarly gender-free beauty, but what else have we?) curls his near, left arm protectively around the holy child. They occupy some grotto: fractured strata of limestone overhang them, with remote shafts of dawnlight piercing the gloom and a dim rockpool falling away at their feet.
The angel's other arm is raised, so that his right hand is seen in a dark gap below Mary's outstretched hand, which reaches forward to bless the head of Jesus. The angel's right index finger is extended. Facing it across the shadows of Mary's robes you see a second holy infant, whom she draws in towards Jesus. But the more you look, the more your attention fixes not on where the angel's hand is pointing, but on the angel's hand itself – the pale, bony, sinuous strangeness of that specimen of life.
In On Painting, the leading art treatise in the Florence of Leonardo's youth, Leon Battista Alberti spelt out a logic of pictorial unity that could be traced back to Giotto: in the historia, the elevated composition, there must be someone "who tells the spectators what is going on and beckons them with his hand to look . . . . Everything the people in the painting do among themselves, or perform in relation to the spectators, must fit together to represent and explain the historia". But in the Louvre's "Virgin of the Rocks", that logic seemingly went awry. It's not just that the angel's gesture fails to lead the eye onward, it intrudes on the magnetic field that should flow between Mary's opened hand and the head of her son. It hovers, detached and uncanny, within the dark zone of compassion enclosed by the four figures.
Leonardo evidently came to some such decision himself, for when – perhaps seven years later – he designed his second "Virgin of the Rocks", the one now kept in London, he edited out the intruding hand. But now, its burden of estrangement has passed over to the assembled company. The robes of the kneeling Virgin – a dense midnight in the Paris painting, a fathomless dream-space – have been exposed to a daylight scrutiny, while her proportions and those of her protégé, the infant John the Baptist, have been stretched out and aggrandized. All over the new picture, object surfaces – the pallid limbs and faces, for instance, or the blue and golden draperies, or the brown rocks behind – have been buffed with a ferocious intensity. With the objects jutting further out, it becomes harder for the imagination to find a way in. An enticing, if enigmatic vision of love has become an imposing demonstration of prowess.
That angel's hand is, from an Albertian viewpoint, a minor misjudgement. But flaws make geniuses seem more approachable. Perhaps that all too absorbing index, that sign that doesn't exactly signify, is something to hold on to as you negotiate the largest collection of Leonardo paintings you are ever likely to see assembled in one place. For that is the opportunity: to get to know the great man not so much as a scientist and inventor, nor yet as a new style of individual – the original behind all our notions of "genius" – but rather as a maker of pictures. The publicity build-up to this exhibition turns out to be wholly justified when you have reached its remarkable conclusion, and yet it's a project that has been conceived with cool scholarly prudence. With six galleries at their disposal in the National Gallery basement plus the Sunley Room upstairs, the curators have chosen to hang never more than two Leonardo paintings to a room. There are, after all, very few portable autograph items to choose from – only some fifteen, by the current consensus. Those that they have selected, they surround with supporting material – sketches towards the main project, sketches generated by it, related works by pupils.
The paintings now gathered in London were all executed, or at least started, during Leonardo's seventeen-year sojourn in Milan, the longest single chapter of his peripatetic career. He came to the city from Florence in 1482, aged thirty. He would head back to Florence again in 1499, Milan having been captured by the French. The ruler the French deposed, his patron Ludovico Sforza, shows up in the opening gallery by way of a manuscript illumination, a serene and static profile likeness by Ambrogio de Predis. It was Duke Ludovico who enabled the projects in the galleries that follow, including the fresco of the "Last Supper" (examined through an early copy in the separate Sunley Room), which he commissioned for the church refectory he liked to dine in. A consideration of Leonardo as "Painter at the Court of Milan" might conceivably prompt cultural nostalgia (is it that we lack Leonardos today because we lack Ludovicos?) or, for that matter, irony: after all, the self-styled armaments expert with a sideline in art would go on, after Milan fell, to try to sell his services to Cesare Borgia, to Sultan Bayezid II, and eventually to the conquering French. But confining itself to painting, the show excludes the central project that bound Leonardo to his patron's power project, his never-completed scheme for a colossal equestrian statue. You don't really get to see the universal man as a political animal.
Yet power peeps through, refracted in three portraits of people waiting on the duke. A 1480s panel of a court singer might be read as Leonardo's demonstration that he could never be Ambrogio de Predis, who remained a doughty traditionalist in the production of court art. As it happens, the handiwork of their portraitures is not at root dissimilar: each works from outlines of heads drawn on warm mid-tone grounds, each carefully brings out volumes and highlights using fine sable brushes. But serenity and stasis are gone from Leonardo's likeness of his singer. Mutability has moved in – whether in the way his head has been captured turning in a three-quarters view, or in the exquisite near-tearfulness of his big eyes and near-trembling of his parted lips. In fact, mutability grips the panel more than Leonardo intended: the singer's jerkin is left as loose raw sienna underpainting; he never got round to completing it. But problems of this type, you are soon aware, are integral to the whole Leonardo phenomenon.
This show, applying a powerful historical structure to a small number of painted exhibits, often makes you consider what you are actually seeing, as distinct from what you are mainly projecting. You may read (in the catalogue) that Leonardo's likeness of Cecilia Gallerani ("The Lady with the Ermine") is "the first modern portrait", introjecting psychology into a figure's whole posture as never before. But half a millennium on, is it this one-time revolution in representation that confronts you? In fact, it turns out that "modern" is another inadequate word. You are struck, with quite astonishing force, by a brilliant, beautiful teenager, the kind of lucky kid for whom no problems in the world could possibly exist. Yes, she knows her place, she's listening submissively. But she's not listening to you, viewer: she's got better company to keep. (Cecilia hooked Duke Ludovico at the age of fifteen. The catalogue reports that after he had to marry this mistress off – his legal wife was jealous – her smooth ride through life continued unabated. She became an "accomplished poet" and "may even have maintained a friendship with Leonardo".) And then you turn to the sketches exhibited around the masterpiece from Cracow, and you begin to realize what an intricate weave of the observed with the projected this panel itself embodies. The evolution of the image might have gone something like this: Leonardo gains some initial impression of the girl. He files it mentally as a 3D form in space, an immaterial version of the clay modellos that abounded in the Verrocchio workshop in Florence in which he did his training. He rotates that form in his mind – we see him doing so on a sheet of sixteen sketches – until a profile swings in sight that is at one poised and dynamic. With that selection made, he goes back to Cecilia, sketches her twisting just so. But then that more advanced description of her must be reconfigured. He must think through the anatomical structures that underlie it in relation to the dissections he has performed; he must regularize its proportions to conform with the universal good order in which he believes. Equally, the animal Cecilia is meant to hold – the ermine, emblematic of Ludovico – must be spliced together from first-hand observations of bears, dogs and suchlike. Only then will Leonardo have a dependable outline which he can transfer to his panel and nurture into life with his sables – picking out Cecilia's fashion accessories in all their drop-dead cool, with a slender glaze of rose doré sending the blood to flow within her cheeks.
He could abstract, he could dissect, he could splice, and at the end he could deliver life – life such as no painter had delivered before. What he had at his command was at once a mechanism and a magic. "If my successor is more capable and more studious than I, he will be able to make painting absolute and perfect", wrote Alberti in the conclusion to his 1436 treatise. Leonardo was the successor he dreamt of, for as he wrote, "Painting embraces and contains within itself all the things which nature produces". Moreover, the ground that Leonardo had gained could in principle be opened up to others. Across the gallery from the "Cecilia" there hangs a slighter but still startling image painted in its wake by Giovanni Boltraffio, by far the most gifted of the four Milanese acolytes included in the exhibition. His "Portrait of a Young Woman as Artemisia" compresses a whole tragic drama into the face, at once lucidly delineated and tremulous with grief, of a beautiful young widow. Her husband has fallen, her tears are about to fall: we encounter her appearance at a passing moment in an ongoing temporal process, driven on by what Leonardo termed the moti dell'animo, movements of the mind.
Those movements are compressed to an extreme in the third Leonardo portrait, the so-called "Belle Ferronnière". In a sense it's an exercise in minimalism. Whereas Cecilia generates space around her as she swivels, this lady of the court contracts it. Her contour holds her taut against an impenetrable black background, and a super-fine rendering of costume detail seems to reduce her room for manoeuvre yet further. All the inner dynamism reverts to her eyes – which, passing dark and disdainful over the viewer, manage to wrest back from him control of the gallery. This daunting, buttoned-up presence may be that of Ludovico's slighted wife Beatrice with her features heavily idealized, the catalogue suggests.
At the opposite, expansionary extreme of Leonardo's artistic experiments in Milan lie the exhibits upstairs in the Sunley Room. The "absolute and perfect" painting per se: that, in effect, was the end in view while Leonardo worked up on his scaffold at Milan's Santa Maria delle Grazie during the mid-1490s. Notoriously, no sooner had he completed his hubristic "Last Supper", with its innovatory oils-on-plaster technique, than payback began, the pigment falling away flake by flake. The National Gallery displays a large-scale photographic reproduction of Milan's present-day magnificent ruin, and a full-scale oils-on-canvas copy made around 1520 by a pupil named Giampietrino. The latter is an ugly object, the copyist's touch being leaden and quite airless. But it's an interesting one, telling you about the lush tapestries that would once have adorned the disciples' dining room and about the stark, eight-metre band of white tablecloth that once set them apart from you (later broken in Milan by the opening of a doorway). How many millions of reproductions have followed! Part of the image's success must be down to Leonardo's optimism. The scowl of Judas, a dark blemish among a rhythmic dance of coloured robes, can never have dominated any viewer's experience of the scene. Here is the most fraught of all confrontations between Jesus and his chosen twelve, and it gets turned into a harmonious meditation on the thirteenness of thirteen.
You are shown a wealth of sketches related to the fresco. They provide many of the show's most straightforwardly exhilarating moments, with their incomparable energy, concentration and delight in the human form – a delight that may here turn sensuous, in Leonardo's new use of red chalk, and there hilarious, in his extravagant grotesques. There is such prodigal variety: busy little storyboard groupings share a sheet with geometrical diagrams, an impassioned life drawing with a project to build a pavilion. Perhaps variety is what this exhibition, this collection of the outstanding remains of a one-man civilization, is best fitted to offer. If you seek the coherence to all these phenomena you might need to turn to the scientific vision behind them, as Martin Kemp did in his illuminating book Leonardo da Vinci: The marvellous works of nature and man (1981). There you are led to consider the concept of the movements of the mind as a special case of a comprehensive investigation into movement. Whether through cogs and pulleys or through their fleshly equivalents (a parallel sometimes made explicit in the show's anatomical drawings), whether through patterns of plant growth and rock formation or through the workings of water and light, all that appears before our eyes must be governed by movement, a universal process organized around harmonic intervals.
Motion must have a mover: for all post-Aristotelian thought, that was self-evident. The great mechanism must turn on a great magic. The catalogue to this exhibition, chiefly drafted by its head curator Luke Syson, is magnificent – eloquent, informative, judiciously open to the innumerable debates of Leonardo scholarship, satisfying in its classical design. Syson argues with unanswerable good sense against the romantic view that Leonardo was some form of proto-atheist. Take what he has to say together with Kemp's work and perhaps you start to see how the painter of that lucid and harmonious dining room could also be the painter who submerged the Virgin, the angel and the two infants in their dark, damp, mysterious grotto. The remit for this twice-painted altarpiece, Syson explains, was to invent an iconography for the Immaculate Conception, which as of the 1480s was a newly minted doctrine. The Mother of God, it was being proclaimed, was herself without sin from her moment of origin: in fact her existence preceded that of sin; and texts for that could be found if you identified her with the persona of "Wisdom" who relates herself to God in the Book of Proverbs. "I was set up from everlasting, from the beginning, or ever the earth was . . . . When he strengthened the fountains of the deep, when he appointed the foundations of the earth, then I was by him."
Leonardo, therefore, at once devout and hubristic in the manner that was peculiar to his age (if nothing else, he shares this much with Michelangelo, Dürer and Bosch), had here an opportunity to get back as close to the beginnings of the world as depiction would allow. (In corresponding fashion, he would later – towards the end of his life, long after Milan – envisage the end of all fixed forms and the climactic apotheosis of motion in his astonishing set of "Deluge" drawings.) It is Mary herself, in his altarpiece, whose outstretched hand seems to divide "the waters which were under the firmament from the waters which were above the firmament", in the words of the Bible's opening chapter. The foursome of eternal beings (the second infant that joins her, Syson suggests, might stand generically for the human soul) camp out amid a wild and eerie jumble of protogeology and proto-botany that is only a couple of days removed from primal chaos.
Does the unprecedented altarpiece look clearer in this light? Yes. No. The iconographical elucidation fails to speak to what I feel when I stand before the loan from the Louvre. A stopgap description of that feeling might be that I'm lost within someone else's mind, but that may not be an improvement in precision and you may anyhow judge that it's an illusion. If the altarpiece's ravaged, varnish-suffused skin of paint seems somehow to pull me under, to plunge me down some weird but welcoming subcutaneous well, you may reasonably remind me that much of this must be an accident of ageing, not necessarily to be held to Leonardo's account. I would reply: Leonardo's was a mind that singularly opened itself up to such accidents. The incorrigible procrastinator and much-promising bigmouth was, according to the National Gallery restorer Larry Keith, "not deeply interested in exploring the inherent visual or handling properties of the various painting materials per se". The energy that drives the superlative pen-work in so many of the exhibited sketches was forever driving on and beyond, far out of sight, far beyond the reach of chalk and ink and oil paint. The roadside got littered with astonishing wreckage such as the National Gallery's "Burlington House Cartoon" or the half-worked oil panel of "St Jerome", brought in from the Vatican. The thought of motion and the surrender to mutability have become inextricably entangled in the oeuvre.
When Leonardo didn't let go of an image, he wished to keep it forever slipping forward, moving nearer towards ideals of optical and harmonic perfection that might never quite converge. Sfumato, "smoking over", served the elusive end of picturing things with all the modularities and ambiguities of visual experience pre-attached to their images, and it was also a fine justification for delay. As was the pursuit of architectonic proportion that seems to have concerned him while he was executing his second "Virgin of the Rocks". Leonardo eventually delivered it to an exasperated Confraternity of the Immaculate Conception in 1508. Meanwhile the "Mona Lisa", begun as a straightforward portrait in Florence in 1503, was sliding ever further out of the reach of Francesco del Giocondo, the husband who had commissioned it. Naturally, even the diplomatic flair of the show's curators can't get her to London. But as I walked around certain parts of the show, some remarks about "the 'Mona Lisa' of literature" seemed considerably apposite.
They come from T. S. Eliot: he was referring to Hamlet, in the spiky little essay on that play's "problems" that he published in 1921. He noted that the text of the tragedy, like so many of the paintings on view, was a "stratification", a layering of successive stages of creative input, and that the author had evidently put great pains into it; and that yet even so, there was much that was "superfluous and inconsistent" in the extant product. He deduced that Hamlet "is full of some stuff that the writer could not drag to light, contemplate, or manipulate into art". For successful art, Eliot memorably contended, depends on the creator establishing an "objective correlative" – an "adequacy of the external to the emotion", that is to say. Hamlet, by contrast, "is dominated by an emotion which is inexpressible, because it is in excess of the facts as they appear . . . . We must simply admit that here Shakespeare tackled a problem which proved too much for him". And so, whatever popular sentiment may suppose, Hamlet "is most certainly an artistic failure".
Eliot, in his provocative way, is speaking for those who, like me, have felt a strange burdensome unease descend as they stand before London's strenuous "Virgin of the Rocks". Or for those who have been teased and disoriented by the slippery, slithery "Madonna of the Yarnwinder" (a panel mangled, it is true, by later hands). Any attempt to comprehend the Hermitage's bizarre and even manic "Madonna Litta" as a work of Leonardo's would compound that unease, though I'm not sure I'd want to make that attempt. Whereas if I were to step out of the exhibition and rove the Italian galleries upstairs, taking stock of the visual revolution initiated in his studio in Milan, noting how the smoke descends over all the bright colours as we pass beyond 1500, not to mention an imitative rhetoric of mystery . . . . Back in the 1840s, English painters blamed all art's problems on Raphael. But what if someone had got round to forming a Pre-Leonardite Brotherhood?
No, to blame a genius for his imitators is to take his complicity with the accidents of history too far, and yes, "artistic success" means almost nothing if it can't encompass Leonardo, not to mention Hamlet. Yet Eliot's disquietude still feels cogent as I roam the exhibition. What is this "stuff", this "excess", these images are steeped in? Take the discontinued "St Jerome". The oil sketch of the self-mortifying hermit, swinging out his arm to bash a stone against his breast, is a boldly busked, even brutal flux of hot earth colours against which scribbles in a garish green-blue announce remote, fantastical mountains. It is a quintessentially Italian artwork, but it tells you about two aspects of that tradition. When Giotto or Titian paint agony, your imagination is drawn towards agony. When Leonardo paints it here, your imagination is drawn towards the representation of agony, rather as Hamlet is drawn to think about the player who "but in a fiction, in a dream of passion" can "force his soul so to his own conceit". Dreams of passion, dreams of motion, of cosmic harmonies, indeed of love: in Leonardo's heartland, all is steeped in dream. Plunged within the National Gallery's inescapably gloomy basement, I dreamt of waking up. I dreamt of a sign that would simply, unequivocally point to its referent.
I got one. It was a shock. Many viewers have found it an unpleasant shock. But I doubt that any other artist of Leonardo's day could have conceived an artwork as radical as the "Salvator Mundi" – the panel sold for £45 in 1958 that, after a recent deep-clean, is declared not to be the daub of some second-generation follower but the ultimate prize, the rediscovered masterpiece. The exhibition curators have hung it quite discreetly, not far from the looming "Cartoon" from their permanent collection, and so as you turn to face it the frisson of a surprise personal encounter is all the greater. You have seen this face somewhere before, you are subliminally aware. But presumably the painter of the "Salvator Mundi" would himself have been acquainted with some version of the Turin Shroud, the image of Christ now said to have been produced by unknown means around the thirteenth century. And presumably that painter, subscribing to a much different science from ours, would have believed that this image was in effect a photograph of Jesus, a physical imprint of God's human face.
I take it that this painter was Leonardo, and that his work on this much-ravaged panel – where does the sfumato stop and the corrosion begin? – was meant as one fixed point, one certain reference, in the flux of his cosmic imaginings. The artist who consciously presided over the Renaissance – the great project for visual mastery of the world envisaged by Alberti – gave himself licence to step beyond his own era and contemplate the absolutely archaic, the hieratic, the frontal, the miraculous: contemplate it and make it his own. We knew of his hubris, we now begin anew to see his faith. Leonardo goes on changing before our eyes.
Julian Bell is a painter and author whose books include What is Painting?: Representation and modern art, 1999, and Mirror of the World: A new history of art, 2007, which was reissued last year.
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Tamara Dunn and Glendora Greenway look over the final totals for Wednesday night's Chimes for Charity -- $5,517 with 134 child sponsors. Dunn received a smiley face with every child sponsored. Delta Autoplex was the night's sponsor. It's not too late to donate and please remember to pick up your items at 111 W. Market St. from 8 a.m.-5 p.m. each day. Horner, Hawkins and Kerber are Thursday night's sponsors.
Kim Hill and Jimmy Deese kick off the night of Chimes on Wednesday.
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I personally find this gross. Breastfeeding is for babies, a 3 year old is not a baby. Does anyone actually plan on breastfeeding until their LO is 3+?
I really don't like teh picture. its not that its gross at all. its really that the boy looks more like 6 years old, and is staged for shock value, not for informational or even debatable purposes. I am big on extended breastfeeding, and plan on bf this baby til shes about 2. what i don't like is that what is such a personal decision in regards to what works for me and my family is being turned into a 'im better than you' debate. i planned on bfing my 1st til he was one, it lasted 3 months because he refused to nurse when i got pregnant again (so he was a mostly ff baby). my 2nd baby went for just over a year, and then just stopped. we all do what works for our situation adn family. and it really chaps me that people want to argue with me (or any mother) over what is right for my family.
est. 10.12.09 • 9.18.11 LO
angels12.10 & 11.13
Can we be a little more mature than to call it gross.
Say it isn't your thing. Say you wouldn't opt to nurse your child that long. But what kind of argument is 'gross'. You sound like my high school students.
I would not nurse past 1, personally, but I wholeheartedly respect a woman's right to choose what is best for her child.
The picture is annoying. Apparently the kid really is 3. I'm sure he'll thank her for being a "supermom" when that picture surfaces when he's in high school.
I will admit, I think it's a little gross to see a 3 or 4 year old breastfeeding. I'm sure if I lived in a primal society I wouldn't, but it is not something I'm used to and I think it is strange. I understand the pros and whatnot, I just personally find it a little distasteful. I would never stare or be rude, or say other moms shouldn't...but do I go "blech" in my head a little? Yeah.
If we want security, let us give security; If we want life, let us give life; If we want opportunities, let us provide opportunities.
Whats immature about gross? If you see crap on the sidewalk do you say "hmm, i dont much care for that"? Cuz that would be funny.
It matters not whether you win or lose; what matters is whether I win or lose
God grant me the serenity to accept that people are ignorant, the courage to uphold the law when I'm hostile, & the wisdom to realize that murder is illegal
"I find it gross. In my opinion it shouldnt pass 2. Coz at that point babies know what they are having."
What in the world? Babies know what they are having? Yeah, my 8 month old knows what he is having. He crawls up onto my lap and pulls my shirt down. Yeah, he knows where it is and what comes from it. Your statement is really ridiculous. I can understand not wanting to do extended breastfeeding, that's fine, but seriously....what?!
Knittin' Mama
Samuel David (9/2011) Persephone Ebrill (4/2014) + 2 angels
I don't know, I understand where they are coming from with this picture. Even at 7 months, my baby likes to breastfeed in strange positions now. I know mother's who breastfeed their 2 year olds, and I am absolutely sure they nurse on the go. Toddlers are on the go, they are going to nurse leaning over mom, standing up, cuddled up.
This picture is meant to be provocative, but it IS realistic. A toddler is rarely sitting to nurse.
"Let the beauty of what you love be what you do." - Rumi
Join us in the Healing Habits group!


