text:
Fancy Pigeon
Breeding Techniques
Origin of Tippler
Pigeons Flown in Kits
How to prepare for Kits
Roshan Chirage
Breeding Fancy Pigeons in Colony vs. Single pair system
Breeding Fancy Pigeons
Pigeon Keeping in Pakistan
Fancy Pigeons for Sale
Birds of Pakistan
Sign of Good Tippler
Sign of a Good flying Tippler
The good flying pigeon should have many features but according to my experience and after getting help from the experience of other fancier the good flying tippler should be
Should start flying early and more time is spent in the air more it is better
Should be very early familiar with his place and always return to its place.
It looks beautiful and good-looking.
In difficult conditions especially in bad weather it should fight like a solider
Art of Feeding to the flying birds
For flying birds we should give food once in a day normally after noon at about 4.00 p.m.
Art of Flying Tipplers
This is very time consuming laborious and hard working excersise, especially in our hot weather when temperature is above hundred in the month of May and June. This is my experience that the weight of the pigeon is very important when flying and over weight pigeon could not fly longer times. I think barley is best to be given to the flying birds although many fanciers give them millet. Three months before the competitions all the flying and wings of the tail are plucked. During this time the pigeon should be served with protein rich diet (pulses, soybean, calcium and dry milk) other wise the wings could be weak. The pigeon when flown should be hungry. If the pigeon are flown early in the morning around 6.00 Am. the last food should be given a day before at about 4.00 p.m. but water should be given two hours before flying. Many teachers (competitions are normally done under the supervision of Ustad (teacher) gives tablet of almonds for energy. In our competition local prescriptions (given to the flying birds to enhance their time in flight ) are numerous and many, all are given by teachers. The role of teacher is very important; he is the most respected and honorable person in pigeon competitions.
Tipplers are flown twice in a year. Once in the month of May and June and at the end of September or start of October. Normally five or seven pigeons are flown in the competition known as bazi. Normally three or five games are held in one competition and winner would be who won two or three of the games respectively. The total hours are computed for the final result. Normally in the month of February the males and females are separated and their primary flight feathers are plucked. After ten days all the tail feathers are plucked. The birds are never flown when their flight feathers are not completed. They should be properly served with multivitamins, and other protein rich diet is given to the birds. In normal feed they are given wheat and pulses. After the completion of their flight feathers they should be kept in pens.
The pigeons are dewormed before the competition. Then are kept outside so they flew away according to their will and should be closed after noon and given food. In early month of April flew them at 10 am and reduce the timing gradually. First two days only males should be flown and next two days only the females flown. When their timing is prolonged they should be given rest. For example the pigeon who flew more should be given two days rest and who dont flew too much should be given one day rest. In this manner the pigeon dont lose weight so rapidly. On the rest day the pigeon should be given bread boiled in oil. When they flew back they should be given water but very few.
The bird after flight should be held in the hand and its arms and legs should be messaged. First they should be given bread and after ten minutes the water should be given. At this stage the role of teacher is very important because according to the temperature on that particular day the medicine should be given to the pigeon. Few prescriptions are hot for the pigeon and few cool them off. Normally the rice cooked in boiled water given to the pigeons. The record of every bird flight should be maintained. One day before the competition the pigeon who are going in the completions should be served at 3.pm. In the evening only water should be given. At 10.00 p.m. if their crop is empty they are given bread cooked in oil. The pigeons should be kept completely undisturbed during the rest of the time. In the morning a few drops of water should be given. The pigeon are flown in kits usually of 5 or 7 birds.
Normally all the competitions are held under the supervision of a teacher. A knowledgeable teacher is very respectable person in pigeon flying peoples. The students are very proud of winning the races and they respect their teacher very much. Normally competitions are held in the name of the teachers and not in the name of students. Teacher looks after the pigeons when they flew back, select and decide the pigeon for flying, give medications to the pigeon during the training period and especially when pigeon returned after their long flight. He selects the pigeon that would be flown in the competition.
The competitions are supervised by munsifs (judges). He is also very respectable person and treated with great honor. He acts as supervisor of the game. The appointment of judges is mutually agreed by both the parties or by the club. All the pigeons flow/n in the competition should be affixed stamp on their tail feather one-day before the competition. This stamp is checked when the pigeon is returned to its loft. Judge notes the touch down time of the pigeon. Heavy betting is involved in pigeon flying so the chances of fraud are too much. The judge should be a very experienced and active fancier.
Disqualification in the race
The pigeon that disqualify from the race would be as under: 1- when it landed on the roof top of some other house other than its own 2- The pigeon who landed is without the stamp mark affixed on the pigeon one day before by the judge 3- The pigeon when came down should be come straight from the sky and not if it comes flown lengthwise.
Fancy Pigeon
Breeding Techniques
Origin of Tippler
Sign of Good Tippler
Pigeon Flown in Kits
How to prepare for Kits
Roshan Chirage
Breeding Fancy Pigeon in Colony vs Single Pair System
Breeding Fancy Pigeon
Pigeon Keeping in Pakistan
Fancy Pigeon For Sale
Birds of Pakistan
New Updations
Copyright Online Group of Pet Breeders, Best Viewed at 800x600


text:
I have been using Hyper-V Server 2012 (the free, core edition) for a few months now, and every day, the server dutifully generates this error in the Application log:
HYPER2012 8208 Error Microsoft-Windows-Security-SPP Application 1/18/2013 10:00:14 AM
Acquisition of genuine ticket failed (hr=0xC004C4A2) for template Id {67a81643-c828-3e62-341f-a5bd2a25048d}
It doesn't affect anything, but I sure wouldn't mind getting rid of it if I could. Every day at 10AM, there it is, waiting for me in the event log.
In Server Manager, the server displays as "Activated" under the Windows Activation column.
Edit: Also, I get this when I run slmgr /ato:
Activating Windows(R), ServerHyperCore edition
{guid-stuff} ...
Error: 0xC004C003 The activation server determined the specified product key is blocked

subset: commoncrawl


text:
East Coast Fertility Offers Groundbreaking Programs: Minimizing Costs With IVF Study and IVF Guarantee
Posted on 02. Feb, 2010 by David Kreiner, MD in Making It Affordable
East Coast Fertility, a full service medical practice offering fertility services and treatments to help patients achieve successful pregnancies, is now offering new programs to help couples limit the high costs of advanced fertility treatment yet maximize the success and health of their patients' pregnancies. The newest of these programs is their IVF Guarantee Program. This program will limit the amount of money couples could pay for their comprehensive IVF treatment and provide a guaranteed refund of 100% should the treatments fail in delivering a live baby.
The IVF Guarantee Program works by making it easier for patients to commit to a multi-cycle treatment package — which increases the likelihood of success. The East Coast Fertility Program is unique in offering up to six stimulation and retrieval cycles as well as unlimited frozen embryo transfers until a live baby is born for an upfront, fixed and discounted fee*. If a live birth occurs then the fee is retained. If treatment does not occur in a live birth, 100% of the fee is refunded, leaving couples with resources for other family building options.
To qualify for this program, patients must be self-pay patients and be considered appropriate candidates for IVF, as determined by East Coast Fertility. Candidates will undergo a detailed review of their infertility and medical history.
The cost of this program varies depending on the woman's age, history and exam. Other variables within this program, including those costs not included in the program, should be discussed with the Financial Counselor at East Coast Fertility.
Egg Freezing Study
East Coast Fertility provides sliding scale grants including the NYS DOH grant that are based on income. In addition, East Coast Fertility is conducting a research study on egg freezing. Patients participating in this study obtain free medication and get free ICSI, cryopreservation, embryo storage and frozen embryo transfers as well as co culture, assisted hatching and embryo glue. Half the eggs are used in the study and half are treated in the usual IVF fashion. The eggs in the study are frozen, thawed 1-2 hours later and inseminated. These embryos are transferred in the stimulation cycle. The embryos created in the usual IVF fashion are frozen for transfer in a subsequent cycle if pregnancy is not achieved. Patients may return for frozen embryo transfers for free until a live baby or embryos are exhausted. The IVF, ICSI, meds, cryo and frozen embryo transfers typically costs well over $20,000. The cost to a patient accepted for the ECF grant for the entire study program is $6900.
Other innovative cost saving programs at ECF include the Single Embryo Transfer (SET) Program, where for the standard single cycle IVF fee; cryo, embryo storage and unlimited frozen embryo transfers are offered for free. MicroIVF is a minimal stimulation IVF program offered for $3900 and may be combined with SET program.
According to Dr. David Kreiner, Medical Director of East Coast Fertility, "My wish is to assist all patients in need with creating that healthy family of their dreams without adding unnecessary risk. These programs help them in their quest."
East Coast Fertility also offers convenient, low interest rate financing for all the IVF Programs. To learn if you are a candidate for any of the discount IVF programs at East Coast Fertility, please call us at 516-939-2229 to make an appointment for a consultation.
(*Note: certain restrictions apply and should be discussed with the Financial Counselor at East Coast Fertility. Anesthesia and medication costs are not included in the program).
55 Comments to "East Coast Fertility Offers Groundbreaking Programs: Minimizing Costs With IVF Study and IVF Guarantee"
Sep 4th, 2014
Acestea vor fi de roaming în fiecare colț de corpul ei , astfel încât să doriți să vă asigura
că nu sunt dezinfectate . Acestea vă permit să înțelegeți despre starea
lor în acest mod . El este printre cei mai curajoși
sufletele , pline de iubire le-am scris .
cydia sources for game xbox 360 hacks and mods
Sep 8th, 2014
But nonetheless it is true that every time issues not occurs as we want.
It's nothing to be defensive about; we can discover what we require to.
Using screenshots in your iphone is now easily possible.
Sep 11th, 2014
Concentreaza-te pe libertatea și încrederea în sine .
Gâtul femeii sunt probabil locul cel mai
sensibil pe fizicul ei . Considerat o culoare de vară , o alegere excelentă pentru blaturi .
La exterior , el este hard rock eye candy , cu un zâmbet dulce .
Sep 19th, 2014
There are eight essential methods of producing a seo'd content page, which are given below.
Sep 26th, 2014
Hi there, all the time i used to check webpage posts here
early in the break of day, because i like to find out more and more.