text:
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As opposed to our favorite songs, or songs we'd like to think define our listening habits, taking a look at what a person actually listens to can be far more revealing. With that in mind, every so often we'll ask an artist to take a look at the most-played songs in their iTunes libraries and share with us the results. We do this on the honor system, and we ask our subjects to share a few words about each song.
Power-pop trio Nada Surf broke into the Billboard 200 in 1996 with their enormously catchy geek rock anthem "Popular," but a raw deal with Elektra pushed the band towards alternative ways to market their sound. After eventually partnering with Barsuk, the trio prudently doled out a handful of good albums, slowly integrating subtler, more reflective songwriting into their power chord-addled rock.
Freshly returned from South by Southwest, the group is gearing up to tour in support of their 7th album, The Stars Are Indifferent To Astronomy (hear track "When I Was Young" below), yet we somehow convinced the busy band to get on board the iTunes Questionnaire express. Like a true and seasoned performer, front man Matthew Caws even went above and beyond and submitted a bonus track, showing off a generous spirit right along with a well-rounded playlist.
Soak up some more Nada Surf when they play the Neptune tomorrow (3/24) with guests An Horse.
1. "Big Mac From Macamere," Mattie May Thomas: I find this song totally chilling. Recorded in prison in the '30s, it combines gospel, blues and Scotch-Irish balladry. The melody sounds like it's been handed down from generation to generation for hundreds of years.
2. "Strange Powers," The Magnetic Fields: Among the many things that Stephin Merritt does well is combine clever and/or witty verses with choruses that replace that agility with simple and sincere beauty. Whether haunted or happy, this song's chorus is the sound of being in love.
3. "Face To Face On High Places," School Of Seven Bells: The most gorgeous drum machine music I've ever heard. Like the Cocteau Twins with harmony added. Breathtaking.
4. "Prenons Le Large," Benjamin Biolay: Because their standards are so high and their love of their own language so strong, writing in French is difficult, even for the French. Benjamin Biolay is the modern Serge Gainsbourg, a high-wire lyricist who is comfortable in any style.
5. "Hard To Find," The American Analog Set: I think I spent an entire road trip with this on repeat. I'm always searching for songs that function as trance music. Makes life more bearable when you need to check out but can't leave where you are.
6. "Young Love," Maximum Balloon: This is Dave Sitek's project, he of TV On The Radio. Different singer on each track. Totally mesmerized by this one.
7. "The Village In The Morning," The Magnetic Fields: I love the crumbling low end. I love the rhythm track made of "bad" sounds. I love the romance.
8. "How To Beat Dementia," Palomar: I love songs that attempt to explain life. The verses ask the questions, and the loud, wordless choruses do the explaining. The fade-out that exposes the wandering piano is beautiful.
9. "Sandy," Caribou: I've never heard a word of lyrics in this song, though there are plenty of words. I just love the melody and the production.
10. "Golden Haze," Wild Nothing: Interlocking repetitive clean guitar lines, reverb-heavy vocals, like a bedroom version of Head On The Door era Cure.
Bonus: Because "most listened to" list kept playing:
11. "What's In It For," Avi Buffalo: Probably favorite song of 2010. Incredible guitar playing, and a chorus that positively levitates. Can't blame them for repeating it a million times at the end.


text:
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GS game is strong with this one. ... See MoreSee Less
Our customers do the BMW R1200 GS proper! His GS Kung Fu is strong! BMW Motorrad #motogoals #adventure #motorrad #launchintospring #bmw
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The very first 'ladies-only' BMW Motorrad Australia Off-Road Training course :) lots of fun, lots of learning!
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Poison Headache
Metal Blade Records is proud to announce the worldwide signing of Poison Headache, a metallic-hardcore trio hailing from San Diego, CA. Poison Headache has now launched their first single, 'Sin Eater', via noisey.vice.comRead More
On June 24th, Whitechapel will release 'Mark of the Blade'. Pushing their sound forward with each successive release, 'Mark of the Blade' remains true to the band's roots while venturing into previously unexplored territory.Read More
Abnormality will be releasing their upcoming full-length, 'Mechanisms of Omniscience', on April 29th. For a preview, a new behind-the-scenes video has been posted online, featuring exclusive footage with the band in the studio.Read More
If These Trees Could Talk
Akron, Ohio's If These Trees Could Talk will release their third full-length, 'The Bones of a Dying World', on June 3rd worldwide via Metal Blade Records.Read More
Six Feet Under
On May 27th, Six Feet Under will release the fourth installment of their Graveyard Classics series. For a preview of the record, the cover version of 'Never Satisfied' is now streaming online.Read More
Amon Amarth
Amon Amarth is inviting fans around the globe to be a part of their forthcoming video for 'Raise Your Horns'! The video will include live clips of the band performing, plus you - the fans - raising your horns to Amon Amarth!Read More
New Releases
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WHITECHAPEL Premiere New Video on Loudwire!
- June 12th, 2014 – Tour with DeviDriver continues tonight in New...Read More
GOATWHORE Wages War With "Schadenfreude," Now Playing Exclusively At Loudwire
- June 11th, 2014 – Release Of Constricting Rage Of The Merciless Draws...Read More
IN SOLITUDE full European headliner tour announced with BEASTMILK and OBNOXIOUS YOUTH as supports!
- June 11th, 2014 – Swedish Metallers IN SOLITUDE are heading on a...Read More
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- June 11th, 2014 – Metal Blade Records is proud to announce the...Read More
Wovenwar announce SoCal record release shows in August!
- June 11th, 2014 – Wovenwar will be playing three record release shows...Read More
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- June 6th, 2014 – GWAR B-Q Co-Sponsor Mount Baker's Vape Cloud...Read More
Exumer to return to LA on September 28 – only US appearance for 2014!
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|Pop Warner Defensive/Scholastic Team of the Year Award
Pop Warner Team of the Year 2014
The Mallard Creek Chargers Jr. PeeWee Team – Coach Reggie Thomas
Pop Warner Little Scholars is an international program that operates for the benefit of its youth participants. Since 1929, the program's philosophy has been: Academics and Athletics go hand-in-hand. Pop Warner strives to make the game fun for all boys and girls. The program stresses lessons of value far beyond the playing field for the boys and girls involved, such as; self-discipline, teamwork, concentration, friendship, leadership, and good sportsmanship. With such goals in mind, and by providing an opportunity to participate in an organized, supervised environment with emphasis on maximum safety and participation, Pop Warner offers young men and women a unique and memorable experience.
Pop Warner is the first real football or cheerleading experience for most of the participants. At every level, Pop Warner Football seeks to develop well rounded young men and women who learn not only the fundamentals of football and cheerleading, but also the importance of education in an environment conducive to developing sound mind, body and character – and having an enjoyable time along the way. Pop Warner Football in the Mecklenburg County area has been sponsored by the Mecklenburg Optimist club since 1957. The Little Panthers' League has grown from 23 teams in 1994 to 100 for the 2012 season. Over 2,600 football players and 300 cheerleaders participated in the league this year. The Optimist Club recognizes scholastic achievement by presenting scholarships to deserving players and cheerleaders each year. In addition, at the conclusion of the season, the Doc Martin Sportsmanship award is presented to deserving teams in each age/weight division.
The Pop Warner Little Panthers' Defensive/Scholastic Team of the Year is determined by the defensive prowess and cumulative scholastic achievements of the entire team. The Mallard Creek Chargers Jr. PeeWee team coached by Reggie Thomas finished the regular season with an 8-0 record, and played in the league championship game. The team has not only excelled on the playing field by allowing fewer than three points per game, but also has a team grade point average over 93. Eight players on the team are candidates for Pop Warner Scholastic All-American recognition.
Front Row Left to Right: Dylan Bisson, Brennan McCall, Trae Nickelson, Gavin Thomas, Kameron Manley, Seth Davis, Kishawn Lee-Grier, Devon Gibbs, Nigel Sadler
Second Row Left to Right: Jaylin Milton-Hall, RJ Dunn, Tyler Tuxbury, Alexander Bailey, Khalil Archie, Erinn Summers, Marcus Morgan, Khaleel McAuley
Third Row Left to Right: Cameron Goodwin, Tate Grewell, Joshua Reid, Jaydon Williams, Chris Parker, NaShawn Pritchett, Josh Taylor, Xavier McKenzie
Fourth Row Left to Right: Ellie Nickelson, Milton McCall, Ivan Fairley, Dean Bisson, Coach Reggie Thomas, Kevin Davis, Rob Dunn, Hollis Williams, Christian Hall
Not Pictured: Gunnar Moen