text:
|FDA Approved Pharmacy. 24/7 online support.
cost levitra, generic viagra levitra and cialis pills, how to buy viagra for cheap, purchase cialis without prescription
cialis canadian pharmacy order cialis cheap pills store buy levitra
Empty us online viagra online from usa delivery viagra.
Afterwards viagra online from usa cialis.
Cialis viagra viagra.
viagra online from usa:
what is viagra soft tabs
buy real cialis
buy viagra online order
levitra viagra online
female viagra online
generic levitra without prescription
Menu:cialis paypal order cialis from an anline pharmacy buy levitra on line with mastercard canadian pharmacies for viagra buy propecia online pharmacy
Viagra online from usaNews posted: 04.02.2013 23:04
Prescription between buying viagra overseas no.
In can canada viagra online from usa viagara.
Nothing online side from usa viagra online.
Cialis whereby branded from viagra usa online cialis to buy. com.
Buy viagra online from usa.
Market last is online from usa viagra viagra india whereas viagra now.
By. online online viagra usa from cialis.
From viagra online get his canada from i less from.
Healthcare. online.
Sample nothing viagra online from usa. buy often viagra for sale site now.


text:
College Hockey:Mavericks Race Out to 3-0 Lead to Advance
Carr Scores Twice in Defeat of Riverhawks
HUNTSVILLE, Ala. — Allan Carr scored two goals and assisted on one as Nebraska-Omaha defeated UMass-Lowell, 5-2, in the first round of the SCI Holiday Shootout at the University of Alabama-Huntsville's Von Braun Civic Center.
The Mavericks (10-10-1) meet Canisius on Saturday night for the championship while the River Hawks (6-8-2) meet the host team in the consolation game.
The Riverhawks were missing three players, including defenseman Ron Hainsey, currently playing for the USA at the World Junior Hockey Championship in Moscow. Also missing was junior right wing Yorick Treille, out four weeks due to a concussion, and sophomore left wing Mark Concannon, out four weeks with a separated shoulder.
The Mavericks opened the scoring 10 minutes, 37 seconds into the game as Greg Zanon ripped a slapshot from the blue line into the lower left corner of the net past UML goalie Cam McCormick.
Carr gave UNO a 2-0 cushion with six minutes left when he converted a wrist shot out of a scramble to the right of the Lowell net, and then Dave Noel-Bernier scored a shorthanded goal just 1:55 into the second period for a 3-0 margin.
Jerramie Domish trimmed the lead to 3-1 with 8:45 left with a slapshot from the blue line which found its way in the net off the pads of UNO goalie Dan Ellis.
Brad Rooney cut the lead to 3-2 when Kyle Kidney found him with a cross-ice pass which Rooney settled and poked into the far left corner of the net.
Carr scored his second goal with 3:59 left in the game shortly after Darryl Green was whistled for holding. The strike was the sole power play goal of the game.
Jason Cupp added an empty net goal with 59 seconds left.
The following is a self-policing forum for discussing views on this story. Comments that are derogatory, make personal attacks, are abusive, or contain profanity or racism will be removed at our discretion. USCHO.com is not responsible for comments posted by users. Please report any inappropriate or offensive comments by clicking the "Flag" link next to that comment in order to alert the moderator.
Please also keep "woofing," taunting, and otherwise unsportsmanlike behavior to a minimum. Your posts will more than likely be deleted, and worse yet, you reflect badly on yourself, your favorite team and your conference.


text:
- Filed Under
PRESS RELEASE: Direct from Firehouse Subs
GREENVILLE, S.C. – Firehouse Subs Co-founders Chris Sorensen, Robin Sorensen and CEO Don Fox acknowledged top company leaders during their annual "Family Reunion" conference.
Veteran restaurant owner and Greenville native, Elliott Goldsmith, was named 2012 Franchisee of the Year out of more than 450 possible candidates. Goldsmith was also elected as treasurer of the Firehouse Subs Marketing Board of Directors.
As treasurer, Goldsmith is responsible for administering and overseeing Firehouse Subs' national marketing budget. Additionally, he serves as chairman of the Firehouse Subs Operations Committee, an advisory board to Firehouse Subs headquarters that works with franchisee's ideas on improving restaurant operations.
Celebrating his achievements, Goldsmith is quickly rising to the top as a business leader within the Firehouse Subs franchise community by opening his seventh Greenville restaurant on Jan. 18. The first freestanding Firehouse Subs in the area, the new location will employ 25 "crew members", bringing Goldsmith's total employee count to 105.
Every Firehouse Subs restaurant has a custom, hand-painted mural and this location's illustrates a black and white rendition of a 1920s Mauldin Fire Department fire truck in front of the local franchisee's family farm, and the restaurant is decorated with Mauldin Fire Department memorabilia. Firehouse Subs Greenville is located at 1781 Woodruff Road and is open Monday-Saturday 10:30 a.m. to 10 p.m. and Sunday from 10:30 a.m. to 9:30 p.m.
Firehouse Subs® is a fast casual restaurant chain with a passion for Hearty and Flavorful Food, Heartfelt Service and Public Safety.
Founded by former firefighters and brothers Chris Sorensen and Robin Sorensen, Firehouse Subs is a brand built on decades of fire and police service, the highest quality meats and cheeses piled higher, steaming hot subs, and its commitment to saving lives through the creation of Firehouse Subs Public Safety Foundation.
The founders are the real deal, the food is their creation, and the company is built upon a family of franchise operators that share their same passion for serving others. Firehouse Subs consistently ranks No. 1 among fast casual brands in the categories of food quality, taste and flavor, and friendly service; for the last two years Franchise Business Review has ranked it No. 1 in franchisee satisfaction, and in 2012, the brand earned first place honors in the sandwich category in the Nation's Restaurant News Consumer Picks study.
In 2005, Firehouse Subs created the Firehouse Subs Public Safety Foundation with the mission of providing funding, life-saving equipment, and educational opportunities to first-responders and public safety entities. Through the non-profit 501(c)(3), Firehouse Subs has given $5.7 million to hometown heroes in 36 states and Puerto Rico, including more than $612,800 in South Carolina.
34 states
581 restaurants
Headquarters: Jacksonville, Fla.