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Child Birth Class
We had ours today too. There were a couple basic things I learned, or maybe just came away from it thinking about with more context. It was supposed to be eight hours, but ended up being 6.5. I'm on the fence about whether or not it was worth it. I tend to play down any pain/hardship I might have with my husband, so he was shocked to learn that labor is difficult, and that c-sections are major surgery and that things like laundry, driving and a few other things are off limits for women who get them for up to three weeks. Also, seeing other pregnant women was helpful for him- it made him see that there is a wide range of "normal" in terms of size, amount of discomfort, birth plans etc. So, if your husband/SO etc. doesn't know much about labor and hasn't had much experience with newborns, it might be worthwhile for his sake.
Misty (31) Married to David (31) in 2007
DD- Madeline(12) DS- Benjamin 1-1-13 - Unmedicated Birth
Platinum ( . Y . )
PP mentioned Bradley classes, which is what my husband and I took. It was amazingly informative, but it costs more and is a 10 week class (1 class/week 2-3 hrs). A birth class provided by a hospital really isn't going to give you extra information...they will just tell you what they want you to know, plus they are affiliated with the hospital so you won't get information about delivering breech babies (or skin to skin, no timed labor, no internal checks, no EFM etc...) if they don't support that at the hospital.
Bradley was great... my class instructor is a doula as well and has tons of experience at births and was able to help my husband understand how he could support me and encourage me through labor while recognizing signposts to see how I am progressing. I could know that stuff all day, but am I really going to need that knowledge while giving birth? nope, my husband is though :)
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Look how far your child has come.
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Your growing child
Your 3-year-old: Manners
Your 3 1/4-year-old: Understanding differences
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Home : Brands : Boscia : Boscia Masks :
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Renewed, refreshed skin requires specially formulated skin care products, ones that go beyond the daily cleansing and moisturizing to truly revitalize your skin. Boscia Masks Products offer deep cleansing, hydrating masks that can nourish and pamper your skin. The result is healthier, clearer, more radiant skin with a decidedly younger appearance.
Reenergize your skin with Boscia Intensifying Moisture Pack Plus. Nutrient-rich marine complex and aloe leaf target dry, stressed complexions, giving them renewed energy. Organic jojoba leaf gives antioxidant benefits, and willow herb offers anti-irritating properties. Your skin will be soothed and treated from daily environmental damage. Serine and alanyl-glutamine give your skin hydration and rejuvenation. Use this pack as a mask, targeted treatment, or facial massage.
Boscia Clarifying Detox Mask features pure botanicals and herbs in a deep-cleansing mask. It absorbs impurities with kaolin clay and phellodendron bark, helping to control excess oil and renew your skin. Willow herb serves as an anti-irritant, while jojoba leaf and green tea serve as antioxidants. This mask revitalizes your skin, helping to prevent signs of aging. Use twice a week for maximum results.
Say goodbye to impurities and excess oil with Boscia Clear Complexion Mask. Normal, combination, oily, and acne-prone skin types can enjoy the benefits of this mask. Enjoy a clearer complexion without irritation with this mask, which features gentle ingredients including sasa kurilensis water and willow bark. Use this product all over or as a spot treatment. Thanks to its gentle ingredients, this mask will not dry out your skin or cause irritation.


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Paul Calderon
Birth Name: Paul Calderon
Born: 06/08/1969
Birth Place: Puerto Rico
Born: 06/08/1969
Birth Place: Puerto Rico
Beginning in the mid-80s, Calderon began working in guest spots on such TV series as "Miami Vice", "The Equalizer", "Law & Order" and "New York Undercover", often as either hoods or cops. He was a regular cast member on the gritty, short-lived "Dream Street" (NBC, 1989), and was cast as a detective in "The Wright Verdicts" (CBS, 1995). His TV-movie debut was as a villager in "Ernest Hemingway's 'The Old Man and the Sea'" (NBC, 1990), and he went on to play supporting roles in "The Keys" (NBC, 1992) and the busted pilot "Dark Angel" (Fox, 1996), as a New Orleans police chief. MTV viewers also saw him in Michael Jackson's "Bad" video.
Calderon's film career began slowly with small roles in... Continue Bio >>
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Review Details
Single Door Hog Feeder HGFS
Product Review (submitted on May 3, 2013):
This little feeder works well for a small group of pigs. Exactly as advertised. Only one problem...the lid appears to be fastened backwards. The lid has the hinges towards the front of the feeder instead of the back. This set up has the lid then opening with the top towards the front of the feeder instead of the lid opening away from the front. This makes filling the feeder very difficult when the back is mounted against a wall. Other than that, the feeder is easy to adjust and clean. Very little waste.