text:
|29 Justin Taylor
Reinheimer Collects Three Hits, Bass Extends Hit Streak To 10 Games
Brown Records Two Hits And Drives In One Run
McDonald and Reinheimer Each Collect Two Hits
2013: Appeared in three games all out of the bullpen ... Made collegiate debut against Liberty (Feb. 27) allowing four runs (all earned) on one hit with two walks and a strikeout ... Tossed a career-high 1.0 inning against William & Mary (Mar. 26) allowing a run (earned) on one hit with a walk and one punch out ... Final outing was against instate rival UNC Wilmington (Apr. 16) working a third of an inning with a walk ... 2013 Summer: Pitched for the Morehead City Marlins of the Coastal Plain League ... Started nine games posting a 1-6 record with a 4.83 ERA ... Allowed 31 runs (22 earned) on 48 hits with 28 strikeouts and 24 walks in 41.0 innings.
Farmville Central High School: Two-sport athlete that earned five varsity letters (baseball 3, basketball 2) ... Team captain under coach Eddie Rhodes ... Helped the Jaguars to back-to-back Eastern Plains Conference championships (2010-11) ... Tossed a four-hit complete game against Greene Central (5/22/11) during the N.C. State Playoffs that included six strikeouts ... Named preseason First-Team All-State by ESPNHS and First-Team All- Atlantic Region by Perfect Game ... Posted a 7-3 record with a 1.22 ERA ... Struck out 126 batters in 62.2 innings for the Jaguars ... Earned WITN-TV Pepsi Player-of-the-Week honors on March 27 ... Garnered Daily Reflector All-County Pitcher-of-the-Year and First-Team honors ... Drafted in the 30th round (pick 931) of the 2012 Major League Baseball First-Year Amateur Player Draft by the Boston Red Sox ... Closed out prep career listed as the 139th-best right-handed prospect and the 361st-best national prospect by Perfect Game ... Also ranked No. 313 by Baseball America ... Honor Roll/ Principal's List member for eight-straight semesters ... Played travel ball for Andy Partin of the Dirtbags ... 2011 Underclassmen High Honorable Mention All-American by Perfect Game ... Listed as the ninth-best prep player in North Carolina and the 304th nationally by Perfect Game at the end of junior season ... Participated in the 2011 PG WWBA World Baseball Championships (Jupiter, Fla.), 2011 PG WWBA 2012 Grads/17U National Championship (Marietta, Ga.) and the 2010 PG WWBA Underclassmen World Championships (Fort Myers, Fla.).
Personal: Full name is Justin Wayne Taylor ... Born April 21, 1994 ... Son of Wayne and Sandra Taylor ... Has two siblings (Amanda and Jennifer) ... Intended major is recreation and parks management.
CAREER HIGHS - innings pitched: 1.0 vs. William & Mary (3/26/13); strikeouts: 1 (twice, last vs. William & Mary 3/26/13); walks: 2 vs. Liberty (2/27/13); hits: 1 (twice, last vs. William & Mary 3/26/13); runs: 4 vs. Liberty (2/27/13); earned runs: 4 vs. Liberty (2/27/13).


text:
Prices, promotions, styles, and availability may vary. Our local stores do not honor online pricing. Prices and availability of products and services are subject to change without notice. Errors will be corrected where discovered, and Lowe's reserves the right to revoke any stated offer and to correct any errors, inaccuracies or omissions including after an order has been submitted.
Improve the look of your home by replacing your old, worn-out or damaged interior doors. Here's how to install interior doors.
Insulating the crawl space or basement increases the comfort level in your home and decreases heating and cooling expenses.
Drilling a pilot hole before using a screw or nail to join parts together makes the process easier and prevents the wood from splitting.
Indoors and outdoors, ceiling fans keep air moving and help keep your home comfortable in summer and winter. Let us help you find a fan to fit your space and style.
Watch our video to see how to change a boring concrete patio into a beautifully paved space.
Create an outdoor patio table with a built-in beverage bucket, the perfect piece for outdoor entertaining.
Follow these steps for how to install laminate or ceramic tile flooring, including cutting, fitting, laying and grouting the floor tile.
Use our step-by-step guide to clean and prepare a wall for tile.
Brick has been a common building and construction material for thousands of years. Today, brick remains a proven, solid and attractive building option.
Tile is a stylish, durable and low maintenance addition to your home, whether you choose to tile your floors, walls, showers or counters.
Save money on your remodel by installing your own drywall. Our video covers the basics of hanging drywall on studs.
Choosing the right wood for your woodworking or construction project is not as hard as it seems. Here's the information you need to get started.
Use this helpful how-to guide for installing sheet vinyl flooring. Learn what tools are needed, how to prep the floor, how to cut the floor to fit and much more.
Here's a guide to building and installing a wood fence for added privacy. Learn about fence styles, dealing with slopes, setting posts and adding a gate.
The clean lines and mod flower cutout on this classic doll cradle give it contemporary style. And what little girl could resist that lipstick pink accent?


text:
by CaluluLately I've been running into a number of Funda-Gelical blogs dedicated to either training brides what to do once they marry or advising them on what a proper Christian lady does to prepare for her future marriage.Some of the advice is … [Read more...]
Christian Advice For Brides in Training?
Happy is the Man That Has His Quiver Full of Them
by Bruce GerencserWhen Polly and I married in 1978, we planned to have three children. We wanted to wait a year or so before we started having children, but six-weeks into marriage Polly became pregnant. Our son Jason was seven weeks before our first wedding anniversary.In 1981, Nathan … [Read more...]
Quoting Quiverfull: Return to Biblical Doctrine
by R.J. Rushdooney at Ladies Against Feminism The tragedy of the women's rights movement was that, although it had serious wrongs to correct, it added to the problem, and here the resistance of man was in as large a measure responsible. Instead of restoring … [Read more...]
Civility Pledge: Creating a Safe Environment for Constructive and Healing Conversation
by Vyckie GarrisonWhen it comes to a discussion of the inherently pernicious elements of the Quiverfull ideal, such as patriarchy, fundamentalism, bible "literalism," Dominionism, etc., which result in the spiritual abuse of Christian women and their families, it is too easy to be sarcastic, condescending, harsh, … [Read more...]
The Burqa Experience: Into The Countryside
by CaluluMadison, Virginia – January 18, 2013Have to admit, I was more than just a little bit nervous going into Madison wearing hijab. This is a town way out in the country, where keeping track of your neighbors business wasn't a hobby, it was a profession. Just being from out … [Read more...]
Quoting Quiverfull: Risking What?
by Gary Knapp on the Joe Bayly Blog - February 15, 2013 I must confess that I am a little confused... For years in the abortion debate we have been told that abortion must be available to protect the life of the pregnant woman. It would seem that staying alive has been very important to our women to the degree that if a baby … [Read more...]
Should Christians Use Birth Control? A Guest Post
by Ian - Guest writer from Bruce Gerencser's blog The Way ForwardI am writing this in response to thoughts put out by Pastor Steven Anderson. Guys like this are sick in the head and very dangerous. Given the right opportunity, he would call his followers to take up … [Read more...]
Quoting Quiverfull: Emotions Fickle?
by Johnathan Lindvall at Bold Christian Living - The Dangers of DatingToday we believe young people should marry the one they love. Does the scripture ever support such a notion? The Bible teaches us to love the one you marry. Aren't these … [Read more...]
We are not the enemies of our best selves
by SierraI've spent the past few years very plugged in to social justice media. When I get my news, for good or ill, it's about the progress or regress of the social issues I care about. The rest of the time, I don't pay attention. Issues that don't elicit an intellectual or emotional response in me don't rise to the surface, because they don't show up on the blogs I read or the … [Read more...]
Quoting Quiverfull: Better Preperation For The 'Real World'?
Mary Pride in Homeschooling World "Getting Started in Homeschooling" -undated Better Preparation for the Real World. Modern schools only seem normal to us because we have been brought up from birth to accept them. Actually, they are highly unnatural environments. Where else … [Read more...]


text:
Skydiving.com now has a network skydiving location serving Gardiner and Kennebec County in Maine. Call Skydiving.com at 1-800-617-7948 for details, free information and specials on skydiving in Gardiner, ME today!
Popular Tags for Skydiving Gardiner:
Skydiving Gardiner, Skydiving in Gardiner, Sky Diving Gardiner, Skydive Gardiner ME, Skydiving 04345, Gardiner Skydiving, Skydiving Gardiner Maine, Skydiving near Gardiner, Skydiving in Gardiner Maine, Gardiner Sky Diving, Skydive 04345, Skydiving Gardiner ME, Skydive Gardiner, Skydiving Kennebec County, Skydive in 04345, Skydiving ME, Sky Diving Gardiner ME, Gardiner, Maine
Sign up for our newsletter and receive updatesand specials on skydiving across America!