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|Quiet Muse: 2007 Riverssance Harley Award Winner Ruth Evelyn Katz
|Art - Feature Stories
|Written by Mike Schulz
|Wednesday, 12 September 2007 02:35
Over the past 19 years, the Riverssance Festival of Fine Art has bestowed the Harley Award (named after the event's harlequin logo) in recognition of "an individual or organization that has demonstrated a lasting commitment to the promotion and the advancement of the visual arts and artists in the Quad Cities area." And certainly, that description applies to 2007's Harley Award recipient, Ruth Evelyn Katz.
Award director - and frequent River Cities' Reader contributor - Bruce Carter says that Katz "really kept art alive in the Quad Cities in the '50s and '60s and '70s," and continues to have a profound effect on area arts today; among other endeavors, she currently serves on the boards of Quad City Arts, the Quad City Symphony Orchestra, the Rock Island Public Library, and Ballet Quad Cities, and is a member of the Figge Art Museum's gallery-acquisition committee.
Yet Katz is a rarity among Harley Award winners in that she is not, strictly speaking, an artist herself.
"The Harley Award," says Carter, "mostly goes to teachers and artists in the area, like the Blooms and Father Catich and Bill Hannan. But we felt that her [Katz's] presence in the art community was very, very strong."
Citing the monetary support she has offered area arts organizations, her co-founding of Rock Island's Maka Gallery - the Quad Cities' first private commercial art gallery - and what he calls her "wonderful eye," Carter adds, "I would say that Ruth Evelyn is just this quiet muse behind the Quad Cities art scene."
Katz, who admits to being "overwhelmed" upon learning of her Harley recognition, says she gained an appreciation of the visual arts primarily through museums in the United States and Europe, which she'd flock to when vacationing with her late husband Isador.
"The minute we'd hit a city," Katz recalls, "I'd run to either a church to look at the architecture, or to a museum, and he'd say to me, 'Well, come on, walk around! Say hello to the people!'"
Katz laughs. "But I just fell in love with it [art]. The remarkable thing is that while I had spent years in the study of drama and had done it professionally, and the same with music, in art I never had any lessons, and had never been exposed to a great deal of it.
"But it's been a great part of my life," she says. "I don't know what I would have done without it."
Her immersion in the local arts scene began with her 1956 membership in the Rock Island Art Guild, the volunteer support organization that subsequently initiated the Rock Island Fine Arts Exhibition at Katz's alma mater, Augustana College.
"The remarkable thing about Art Guild," she says, "is the good feeling. This group has remained so intact, and loving of each other - loving what they're working for. There's no sniveling or jealousies or anything. It's really something to be proud of."
(She's also understandably proud of Augustana's annual exhibition, saying, "It's amazing how that's grown. It used to be that if you had an art show, or an organization put one on, it was out at one of the state parks, and you put the pictures around a tree or something, you know?")
Her involvement with the guild led to the opening of Maka Gallery, which Katz co-founded with her husband and several partners in 1964.
"We were all members of Rock Island Art Guild," she says, "and because we worked on certain projects together, and our kids were grown and away, it was time to embark on something else. It just seemed to grow simultaneously out of that.
"And, oh God, what a joy that was," Katz says of the gallery, which finally closed its doors in 1987. "To see how tastes developed over time. It was a metamorphosis. It really was."
Regarding this year's Harley Award, Katz says she is "quite awed. ... It's given me great joy to even think about it." Yet her contributions to the arts have also been recognized on a state level, as she was previously honored with a 2004 Studs Terkel Humanities Award from the Illinois Humanities Council, having been nominated for the honor by Rock Island Mayor Mark Schwiebert.
Currently, Katz continues to be involved with exhibitions and programs at Quad City Arts - which she has been associated with since its inception in 1988 - and considers her work with the Figge's art committee "one of the most interesting things I've ever been connected with.
"I didn't realize what you have to consider when you give a gift to a museum," she says, "or what you have to use as guidelines when you accept a gift. So I've been behind the scenes - what I would call 'backstage.' It's fun to be in that position."
She also continues to travel to museums nationwide. "On vacations now," says Katz, "I've gone to some of the major [U.S.] cities and looked into the art in the museums there, and I am just amazed. There's such an exciting arts scene."
And, she says, an exciting one in her home community, as well.
"I don't like to use the word 'saturated,' because that denotes something that we've got too much of. But oh, the wonderful art that's here. And also the respect that's paid to it. I think that's what's good. It used to be, 'Oh, well, they're an artist. Sniff sniff.'"
Katz laughs and says, "I'll tell you, we're very, very lucky around here - the way all the arts are flourishing. We have so much to choose from.
"And anyone who says they're bored?" she asks, laughing again. "Shame on them."
For more information on the 2007 Midcoast Fine Arts' Riverssance Festival of Fine Art, taking place in East Davenport's Lindsay Park on September 15 and 16, see the back page of this week's Reader, or visit (http://www.midcoast.org).
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afcce. The main historic facts is what the
compiler wishes to emphasize in these pages.
Several declarations of independence were
adopted in different sections of the embryo
State, but an election was held for delegates
to a convention which met on the 1st of
March, 1836, and on the second day a committee
was appointed to draft a declaration
of independence, which was done. and it was
unanimously passed, Sam Houston offering
the resolution that the report of the committee
be adopted. Richard Ellis, for whom
Ellis county was named, was president of the
convention. A constitution was also framed
which was adopted March 17, and a government
ad interim inaugurated: David G.
Burnett, President; Lorenzo de Zavala, Vicepresident,
and Salw Houston, Commander-inChief
of the arlny in the field.
Zacatecas, and the district over which Governor
Garcia still had nominal sway, the reimaining
portion of old Mexico wherein the
Republicans held out the longest, at last fell.
Santa Anna having gained a complete victory
over the forces of the governor. This
swept away the last vestige of the Republican
party in Mexico. Yet Texas was not only
holding her own, but gaining strength with
every day; so Santa Anna determined to subjugate
this State. lie proposed to send two
columns into the province, General Urrea being
ordered to Matamoras to take one division
along the coast to Goliad and Victoria,
while the president himself, with the main
division, would take the province by way of
Presidio, thence to Sari Antonio and San Felipe.
In January, 1836, Santa Anna /eached
Saltillo, and Gnlerrero by the 15th of February.
From the latter place he wrote to
Sefior Tornel, Minister of War, giving that
official an outline of his plans in reference to
Texas, which were "to drive froin the province
all who had taken part in the revolution,
together with all the foreigners who
lived near the sea-coast, or the borders of the
United States; to remove far into the interior
those who had not taken part in the revolution;
to vacate all lands and grants of lands
owned by non-residents; to remove from
Texas all who had come to the province and
were not entered as colonists under Mexican
rules; to divide among the officers and soldiers
of the army the best lands, provided
they would occupy them; to permit no
Anglo-American to settle in Texas; to sell
the remaining vacant lands at $1 per acre,
allowing those speaking the French language
to purchase 5,000,000 acres, those speaking
English the same, and those speaking
Spanish without limit; to satisfy the claims
of civilized Indians; to make the Texans
pay the expense of the war; and to liberate
and to declare free the negroes introduced
into the colony." And further, to cut off
from Texas the hope of aid from the United
States, the Minister of War, Tornel, issued a
general order to all commanders to treat all
foreigners (volunteers from the United States)
as outlaws, to show no quarter, and slay
them when'taken as prisoners,-in short, to
take no prisoners alive. Colonel Travis, with
145 men, who was in the vicinity of San Antonio,
on the approach of the invading army,
retired to the fortress of the Alamo, on the
east side of the river.
And just here a description of this famous
fortress, the Alamo, and its armament, will be
in place; and although it has often been described,
yet the memories surrounding it,
glorious though sad, cannot be kept too fresh
in the mind of all who love supreme hero
Lewis Publishing Company, publisher. History of Texas, together with a biographical history of Milam, Williamson, Bastrop, Travis, Lee and Burleson counties : containing a concise history of the state, with portraits and biographies of prominent citizens of the above named counties, and personal histories of many of the early settlers and leading families. Chicago. The Portal to Texas History. http://texashistory.unt.edu/ark:/67531/metapth29785/. Accessed April 28, 2016.


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Troy Landscape R-S11B
1 Light Solid Brass LED Low Voltage Step Light
Item # BCI2274595 | Model # R-S11B | Step Light Collection
We still have product details, accessories, replacement parts and reviews below, scroll down to see them!
Questions about Troy Landscape R-S11B?
Contact us for advice or more details. Our product specialists are here to help.
- Solid Brass
- Includes: 25' of 18 AWG SPT-2W cable
- R-S11 is a unique flush mount step light that does not require a large wall cut out
- On-board driver
- Surface Mount
- Solid Brass Housing
- Heat and impact resistant glass
- 100% sealed luminaire for high exposure areas
- Direct -bury wire connectors included
Lamping Technology:
- LED - Light Emitting Diode: Highly efficient diodes produce little heat and have an extremely long lifespan.
- Number of Bulbs: 1
- Bulb Type: LED
- Bulb Included: Yes
- Watts Per Bulb: 3
- Wattage: 3
- Voltage Type: Low Voltage
- Color Temperature: 2850K
- Dimmable: No
- Height: 1.5"
- Width: 5"
- Depth: 0.69"
- Wire Length: 300"
- UL Listed: Yes
- UL Rating: Wet Location
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This Troy Landscape item can also be referenced by the following color/finish specific model #:
- Troy Landscape R-S11B-NAZ*
Natural Antique Bronze
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Our knowledgeable product specialists work to bring you the best prices on every product and provide unmatched customer service. Your satisfaction is our highest priority!


text:
Not until we have our CMs by olegsavoskinWatch
©2011-2016 olegsavoskin
What is that piece of paper
They all look so adorable! <3
Discord is soooo cute
So cute ^_^
Hey olegsovoskin,
Your art was used in my Youtube video, History of the Alicorns: A Response to Ink Rose, which is an expansion on Ink Rose's headcanon, adding details and fixing minor errors. You've been listed in the credits of the video and there is also a link in the description to a gallery on dA that has all of the pictures.
Here's a link if you would like to see your art in the video: www.youtube.com/watch?v=EvgTQ7…
Thanks for making this cute image,
Poor Discord. Never did get his cutie mark...
he's not a pony stupid!!!!
So cute!
This is adorable.
I'm working on a fic that involves the reformed Discord's interactions with the CMC. They all start wondering if "whatever Discord is" can get cutie marks. Since he's not sure if draconequi get them, and he doesn't have one, he gets to join o see if he can in fact get one.
CUTE! But I thought filly Tia had pink hair?
Fans make her like that. As far as official artwork is concerned, Celestia was never young.
very nice
Oh Discord looks so cute!!!!!!!!!!!!11
poor Discord. He never got his CM.
soo cute
aww! three powerful deities trying to get their cutie mark so cute!
Dawwww! Wittle Dicord!
so nice !
question how does this work if i mean for discord he is not full pony
Awwwwwww cute
Well I just died from an overdose of cute, thank you, lol
so cuuuuuuuute!!!!!
filly celestia just looks D'AWWW
Aww, little Discord is so cute.
QwQ words can't describe the amount of squee...
*steals baby Discord* Mine!
*steals baby Discord* Mine!
Um, Discord DOES realize he can't earn one, right? Is he just 'along for the ride' so to speak?
Why is Discord with them if he can't get a cutie mark? Why isn't he causing chaos? Is he too young for that?
They're so adorable! Luna is spazzing out.
They're so adorable! Luna is spazzing out.
Judging from the behavior of the Cutie Mark Crusaders, crusading for your cutie mark is a surefire way to create chaos. Hell, we've recently seen Discord helping the CMC in their crusade, in the comics, because chaos. So I think the reason he's with them is obvious.
he is part pony, maybe he just gave up. he may be tagging along so he can do silly chaotic feats to help the sisters find their CMs.
oh my god! discord is so cute!


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Respond to Review of Native Foods - Aliso Viejo
by Grugular
Review: What can I say about Native Foods except for total domination. I eat there at least once a week and it has never been anything short of perfect. I recommend anything on the handhold menu as I can't seem to stray away from sandwiches often. What's awesome about this place is that it is not dominated by soy alone. I love the portobello burger and baja surf tacos. Make sure to get the wings and if you aren't completely stuffed get an oreo cookie shake to go.
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- Homepage >
- News Archives >
- Article
FORSCOM logisticians support local children in time of need
December 13, 2012
By Jim Hinnant, FORSCOM Public Affairs
Story Highlights
- FORSCOM headquarters Soldiers, Army civilian employees come together to help children in need
- FORSCOM logisticians donate Christmas gifts for 135 foster children
- Community support efforts far exceeds previous year's program
FORT BRAGG, N.C. -- There will be a little more joy for some Fayetteville/Fort Bragg area children this year, as Soldiers and Army civilian employees of the U.S. Army Forces Command, G4 (Logistics) Directorate came together to aid the Cumberland County, N.C., Department of Social Services (DSS) by providing Christmas gifts for 135 area foster children.
Representatives of the DSS Adoption and Foster Care Program joined the G4 team at their annual holiday luncheon, where the gifts - labeled for each individual child - were presented to them for delivery to the foster families, in time for Christmas.
"On behalf of the Social Services Department and our county, we'd like to thank you all for taking this on and supporting our children," said Sandra Robinson, a recruiter and social worker for the department. "In addition to making Christmas a little brighter for these children, acts like this give us the opportunity to reinforce to them (the children) that people in the community care about them."
This was the second year the G4 has conducted this program, with 75 Soldiers and Army civilian employees individually donating. In 2011, 54 staff members ensured 100 children received gifts.
There are 600 Cumberland County children in foster care.
"We're glad to have developed a continuous relationship with the folks at FORSCOM," Robinson said. "And the children? They know."


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Wednesday, December 14, 2011
2 comments
In my effort to do what other successful SP are doing to achieve their goals, I am writing a blog entry about my progress, as slow as it may be.
Since I have been out of work for the last 4 weeks, I have been able to spend more time at the gy... Read more
Wednesday, November 23, 2011
1 comments
I have not been participating in SparkPeople as other members have... I lost my focus, stopped working toward my goals and stopped logging my food intake and activity. The result is that I gained back 4 of the 5 lbs that I lost (at a crawl of 1... Read more
Monday, July 04, 2011
5 comments
I am sitting here in Brooklyn, NY , watching the John Adams marathon on HBO with my husband. I started SparkPeople yesterday - bought the book and made the decision that THIS independence day was going to be my independence from the ties of sede... Read more


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Today's Law®
Since 1946, the law firm of Lynn, Jackson, Shultz & Lebrun, P.C., has served an extensive list of business and litigation clients throughout the state of South Dakota, earning a solid reputation for excellence in the practice of law. With offices in Rapid City and Sioux Falls, South Dakota's two largest cities, Lynn, Jackson, Shultz & Lebrun, P.C., is ready to serve your legal needs on a statewide and regional basis.
What Our Clients Have To Say...
"Tom Fritz has keen insights into the personalities involved in litigation. He has a captivating presence in the courtroom. He is an outstanding lawyer."
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"Alan does a good job communicating his thoughts to the board. I respect his opinion when he gives it, but also respect the fact that he knows when to listen. He points out possible vulnerabilities and offers options and legal opinions, yet is careful not to overstep his role. I feel we are well served."
"I have worked with McLean Thompson Kerver on a number of occasions, have referred her to clients, and find her to be a very bright, hard working, knowledgeable and compassionate young attorney."


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Darth Blader (2016) by Devin ThomasSunday, March 13th, 2016
A northern Arizona rollerblade video.
Featuring Devin Thomas, Yung Tron, Jason Liette, Carlos Pedrosa, Casey Mcfarland, Derek Stanton & Nate Brown.
A northern Arizona rollerblade video.
Featuring Devin Thomas, Yung Tron, Jason Liette, Carlos Pedrosa, Casey Mcfarland, Derek Stanton & Nate Brown.
Featuring Dustin Latimer. Photo: Ian Tetzner.
Xsjado Brand Manager Mike Obedoza and photographer Josh Goodell came out to Arizona to film a piece for Xsjado. The focus was to film some interviews with Dustin Latimer and I, mix in some skating, and capture everything in between. Anytime you have DL involved, it's going to be an amazing day. […] – James Johnson.
Arizona skaters Taylor Monnig and Zared Yates with some freshies from PHX and Tucson.
Music: PM – chillin with the stars (Soundcloud).
With Derek Stanton, Taylor Monnig & Zared Yates.
Filmed & Edited by Ben Parker Karris in Tucson, Arizona.
Music: A$AP Rocky – LVL (get the song on Amazon.com).
One day in Tucson featuring Zared Yates and Derek Stanton, presented by The B Roll.
February 2013: I pack up my life and move to Tucson. Though only an hour southeast of Phoenix, the two Arizona cities are worlds apart.
The former is a bustling metropolis, a concrete sprawl of suburban decadence, a tres chic palm-tree-lined oasis. The latter, a small desert city not too far from Mexico and brimming with the charm and character of the Old West.
The neon signs of motels built in the 1950s line roads with names like Miracle Mile. Tucson is a real piece of Americana. Derek stopped in a few weeks ago and we shot this edit in an afternoon. – Ben Karris.
Circolo Arizona Support edit featuring Derek Stanton, Taylor Monnig and Andy Wyatt. Visit Thebroll.com.
Taylor Monnig, 20 years old from Tempe (Arizona).
Filmed by Derek Stanton, Tyler Thomas & Sean Ciliberti.
Taylor Monnig: Interview + Photos on Thebroll.com.
Thanks Dsteez (forums).
Quoting Mike Torres:
He's not my brother. He is also not my twin. He is the better looking, more responsible, more technical, more stylish, version of myself. He is my upgrade.
Perhaps he was sent here from the future to kill the young John Connor, and it is my job to save him regardless of the fact that I am a technically inferior model… I digress.
Grant is one of my best friends, and probably my favorite person to skate with. And boy can he pull off a mustache.
Filmed by Mike Torres & Gabe Holm.
Song: James Murphy – Gente.
Previously: Gary Murphy, Blading in AZ (Edit by Mike Torres).
I made them do it. All of them. If you wanted in on my AZ trip in 2011 you had to prove it by growing out your facial hair and shaving it into a mustache on the first day.
Gary was dedicated to the trip, so I'm dedicating this section to one of the most solid bladers, and most importantly, one of the most solid people, I know. – Mike Torres.
Filmed by Mike Torres, Jason Reyna & Jon Jenkins. Song: Quantic – Cumbia Clash.
Previously: Blood, Pride & True – Gary Murphy.
Kenny is Kenny, there's no way to describe him, he is who he is. That's actually what makes him stand out, not following the latest trends, or look.
What you see is what you get. You give Kenny a little "nudge" in the right direction, and he'll end up surprising himself.
He's progressed a lot this year, and he's just figuring out now what he's capable of doing on blades. He' s becoming one of Arizona's best up and coming skaters in our scene.
Filmed & edited by Jon Jenkins.