text:
Actions: Cite this text
An Account of the Behaviour, Confessions, and Dying-Speeches of the Condemn'd Criminals, that were Executed at Tyburn, on Friday, December the 20th. 1700.
THE Persons who are the Melancholy Subject of this Paper, being brought to their Tryals at Justice-Hall in the Old-Baily, on Wednesday, Thursday, Friday, and Saturday, the 4, 5, 6, and 7th Instant, and being found Guilty of the respective Crimes they were charg'd with; I thought it now a most proper and likely time to press and work upon them the Duty of Repentance. Accordingly, on the Lord's-day, the 8th, I did (as my manner was) preach in the Morning to the Prisoners at Newgate; and took for my Text, these Words in Ezek. 18. 30. Repent and turn your selves from all your Transgressions; so Iniquity shall not be your ruin: And after Evening-Prayer, I made an Exhortation to them upon the same Subject with my Morning-Sermon; by which, I perceiv'd they were made somewhat sensible of that miserable State Sin had brought them into. Then I gave every one of them some Books of Directions and Prayers, fitted for their Conditions; which Books were provided by the pious Care, and at the Charge of Mr. Watts, the City-Marshal.
On the next Day, being Monday the 9th, they received the Sentence of Condemnation, which they were to expect. On Tuesday the 10th, I visited them, and had them up in the Chappel in the Morning, where having pray'd with them, I afterwards proceeded to a particular Examination and Instruction of them; and in the Evening I went to them in the Hold, by reason they could not then be conveniently brought up to me to the Chappel. And this (notwithstanding the apparent Danger of my Health) I was the more willing to do, because they desir'd me to see them, and pray with, and for them, as often as I could, and seem'd to take good notice of what I said to them, with relation to their Spiritual State. I therefore visited them daily, both Morning and Afternoon, to the Day of their Execution, saving on Friday the 13th, when I could not have access to them, their Keepers being then attending the Court at the Old-Baily, which was Adjourn'd to that Day. When these Condemn'd Persons were brought up to the Chappel, they for the most part, behaved themselves decently and devoutly; and when I went to see them in the Hold, I always found them Reading and Praying; they having (besides the foremention'd Books which I gave them) been supply'd with a Bible, a New Testament, and other Books of Devotion, for their present use, and future benefit.
When the Lord's-day (the 15 inst. was come) which was the next after their Condemnation, and that immediately before their Execution, I preach'd twice to them: And in my Morning-Sermon, which was upon these Words, Luke xv. 18, 19. Father, I have sinned against heaven and before thee, and am no more worthy to be called thy Son: I shew'd them the Sinners Duty to confess their Sins to God, and the indispensable Obligation they also lay under, to make an open and publick Acknowledgment (and let the World be satisfied that they truly Repented) of those Crimes that had made them notorious, and for which they were justly and publickly Condemn'd. And I ended this my Discourse with shewing them, how acceptable our Conversion and Repentance was to God, and how beneficial to our selves: Which I prest and inforc'd by all the Arguments I could make use, and thought them capable of.
In the Afternoon I took my Text out of Prov. ix. 10. the Words being these, The Fear of the Lord is the beginning of Wisdom. From which I made it appear, on the one hand, that Piety, or true Religion, (which consists in the Fear, Worship, and Service of God) was the best Knowledge and truest Wisdom: And on the other hand, I shew'd them the Unreasonableness and Folly of a sinful Course of Life; the great Danger of following and continuing in that Course; and the absolute Necessity of Repentance; with Directions both to know what was true Repentance, and to obtain those Spiritual Helps and Means that could only make it so. And in the Conclusion, I directed my-self more particularly to the Condemn'd Prisoners, in these Words.
To conclude; let me earnestly exhort you, and you above all, who by your heinous Crimes have miserably cut off your Days, and brought your Life to a shameful and untimely End: Let me (I say) exhort and persuade you to Repentance.
You have but a little time to live; and have a great Work to do. This Work of Repentance, which I would put you upon, is as difficult as it is necessary. It is difficult because Sin hath taken fast hold on you: And it is necessary, because without it you cannot be saved.
Let therefore these two Considerations powerfully move and engage you to a speedy and effectual striving to obtain Grace of returning to God; from whose ways you have strangely deviated. You have gone far in an evil Course, in a way that is not good. You have wholly neglected the Duties of Christianity, and have broken all the Divine Commands. You have liv'd in plain opposition and contradiction to all the Precepts of the Gospel: And have sinned with an high hand.
Consider how you have provoked God your Maker, and now your Judge; before whose dreadful Tribunal you are to appear within very few Days. How shall you answer one Article of the many Thousands which your very Consciences shall bring in against you; who have been Disobedient and Ingrateful to God, Cruel to your selves, and Unjust to others? Oh! take pity of your poor Souls, and perish not in your Sins, Repen quickly of all the Evil that you have done, and for the Good you have left undone. And let not your Repentance be the meer Effect of Sorrow for your present or future Miseries; but let it be the result of the Love and Fear of God in you. Let it proceed from an Abhorrence of your sinful Life past, because you have offended a good and gracious God. Let the remembrance of your former Transgressions be to you an occasion of Contrition and Humiliation; and grieve not so much for your Sufferings, as for your Sins; not so much because you are punish'd, as because you have deserv'd to be so. Have now a perfect Hatred against Sin, especially those Sins which you formerly indulg'd your selves, and took so much pleasure in; and now let all your Desires, and your Thought, and all your Affections take a right Course and move towards God; that so you may prevent your Eternal Ruin, and flee from the Wrath to come -
On Monday the 16th, and the following Days, I visiting the Prisoners, received from them the Account following.
I. Edward Lewis, Condemn'd for Breaking and Robbing the King's Exchequer. He told me he was Born in the Parish of St. Martins in the Fields, and was now about 26 Years old. He seem'd to be very Devout and Penitent; but would not make any particular Confession; but in general acknowledg'd the Justice of God in punishing him, and bringing him to this Condemnation, because he had sinn'd against him, having neglected the Duty of a Christian, and not lived up to the Rules of that holy Religion, (namely the Protestant) which he was Baptiz'd into, and brought up in. All the time he was under my Inspection, he behav'd himself with great Devotion and Humility, and appear'd much affected with the Thoughts of another Life, and earnestly desirous of being reconcil'd and united to God, and of enjoying him in everlasting Glory. He denied the Fact for which he was to die; and said, He forgave all the World, and was assured that God had forgiven him through Christ; in whose Name, and through whose Mediation he hop'd for Eternal Life.
II. John Forest, Condemn'd for Robbing on the Highways. He was a French-man, Born at Rochel, of Protestant Parents, a Weaver by Trade, and liv'd for sometime in Spittlefields. He was a young Man, of about 26 Years of age. He seemed to be Penitent, but would not confess himself Guilty of the Fact whereof he was Convicted, otherwise than that he said, He was forc'd by two Highway-men to joyn with them in the Robbery.
III. Richard Hewit, Aged about 17 Years, Convicted of Felony and Burglary. He said he was Born in the Parish of St. Saviour in Southwark, and was a Waterman by Profession. He confest that he had liv'd a wicked Life, having followed ill Company that had brought him from one Sin to another, and at last into this Crime, for which he own'd he was justly Condemn'd. He exprest great Sorrow of Heart, and begg'd of God to accept his Repentance, tho' late and imperfect. Which he said was a great trouble to his Soul.
IV. John Kent, also Convicted of Felony and Burglary. He was, as the last now mention'd, a very young Man, being but 18 Years old, and a Waterman by his Profession. He said he lived by the Bank-side in Southwark. He was a poor ignorant Person, as to the Principles and Practice of Religion; yet he seem'd to be affected with the Consideration of another Life, when I represented to him, on one
hand, the insupportable Torments; and on the other, the unspeakable Joys of Eternity. He ingenuously confest the Crime for which he was to die, and begg'd Pardon of God, both for it and for all other the Miscarriages of his Life, which he acknowledg'd to have been great and many.
V. Thomas Gorden, Condemn'd for Burglary. He was Born in Barkshire, and was now about 25 Years of Age. and for some time past had served with a Gardiner at Chelsey; He acknowledg'd he had not liv'd as he was convinc'd in his Conscience he should have done; but had many ways offended God, and broke his Holy Laws and Commandments; which he said he was sorry for, and repented of, and hop'd to find Mercy with God. Thus he exprest his Repentance and Confidence, and would not be persuaded to confess, but obstinately denied the Fact he was found Guilty of.
VI. John Harris, alias Dennis, likewise Condemn'd for Burglary. He was a Roman Catholick , born in Warwickshire, and about 24 Years of age. He told me he had served the King as a Soldier 3 Years in Colonel Kirk's Regiment, and 5 in Colonel Windham's, and afterwards went to France, where he served 3 Years in King James's Guard. And then returning to England, he was employ'd for about 2 Years by some Colliers trading to Newcastle. He own'd his Life had been vicious, and much tainted with Sin, of which he never had (till now) a Heart to Repent. And therefore acknowledg'd the Justice of God in bringing him to this Shame and Misery. He was (as I said before) a Roman Catholick , but yet he readily joyn'd in Prayer with the rest, and seemed somewhat affected with, and wrought upon by my Admonitions. He confest the Crime for which he was Condemn'd, and exprest a Sorrow, and desire of God's Pardon for it.
Now what remains, is that I should give an Account of that unfortunate Gentleman, Mr. John Cowland, who was condemn'd for Stabbing Sir. Andrew Slaning Baronet . Mr. Cowland was Born in the City of London, and of a good Family. In his younger Years he was Apprentice to a Goldsmith , (and as I am inform'd) did live a very Sober and Religious Life. He was frequent in Prayer, and hearing Sermons, and in reading the Holy Bible, and other godly Books, and gave up himself to the Knowledge and Service of God. But having unhappily left this pious Course, and abandon'd himself to the World, in following the Genius and sinful Pleasures thereof, the Spirit of Religion grew weak in him, and had then no such Influence as before, upon the Actions of his Life, which became more and more irregular. 'Tis true he averr'd to me, that in the midst of his Miscarriages, his Thoughts were sometimes tending towards God, and there were some happy Intervals wherein he earnestly desir'd to return to his Heavenly Father with full purpose and solemn Vows of Amendment. But the World had got such a fast hold on him, that he could not get rid of it, and broke all those religious Vows and Resolutions of his as often as he made them, so that he daily sunk deeper into Sin; and God, from whom he had receded and drawn back, having for a time left him to himself, he fell upon the commission of that enormous Crime he afterwards abhorred with the greatest detestation imaginable, not only because he was to die for it, but because he had rendred himself so odious in the sight of God by it. He often repeated these Words with which Holy David, in a case not altogether unlike his, apply'd himself to God, Ps. 51. 14. Deliver me from Blood-guiltiness, O God, thou God of my Salvation, and my tongue shall sing aloud of thy righteousness. He told me that the remembrance of his Sins was now infinitely more bitter and grievous to his Spirit, than the vain and empty Pleasures of them had been sweet and agreable to his Flesh; And that he must needs confess from his own sad Experience, That had he but known the regrets and torments, which even in this World, a vicious Life bring upon a Man, he could not (tho' the Temptation had been never so great) been ever drawn or allured into Sin.
This may serve as a very good Lesson to those bold and rash Offenders, who drink up iniquity like water, without considering what a Poison Sin is, and how deadly sick it will make them at last: What violence they must needs use towards themselves; what unpleasant Potions they must be forced to take for their Cure and Recovery: How they must pass through a fiery Trial, and hate, loath, and abhor themselves and their sinful Lusts and Pleasures, before they can obtain the least degree of true Satisfaction and Comfort. In a word, this may plainly discover to the Sinner his great madness and folly, in venturing upon that which will prove the infallible Cause of his ruin and misery.
From the beginning of his Confinement to his Dying-hour, Mr. Cowland exprest an extreme Sorrow, not only for this, all other, the sins wherewith his Life had been tainted: He cry'd mightily to God for Mercy and Forgiveness, and shew'd all along the greatest Repentance that was possible. He pray'd most fervently, and did earnestly desire the Prayers of others, that God would be merciful to his poor Soul, and that he would give him Grace to become the greatest Penitent, for he judg'd himself the greatest Sinner that ever was. His Expressions were all pathetical and hearty, and most of them Scriptural; whereby he shew'd he was well read in the Word of God.
In short, he appeared not only to my self, but to other Divines (that were his Acquaintance, who also visited him) to have a true sense of his Condition, and a right apprehension, both of the Judgments and Mercies of God. His Soul earnestly long'd after the Bread of Life, and he express'd the strongest desires, and shew'd the best Disposition to receive the Blessed Sacrament of the Lord's Supper; which he did three several times after his Condemnation. I think it my Duty thus to set forth this Penitent Sinner, whose Repentance I verily believe, was equal to his Crimes,; no Man (to my knowledg) that liv'd in Sin, ever Dying better. Tho' I must confess I should be very loath to give the Sinner the least occasion of flattering himself with these vain hopes, That he may at last acceptably repent and be sav'd; yet I thought my self obliged to say what I have here said, to magnify the Goodness of God, which in a most Singular and extraordinary manner, was extended to this Penitent, and which (perhaps) may not in such a high degree, ever be shewn again to any other presumptuous Sinner.
I now come to the last Period of these Persons Lives. This Day being their last, I came pretty early in the Morning to the Prison, where having prayed with them, and at last wrought it upon Forest and Gordon to confess the Facts they were to dye for, which hitherto they had most strongly deny'd; I did (upon their earnest desires, and my great hopes of their sincere Repentance) administer the Holy Communion to most of them. Then they were carried to Tyburn; and there I met them again, and pressed them for the last time, to discharge their Consciences: Upon which they told me, they could say no more, nor no other, than what they had said to me before: all of them (Lewis excepted) owning with grief, their being Guilty. After this, I proceeded to Prayer, and the singing of a Psalm with them: And that being over, I apply'd my self again to Lewis in particular, to endeavour to make him confess; but he still persisted in his former Denial. Then I recommended every Soul of them to God, and left them to his Mercy. They desired the Standers-by to Pray for them: And after they had been allow'd some space of time for their private Devotions, they were turn'd off; calling upon God, and uttering with their Expiring Breath, these and the like Expressions. Lord have Mercy upon me, Lord, Save me for thy Mercies sake. Into thy hand I commend my Spirit. Lord Jesus receive my Soul. Lord, I am coming, I'm coming, &c.
This is the most exact and impartial Account, which can be given of these Dying Persons, by PAUL LORRAIN, Ordinary .
Friday, Dec. 20. 1700.
Rob. Whitledge, Bookbinder , at the Bible in Creed-lane within Ludgate, sells all manner of Bibles, Common Prayer, and other Books, very well Bound and Cheap.
B. Lilburn, that formerly liv'd on Ludgate-hill next to the King's-arms Tavern near Fleet-bridge; and lately near gteat Moor-gate, now lives at the golden Board and Ball in the Old-Baily, where is to be had all the Medicines she usually Prepares.
London. Printed for E. Mallet, at the Hat and Hawk in Bride-Lane, 1700.


text:
|Poster Presentation
|2 Minutes
|Lego Project Build
|3 Minutes
|Judges Questions
|5 Minutes
|Visual Aid set up and tear down
|1 minute
|Presentation time
|5 minutes
|Question period from Judges
|4 minutes
|Set up and Tear down:
|1 minute
|Technical Demonstration & Discussion:
|5 minutes
|Question Period from Judges:
|4 minutes
A mat and complete field set will be provided in the room.
|Approach and set up:
|.5 minute
|Performance Time:
|2.5 minutes
|Clear the table
|.5 minute
|We allow ourselves .5 minutes to score and reset the table between match
Because of the distinct possibility of Infrared Interference, NO cameras or video equipment are allowed in the competition area. However, video cameras will be allowed in the Presentation Judging Rooms this year to give coaches a chance to tape their presentations for future use.
Competition Area Guidelines
Teams will be queued to the "In The Hole area 8-10 minutes before their play begins. You will then move to the "On Deck" waiting area and finally the "At Bat" area. It is important that the team members stay together in route to the competition area. Only team members and coach(s) can stand in the Competition Area. When it is your turn for competition play, the team members and the coach(s) may proceed to the "At Bat" area. IMPORTANT! No adults can approach the competition table AT ANY TIME right before, during, or after the competition play. Only two team members at a time are allowed to be on the playing field by the table while the robot is running. The rest of the team and the coach(s) must remain in the "At Bat" area to cheer on their team.
WARNING: Interference
FLL Release Form
All team members and coaches are required to have this form filled out and signed. It must have the students' parent's signature. Note your registration will be delayed until these are completed. The link is available from the main IUN FLL web page. You should have the filled out forms in your hand as you approach the registration table.FLL Team Creed
Emergency 219-980-6501


text:
Pureology Styling Lotion 7 oz.
Pureology Styling Lotion will hold and sculpt without limits. Blow dry without tangles or drag. Alcohol free formula with non-stick resin provides weightless support.
Advanced resin technology creates weightless, humidity-resistant control and support, while super silicones add brilliance. The quick dry formula maximizes colour retention and thermal protection.
Guaranteed AuthenticGuaranteed Authentic
Folica is an authorized distributer of this product and guarantees its authenticity.Close
Apply to damp hair. Finger style. Blow or air dry.
OkayThis really doesn't do what it says if you put it all over your head it will tangle and feel sticky but I find it works nicely to blowdry my bangs, which usually become limp and oily-looking after blowdrying, but this makes them crisp and slightly helps with my cowlick.
Was this review helpful?(Yes)(No)Jan 16, 2010Monet / Washington
Use this link to send this review via e-mail, Twitter, or to post to your blog.Close