text:
used car dealers in cbe
Did you mean?
New Cars
Maruti Omni
Maruti Omni is a MUV car which is powered by a 796 CC engine. The car has a Manual type of transmission/gearbox. The car runs on LPG and sports a mileage of 10.9 Km/L. The dimensions of Maruti Omni are 3370X1410X1640 mm (length X width X height). Maruti Omni is priced at Rs. 2,49,546 (ex-showroom, New Delhi). ... read more
Used Cars
Toyota Innova VX 7-Seater (2011)
2011 V Model, cbe registration, Tyre and battery changed, Vehicle in Immaculate Condition ... read more
|Registration no: TN 66 9696
|Colour: Grey
|City: Coimbatore
|Asking Price: 12,50,000
Maruti WagonR Lxi (2004)
Car owned by Defence officer...in good running condition. New battery under warranty. Dealers excuse. ... read more
|Registration no: HR51
|Colour: White
|City: NOIDA
|Asking Price: 92,000
Upcoming Cars
Tata Nano Diesel
Tata is one of the largest car makers in the country credited with making the world's cheapest car. The Nano is now coming in a diesel engine variant ... read more
Nissan LEAF
Winner of prestigious awards like the 2010 Green Car Vision Award, 2011 European Car of the Year, 2011-12 Car of the Year Japan and most importantly t ... read more
User Reviews
Mercedes Benz C Class 2009-2014 Reviews
check out pre owned used mercedes cars bets car in segment bmw beats some featuresread more
Volkswagen Polo 2010-2014 Reviews
polo is pol o, not a gud car .due to looks interiors ,less space,not a styling car,just make a "dabba"punto is far better than that.small tyre,less mileage,small engine ...so many less point it has...not a worth car,and no so many dealers in india or punjab...read more
Homegrown auto major Mahindra & Mahindra's used car business arm FirstChoice Wheels plans to invest Rs 200 crore in the next five years for its ex Read more detail
Mahindra and Mahindra Ltd plans to invest around Rs.8 billion ($174 million) in its used car business, being done by Mahindra First Choice Servic Read more detail
Expert Reviews
Volvo S60 D3 expert review
Volvo isn't exactly having a roller coaster time in India, but that is not due to the cars but somewhat due to lack of marketing and dealers. Whatever read more
Mercedes-Benz R Class: Royally yours
The variety and range of luxury cars in the Indian market has grown to a great extent in recent times. Gone are the days when we used to call read more
Mahindra First Choice "Highline Store" Inauguration
India's leading multi-brand certified used car company Mahindra first choice wheels LTD. Inaugurates first "HIGHLINE" Store in Gurgaon ...view video
2014 Fiat Avventura Diesel Review in India
Cross-overs are taking over the Indian car market in a big way. We review the Fiat Avventura diesel (small car cross-over) to understand what is big d ...view video
Forum Discussions
Ford Ikon 1.3 Flair
I would like to know -for how much price i can sell off my Ford Ikon 1.3 Flair 2006 Dec Model - I used it for 26500 kms till now. Could some one please let me know used car dealers in Bangalore. T
I wana buy honda city - If you are interested in selling, please contact me
Hi Anybody interested in selling honda city, please call me at 9899239016. Also please note that I am only interested in buying from individuals and not dealers. Model of the car should be 2006
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Phone: 0422 - 4216860
Mobile: 9894068600


text:
Scott Arfield stooped to head home Kieran Trippier's cross with 10 minutes left to seal a ninth win in 10 league and cup matches.
Victory also extended Burnley's lead at the top of the Sky Bet Championship following QPR's draw at Millwall.
"It is all about small margins. They had the better of the first half but we had a solid framework, did the basics and were solid enough not to concede," Dyche said.
"The second half levelled out, although there were pockets of good play. I was thinking it was going to be a 0-0, and then a fine moment of quality saw a good cross and a good header."
Dyche was delighted with Arfield's contribution after deadly front duo Sam Vokes and Danny Ings endured a difficult afternoon.
"I think both pairs of centre-forwards are all very good but defences were on top," he said.
"We had to find a way to overcome that and we did with some very good play."
- Sports & Recreation
- Soccer
- Kieran Trippier


text:
Based off of a 1554 German recipe for dark beer, New Belgium's interpretation of the age-old brew stands out in the craft beer world. Though lagers are typically fermented cold—around 40 degrees—New Belgium warms up the process for a richer beer that still finishes dry.
Tasters say: "More coffee notes than chocolate"
Ace Your 'Cross Hand-Up with These Killer Beers
New Belgium 1554
New Belgium
3 / 13
Copyright © 2016 Rodale Inc.


text:
Visit Lyme Regis
Lyme Regis town and surrounding area have many attractions and host a range of family-centred events, including a Jazz Festival, a Fossil Festival, Life Boat Week and a Regatta & Carnival Week.
For visitors who have had enough of the hurly-burly, and need to escape, there are many delightful places to stay to suit all budgets. You will be able to enjoy walks in the surrounding countryside and there are many opportunities to go out on a boat to view the glorious coastline from the sea or to fish in the clear waters of Lyme Bay.
Whether you are into sunbathing, walking, fossils or even jazz – Lyme Regis Rocks!
Discover Maritime Lyme Regis
The sea is the focus of a wide range of sporting activities. Swimming and bathing are top of the list, thanks to an award-winning environmental protection scheme ensuring the waters around the town are clean and safe – a fact that also shouldn't be lost on windsurfers, water-skiers or sailors. Check out the Sailing Club and Power Boat Club for information about becoming a temporary holiday member.
Angling is another popular option, especially down by the Cobb where you'll see a bevy of posters advertising deep-sea trips for catching cod, conger, skate, etc. Alternatively, a quiet trip around the bay might suit you better; in which case catching mackerel is a more likely outcome. Beach casting and pier fishing are also popular.


text:
Daugherty to succeed Tetterton at county library
Published: Sunday, January 6, 2013 at 6:16 p.m.
Last Modified: Sunday, January 6, 2013 at 6:16 p.m.
Jennifer Daugherty has been named local history librarian for the New Hanover County Public Library. Her first day on the job is Tuesday.
Daugherty succeeds Beverly Tetterton, who retired from the county library system July 31, after a 30-year career.
A graduate of Eastern Kentucky University, Daugherty holds a master's degree in library and information science from Indiana University. She was previously the local and state history manager for the Cumberland County Public Library and Information Center in Fayetteville.
Before coming to Fayetteville, she interned with the Smithsonian Institution and was reference director for the Laurel County, Ky., Public Library.
A designated speaker for the Natiohal Genealogical Society, Daugherty presents programs on Pinterest for genealogists.
Reader comments posted to this article may be published in our print edition. All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.


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AG asks feds for restraint on medical pot
Friday, October 21, 2011
SAN FRANCISCO (AP) — Federal prosecutors should be careful not to overreach in their crackdown on California's pot dispensaries, even though there are ambiguities in the state's medical marijuana laws, the state attorney general said Thursday.
The law passed 15 years ago by California voters has ambiguities that must be resolved either by the state Legislature or the courts, state Attorney General Kamala Harris said in a statement.
However, Harris said she was worried that "an overly broad federal enforcement campaign will make it more difficult for legitimate patients to access physician-recommended medicine in California."
She urged federal authorities to make sure their enforcement efforts are focused on significant traffickers of illegal drugs.
Harris, a Democrat in her first year as the state's chief law enforcement officer, made her statement in response to inquiries from the media about the crackdown announced two weeks ago by the four federal prosecutors in California.
They have ordered dozens of medical marijuana clubs to close, saying the operations are too close to places where children gather or are being used as fronts for drug dealers.
Harris acknowledged that she shares the concerns of federal prosecutors about the proliferation of gangs and criminal enterprises that seek to exploit the medical marijuana law.
The four U.S. attorneys said they were sending letters to landlords who rent retail and warehouse spaces to pot collectives and growers saying they could be prosecuted and have their properties confiscated by the government for aiding illegal enterprises.
Officials in Sacramento and several other cities have since stopped issuing business permits to dispensaries.
State law allows marijuana possession by residents with written doctors' recommendations.
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Beach on monday
Ok, we got back from HF at 0100 last night and I've been on road too much already. Thinking about heading to the beach tomorrow with ol lady and kids.
Anyone else game?
SLP is my preference because I can play a little bit, but I'm always open to suggestions.
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