text:
I recently received an email from a new reader inquiring as to why I'm gluten-free. With all the hype of gluten-free products on the market she assumed I may be into the gluten-free fad.
I started to reflect upon my website and determined that unless you've been following for awhile, you may not have seen me state I'm gluten intolerant in a few posts. Hence, all my gluten-free recipes!Here are a few question and answers to help give you all the details! I will also be adding a FAQ page with this post + most gluten-free questions revealed!!
How did you determine you were gluten intolerant?
Back in spring of 2008, I first started to toy with the idea that I might be gluten intolerant. I was experiencing a lot of abdominal discomfort and noticed on days that I wasn't consuming as many gluten-containing products I felt much better.
Well time went on and in the spring of 2009 I started a gluten free diet. Once I told my mom this (who is a Physician Assistant for a Gastroenterologist), she mentioned that you must currently be on a gluten-containing diet for the blood tests for Celiac Disease to be accurate. So, I kind of fiddled around with my diet and received the blood test for Celiac Disease that spring when I came home.
Turns out I messed up my test results due to playing with a gluten-free diet prior to being tested. My mom and I knew this could happen, but we wanted to get the blood test done before I was 100% gluten-free. My results were equivocal.
Without going into crazy science terminology, there are certain indicators that are specific markers for Celiac disease. My indicators showed neither a positive nor negative result… thus equivocal. My GI and primary care doctors explained that had I not started my gluten-free diet, I most likely would have had a positive result for at least one indicator. My doctors further explained, that had I not started my gluten-free diet and still had equivocal results, this would indicate to them that I'm gluten intolerant or pre-Celiac disease. We may just have caught it early.
What do you eat?
I eat all kinds of things as you can tell from the recipe section! But the main culprits of gluten-containing foods come from wheat, rye, barley, and oats. Oats are usually questionable for those with gluten intolerance because they are manufactured on equipment that also manufacturers wheat products, unless specifically noted otherwise. I have been very lucky and can still eat regular oats. Don't worry though, when I create a gluten-free recipe containing oats, I always make sure to create it as if the person had Celiac disease and needed to be 100% gluten-free.
Can you be more specific on foods you don't eat? Don't a lot of foods contain wheat?
Yes, a lot of foods do contain wheat. Here is a quick list of food terms that I don't eat: barley, bulgar, couscous, dinkle (or spelt), durum wheat, farina, graham flour, gluten (also other gluten words are gliadin, gluten peptides, glutenin), kamut, matza (sad face — I used to love matza ball soup), rye, and semolina.
There are also other questionable foods like oats, that may or may not contain gluten. Here are Questionable food terms: bran, edible starch, food starch, grits, groats, hemp, malt, and modified food starch.Always read the ingredient list on packaged foods. If you are gluten intolerant you may also learn to love your kitchen + scratch made meals more. I know I do!
Since you are gluten intolerant, how lenient are you with your gluten-free diet?
Honestly, I'm probably 90% totally gluten-free. If a product contains modified food starch or food starch I do not always verify if it's a wheat, corn, tapioca, or potato based product. Obviously, if it causes me abdominal distress I no longer consume that product in the future. I have read some information about the term "modified food starch" being corn based in the USA and wheat based in Europe. Interesting, but I'm not sure how closely I want to believe that.
I have contacted Splenda personally and if you see "modified food starch" on their products, it is corn based!Okay, getting off track. Yes, I'm about 90% totally gluten-free. If John orders something at a restaurant that I can't eat, I may take one bite of it just to see what I'm missing. Obviously, too many bites would equal an uncomfortable evening and damage to my villi.
What happens to your body if you have Celiac disease and eat gluten?
This is going to be a brief answer until someone emails me requesting an entire post just for this question. Basically, when people with Celiac disease eat gluten-containing foods, their immune system damages/destroys villi on your small intestine. The villi are tiny, fingerlike "helpers", allowing nutrients to be absorbed from the walls of your small intestine to your bloodstream. Picture these villi as carpet. If the villi become blunted too much your carpet turns into a hard wood floor. Get it? Damage equals no fun and can lead to malabsorption. Good news is that your villi can be regenerated by following a gluten-free diet. And it comes full circle!
I know this is a long post, but I hope it helps you understand what it means when I say I'm gluten intolerant. I also know I just threw a ton of information out there, so if you have questions please don't hesitate to email me at email@example.com.


text:
More than 30 million adults are diagnosed with sinusitis in the US each year due to allergies, the common cold or mucus blockage. People who suffer from sinus infections experience painful symptoms such as facial pain and pressure, nasal congestion and coughing on a daily basis.
Download our free Sinus Disorders Treatment Guide for detailed information on:


text:
The essays listed below deal almost exclusively with North American constitutional law, and international, federal, state/provincial laws, and local laws that are related to religion.
Separation of church and state is mandated by the 1st Amendment to the U.S. Constitution. Although this phrase is not mentioned in the Constitution, the U.S. Supreme Court has interpreted the 1st Amendment as requiring such separation.
A similar principle has evolved largely through popular custom in Canada.
The result of this separation, in our opinion, has been a vigorous religious life coupled with a relative lack of religious persecution. Many countries have traditionally had closer links between state and religion. This has led (and continues to lead) to serious persecution of minority religions in many areas of the world.
13th century U.S. law:
18th century U.S. laws:
Sponsored link:
20th / 21st century U.S. laws and bills:
* Bill only
Church-state separation issues:
Government makeup and policy:
Human rights issues, worldwide:
Other items:
See also statements on religious freedom and tolerance, in the U.S. and elsewhere.
External Links:
Last update: 2011-JUL-19
Page Translator:
This page translator works on Firefox,
Sponsored link:


text:
I may have to move a wifi router to the middle of my apartment. (Still trying to diagnose the cause of wifi dropouts I've been getting.) If I do end up doing this, I'd have to run about 25 feet of cable. I have a cable modem next to a wifi router (an Apple Airport).
If I do this, I'll have two choices:
- Leave the cable modem where it is, and run cat5 cable to the wifi router, then an equal amount back to the desktop computer.
- Move both the cable modem and the router. I'll only need to run cat5 cable back to the desktop PC, but I'll need to extend my existing coax cable run from the wall by about 15 feet.
Which of these would result in better signal going to and from the router? Is there additional information I can provide that would help to answer this question?


text:
Of Cabbages and Kings
Have I got a deal for you! Wouldn't it be fun to eat out Saturday night, Nov. 3? At 6 p.m. Tyler Grange #610 serves their annual free harvest dinner.
For access to this article please sign in or subscribe.
"Bring your appetite and a dessert or a side dish," dinner organizer Lyle Polack said.
What's on the menu? Turkey, potatoes and gravy, green beans and beverage, all for free. In case you don't know it, the Tyler Grange cooks are known for their culinary skills.
The famous Tyler Grange baked goods auction follows the dinner. You should see the delectable inventions put up for auction. Here's where people who love to cook show the...


text:
Abstraction and Visual Music
UCLA James Bridges Theatre (Melnitz 1409)
Admission: Free
The burgeoning VJ scene has recently made live performance of Visual Music very common. However, artists have long explored Abstraction and Visual Music using the techniques of film animation, video synthesis, and computer graphics.
Los Angeles, although known for mainstream Hollywood media, is also home to a thriving community of independent animation artists. The iotaCenter presents films by several local artists followed by a panel discussion. Although varied, their films are united by an expressive approach to cinema. As paintings in motion, or music made visual, they transcend conventional film form with personal freedom and technical virtuosity.
The iotaCenter is a non-profit organization dedicated to the preservation, promotion, and celebration of the art of abstraction in the moving image.
We wish to thank the artists for providing their films and appearing at the screening and James Latham for moderating the panel. We also thank Melnitz Movies, the ASUCLA Student Interaction Fund and the UCLA Graduate Student Association for providing additional resources to make this program possible.
This screening was coordinated for iota by James Latham, Julie Gumpert and Rebecca Newman.
Nine Trips and a Travelogue:
Experimental film screenings are to Hollywood blockbusters what budget traveling is to packaged vacations: through them one often rediscovers one's thirst for the unconventional. "Abstraction and Visual Music: Contemporary Animation from Los Angeles Artists" exemplified such an adventure. Co-sponsored by The iotaCenter and the UCLA Film Archive's Melnitz Movies, the program featured nine groundbreaking but rarely seen pieces by local film and videomakers. These works belong to the rarified tradition of visual music or abstract animation, terms that approximate the formal rigors and synaesthetic pleasures of creating and experiencing non-representational images and sounds. For those who attended "Abstraction and Visual Music," the February evening indeed offered a stimulating journey for both the mind and the senses.
Fittingly the evening opened with Jules Engel's The Meadow (1994). Not only was Engel a masterly painter and animator, but he also founded the Experimental Animation program at the California Institute for the Arts (CalArts), where he fostered generations of exceptional artists by providing them with the necessary stimuli and support for developing their own styles. In fact, more than half of the filmmakers on the program have studied or taught at CalArts. Engel's generative presence radiates from The Meadow. While its title suggests a placid pastoral reverie, the film is anything but quiet or mild. Instead it skips and surges with organic energy, matching bold painterly strokes with dense autumnal colors. Motifs cycle like the seasons: samples of natural sounds play against scattered ringing notes, while futurist angles and curves alternate with expressionist vistas. There is a bracing freshness to the ensemble, as though one were striding outdoors, continually startled by nature's vividness and abundance. With or without its evocative title, The Meadow conjures a space that welcomes exploration and observation.
If Henri Matisse, Bobby McFerrin, and a roomful of precocious schoolchildren made a film, it might look something like Kitsch in Synch (1975). Like its clever and charmingly self-deprecating title, Adam Beckett's animated cut-out and optically-printed film appears disarmingly quirky while delivering great formal sophistication. This is not a haphazard hodgepodge, despite the film's multiple contributors (its images and sounds were created by the students Beckett taught at CalArts) and its title's pun ("everything went in except the kitchen sink.") Instead, Beckett employs two powerful structuring devices for introducing and elaborating his disparate materials: one in space and one in time. Spatially speaking, Kitsch in Synch is strictly bisymmetric. Like the blots of a Rorschach test, each design on the frame's left side is mirrored on the right. Color poses the only exception, producing enticing momentary asymmetries: a diamond may be turquoise on the left, but fuchsia on the right. Temporally, Kitsch in Synch develops through additive cycles – simple graphics become complex during multiple iterations, often through their interaction with new layers of designs. Kitsch in Synch is also distinguished sonically. Its collage of banjo twangs, rubber-toy squeaks, and a host of unexpected yet congruous sounds underscores the film's sly good humor. It is regrettable that Beckett died tragically at the age of 28, and that until now his works remain relatively inaccessible to general viewers. However, the iotaCenter is in the process of reviving Beckett's legacy: to learn more, please click on The Adam Beckett Project.
Vibeke Sorensen's Nloops (1989) possesses stately scale and logic. Her few recurring figures – cubes, tauruses, and other three-dimensional variations on straight and curved edges – achieve monumentality through painstaking repetition and articulation. The film's nine-part presentation, adapted from its original format as a nine-monitor installation piece, calls to mind a giant tic-tac-toe grid. One's attention thus freely jumps among several competing yet complementary modes of perceiving the screen: as a single entity, nine independent compositions, vertical and horizontal triptychs, and a checkerboarded array. This mathematical modularity extends into NLoop's minimalistic soundtrack, coolly understated color scheme, fractal-like figure designs, and rhythmic transformations. Indeed, the ways and rates by which Sorensen builds forms upon forms may lead us to contemplate the infinite ways by which infinity may be visualized. Nloops thus offers viewers the uncommon experience of sensually working through abstract concepts and questions.
For those who have grown accustomed to post-Pixar hyper-real-and-super-rendered computer animation aesthetics, Michael Scroggins' Power Spot (1986) at first presents an endearing reminder of lower-tech days. Its too-perfect geometric forms, alien-planet-fantasy palette, and decidedly unprogrammatic music all point to conditions that no longer exist, when the potentials of computer-generated graphics were idealized along quite different parameters. However, as Power Spot draws us into its world, any nostalgia or even condescension one might feel is soon replaced by a sense of urgency. One realizes that Scroggins' investigations remain germane, especially given the contemporary overabundance of anthropomorphic computer animation. Power Spot engages our visual imagination anew through its slippages between foreground and background, its encounters between acute angles and sinuous curls, and its contrasts between instantaneous and progressive changes. By employing both flat and three-dimensional forms, Scroggins creates a curiously conditional setting in which neither modernist planar conventions nor classical perspectival geometries holds dominance. Power Spot thus unfolds without hurry or hesitation until it becomes possible to set aside extraneous concerns to concentrate on the particulars of a work that has stood the test of time.
The French philosopher Luce Irigaray wrote:
The sea shines with [sic] a myriad eyes. And none is given any privilege. Even here and now she undoes all perspective. Countless and shifting and merging her depths. And her allure is an icy shroud for the point of view.
No rapture, no peril is greater than that of the sea.
These lines could almost describe Kathy Smith's Indefinable Moods (2001), and yet, of course, the film inevitably eludes characterization. It is both ironic and strangely appropriate that the most "representational" film of the evening is arguably the most "abstract" – even more so than many non-representational works, Indefinable Moods resists attempts to glean from it a linear narrative or development trajectory. Along with abstract forms, Smith's film contains several readily identifiable figures, such as the ocean, grasses, a letter, a baby, and a dwelling. However, each of these symbolically-charged figures defy simplistic interpretation. Instead, they are variously juxtaposed to convey messages that seem to be just at the edge of our comprehension, on the very tips of our tongues. Meanwhile, Smith's Mediterranean hues and drifting surfaces seem to call forth strong contradictory feelings: there is both threat and longing, serenity and violence. Indefinable Moods holds its viewers in extended spatial, temporal, and narrative suspension, such that it is impossible to emerge from the experience unchanged.
Jim Ellis's Believer (1998) packs a punch: it possesses that particular confidence and clarity of design that charms viewers to feel that the work is both unprecedented and inevitable. Believer's abstract computer animation of motion-captured data succeeds where many other music videos fail: it exponentially enhances the performer's presence, endowing her voice with the god-like power of universe-creation. It is an elegant and intimate universe, in which a dark infinity attends the pure white ellipse at its center. The circle speaks – it whispers, moans, seduces and sings – and with each utterance it sends out finely etched emanations into its ebony surroundings. This is not lip but body or possibly spirit-synch – the text matters much less than Ellis's execution of Mimi Goese's delivery. As our foveae offer dancing afterimages in the wake of every charismatic vowel and consonant, the screen's center becomes presence and orifice, self and other, being and world.
JWalt Adamczyk's In The Moment (2003) explicitly pursues – and achieves – a state of transcendent immersion. A toddler gleefully chases a beach ball across a green lawn – and in a moment, the commonplace home footage shimmers and transubstantiates into an ecstatic swirl of pigments and gestures, a Pointillist's wildest fantasy. One half-sees the wheeling of a lattice of leaves overhead or a scattering of headlamps and street lamps in the night. Indeed, there is something about Adamczyk's appreciation for light, movement, and immediacy that echoes the radical ideals of French Impressionism, an association strengthened by the soundtrack's Debussy-like melody. Given the video's beauty and technical polish, its seeming spontaneity is even more impressive. Computer-generated imagery, however diffused or smudged, tends to look as still and sharp as glazed pottery. But the pixels of In The Moment resemble paint or even watercolor – freshly mixed and barely dry, requiring quick and decisive application. By strategically superimposing successive frames of live-action video clips, Adamczyk powerfully intensifies our experience of the everyday. As the screen returns to the child's play with his ball, it becomes quite plausible that one might behold eternity in a wildflower.
Sixth in a ten-part series based on myths and data drawn from the solar system, Mondi's Zeus (2005) bears a dark, elegiac, and sometimes threatening grandeur. Zeus's beautiful score, also created by Mondi, sets much of the film's mood. A trancy layering of variations on a theme in a minor key, the piece advances with the relentlessness and regularity of a Baroque composition. Electronic instruments and classical strings are woven with the uncanny "sucking" timbre of recordings played backwards to form a dense, even suffocating aural texture. Meanwhile, the screen pulses with shadows and scars; the film's surface seems as battered and yet detached as a wartime photograph. Like certain Cubist paintings, eerily familiar figures emerge and submerge within a brown-gray riddle of lines and planes. Jupiter's indistinct image impassively reigns at the center of this inorganic terrain, as mesmerizing as a looming thunderhead.
I am not alone in bemoaning an unwanted yet stubbornly reflexive association between car commercials and other banalities with the powerful strains of "Winter" from Anton Vivaldi's The Four Seasons. How welcome it was to be presented with an alternative visual representation! Mar Elepano's Winter (1984) is as bold as its eponymous soundtrack. Simple and stark white figures dance on the velvety black background, perfectly synchronized to the music's beats and measures. Elepano builds his own associations: we quickly learn which themes are paired with given figures – meandering vertical strokes, percussive drips and splatters, decisive parallel scratches. The result is enjoyable partly because it seems so predictable and self-evident. Yet those who have worked with direct-on-film methods and optical printers recognize that there is no formula for finding one's own balance between control and improvisation as Elepano has in Winter.
The nine works were followed by a panel discussion that five of the artists were able to attend. Michael Scroggins, Jim Ellis, JWalt Adamczyk, Mondi, and Mar Elepano each provided candid answers to questions from moderator Jim Latham and the audience. The discussion lasted well over an hour, and conversation continued in the lobby even after the theater closed. A transcript of highlights from the discussion follows:
On their works and themselves:
Michael Scroggins: I have a love-hate relationship with my work, sometimes I look at it and I find it really exciting and vibrant, other times I wonder "what was that?"…It comes and goes; I realize that the responses are all very conditional.
Jim Ellis: [Believer] is an older work. I took some time to be introduced to real-time animation, for parties, raves, rock tours, etc., and recently I decided to get out of that a little bit to use real-time tools to get a gestural dance into the animation itself, then to tweak it a bit and make it extra pretty. So I'm in the process right now of moving back into film. I'm working on a feature film of my own music and animation.
Mondi: Jim is the reason I started doing this, and Michael taught me how to do it, so I feel like a student more than an artist, I have a lot to learn.
Mar Elepano: It seems to me that you can see someone's personality on the screen and it's interesting, it's like you want to meet these people and talk to them more through their work. So I don't mind seeing this over and over again, it's the only way I can enjoy it, to see it again. The more you see it the more you realize what it's all about.
On storytelling and self-expression:
Ellis: To me, to evoke an emotional or physical response, to make someone nervous, uneasy or relaxed is pretty crucial, and if that's all my goal was, then I could just take a camera and get some actors. For me, I push for an expanded perception whereby there's a higher state, sort of otherworldly, and if I'm lucky I can bring back a piece of my experience from my own crazy headspace and say here it is.
Scroggins: …in how it affects us, music doesn't need a story nor does it have to be programmatic. There's an absolute quality to how many forms of music work, and that's my intention, to create an effect…through this element…What interests me about the real-time process is there is a stimulus feedback loop that takes place. If you're working in real-time, the work you're seeing affects you and that causes you to make a particular change, and that change feeds back to the next change and the next. This is like how improvised live music functions. On the other hand, formal structures that are well thought out…also create a power without having been done in real time performance; it originates in the analysis and building of structure.
JWalt Adamczyk: I think story is form imposed upon life. So there are all sorts of different forms and ideas that can be expressed outside telling a piece of a story of someone's life. I think that's what we're exploring here. Most explicitly, I think of tonight's works Indefinable Moods suggested that there are things for which there are no words. There are other ways of expressing them. This is the commonality we share in the work that we all do. We see something and recognize "There's some truth to that," or something we understand, a worthwhile thought.
Elepano: …story is really a kind of movement, in its primal state, and that's the kind of stuff I like to see: the more abstract, (the more) I like it.
Scroggins: Another way I think of my approach to working, if you think of the will to produce sound you can sing with your voice, and you can tell a story. You can have a narrative with the lyric. Or, you can sing in a more abstract way, or create an instrument or some technology like a violin or a sitar or a piano, and extend the will to make sound. You can do things with a piano you can't do with your voice. The will to create movement, the will to kinesthesia, can also be expressed with instrumentation, like the tools we use where the will to move things is not your body moving, but as you said, it's a sort of a dance using these distancing tools of technologies.
Ellis: One approach I haven't quite figured out, and it relates to this physicality, is I'd like to make something non-representational that arouses people sexually. I remember being a student once in Michael's visual synthesis class and bringing in a tape of pornography and putting it through visual synthesizers and pulling feedback on it until it was unrecognizable.
On limits and techniques:
Adamczyk: The main limits I think are time and money.
Scroggins: That said, in Power Spot, I was using a traditional broadcast television switcher. It wasn't designed to do what I was doing but I was looking for a tool that would allow me to perform in real-time, so through the wipe generators I had the ability to do geometric form and I could find some adaptations of that which were interesting and I could work with rhythmic repetition. I could look for a language of composition within that. Also I had control over color by turning hue saturation and brightness knobs. So I learned to play those the best that I could. I could do a recording, then I could play that back, then lay a recording over that, play that back, then I've got A,B,C rolls going and continue to work with that. But it was very limiting in that I was stuck within the frame, so everything tends to remain in the frame. I began to learn that these limitations provided by the instrument actually help form the work. They're not necessarily hurdles. Musical instruments have limitations: things you can do with them very well, and then things that are difficult to do. So you tend to compose for the nature of the instrument. These are the kinds of limitations I was dealing with. Because of the nature of the frame, I really wanted to break out of that, and in the work I'm doing now, with virtual reality or immersive VR and gestures, I want to be able to wear the gloves and goggles and be surrounded by the image. There's no frame really. It's more like sculpture in the round than it is making a movie. But that time and money is a problem. JWalt (Adamczyk) is the closest person I've seen to where I want to go with his live performances. I highly recommend you see his work if you have the chance.
Ellis: …I come from an improvisational music background, so when I had the opportunity to improvise with video synthesis I was very excited, but a lot of the precision was lost, I felt as if 10% was gold and the rest was crap. When I went into doing computer animation, wanting more mathematical control, at that point all the tutorials and classes were geared towards creating humans and how you make humans move. I wanted to learn all that but I quickly realized that "Wow, this takes so much time, and I want immediate gratification!" When I started there were gigantic, refrigerator-sized computers and they were slow. I even punched them a couple of times. To get time to create work as a student I was in competition with students of higher class standing. Out of frustration I thought I couldn't render-out at video resolution; it would take too much time…As a result, I developed a technique of recursive texture mapping where instead of rendering at video resolution, I rendered it at a lower one, and I would map that image onto three dimensional objects then render that out in a slightly higher resolution, but the small image had all the lighting information I needed. I kept doing this process because it was the only way I could get anything done. That limitation led to the style in this piece, and the limitations of improvisation, regarding the only 10% as gold in video graphics, led me to computers, but I soon got frustrated with computers because everything is so mathematically precise. Where's the dance, where's the life? In Believer I just captured some animation channels with just a mouse. I did a few takes, got what I liked, and cleaned it up.
Adamczyk: To follow up a bit, there's the opposite problem rather than the limits. I'm here right now with these stills and techniques at my disposal, what can I do with them?...There's still a lot of life, still things that nobody has done…It's very cheap to do; probably everybody has access to a video camera, so there's a tool you have at your disposal. There are a lot of things you can do with what you have today, rather than trying to find a way out of the limitations, we work within them.
Mondi: I tend not to think about limitation but I guess time is the biggest. The version you saw tonight is probably the eighth version of that film I've made in the past few years. Well, I shouldn't say that; it's the only version of that film, but the eighth with that name. One day I'll find a version I want to stick with.
Ellis: I think you (Mondi) and I share the same experience with limitation in that we both like to work in black and white. Part of the reason for that is that we're not using traditional modeling techniques that a lot of three-dimensional modelers use. We find the farts and belches the machine makes, we make it puke sometimes. We see something and say "Yeah, that's cool! Now how do I control it?" It takes no time to render (in black and white), which I love. Usually with that technique it becomes difficult to create the illusion of depth if there's a highly defined color palette.
Elepano: For me, limitations are great, at least for what I've done. I worked without a camera. It was all applied directly. The only time I used a camera were for the titles and the freeze frame at the end. That really helped because I can't imagine doing that with an actor, it would make it too difficult. The whole idea of touching the film, spattering the paint, inhaling the fumes: during that time it felt good.
On production schedules:
Elepano: To be honest I had thought of (Winter) for a long time. The music played over and over in my head for a couple of years really… Then I started thinking of the animation process and of Fischinger and Len Lye and McLaren and they all came together. And then in a week or two, because I was in charge of the film processing labs, I had everything I needed, so that was it. Once you're ready, you're ready…Normally, it doesn't happen so quickly with me.
Scroggins: With Power Spot I worked on it for endless hours at a time. It's a real-time process but you're jamming and jamming and seeing what worked and what didn't, so you're doing multiple sessions and because access to the video studio was limited due to demand, it would be months. Power Spot was started in '84 and took until '86 to finish. I probably have one hundred hours. I wish I had kept journals. I can't tell you how many elements are in it; I have no notes. Even though I was working in real-time it seemed to take a very long time… One reason it took so long is because my marriage broke up; my wife and other people were helping me work on it. When I came back to work on it, I couldn't do it: I was emotionally devastated. It took awhile to work through that. For that reason Power Spot took longer to do than other projects I did at about the same time. There's a whole body of work that I did with the switcher, and it's interesting to see it all together because you begin to get a sense of what the devices are, what the syntactical structure is. At any rate, it took a long time.
Ellis: Well Believer I think took a month or two. I had to do it quickly because the album was coming out, and I had an advance copy of it. That was a time of staying up all day, sleeping on the couch for fifteen minutes, then getting up and checking my renders. It was a crazy long haul. If I broke it down into eight-hour days, maybe it took four months.
Adamczyk: Maybe you've experienced this yourselves, you're sitting in a coffee shop and thinking about the project. It looks really lazy but it's true, sometimes it just takes a long time for an idea to germinate. In December I started a project that took about a week but I had been thinking about it for the last ten years. It was only that I finally came upon the design idea that would really work and had the tools to really pull it together. So it took a week, or ten years, I don't know.
Mondi: This is part of a ten part series I did for my graduate thesis at CalArts, and I worked for an entire year on those ten. I probably slept two or three times during that year. One piece took three hours to do, another took the whole year to do.
On music, soundtrack design, and budgets:
Scroggins: I've worked with composers who have commissioned me to do a video for a piece of music they did, like Jon Hassell's work in Power Spot…In other cases I've made my animations silent and then given them to a composer to score it, which was the traditional way that Jules Engel always did. I'm much more interested now in doing the work silently and maybe even leaving it silent because I want to see the affective power of the visual itself…It's true that when you're doing a silent screening people sometimes feel they're underwater or that their ears are plugged because we're so accustomed to a marriage of sound and marriage…I don't think that sound and image have to be married. And regarding money, you can find composers where there's no money involved. In my case, Jon did it through the record company who actually gave me money, which was nice, but it wasn't necessary…
Ellis: I just want to make my own music. I'll collaborate with certain people. For instance Mondi and I have been doing some jamming every now and then so that's been fun. Regarding the feature film, I initially wanted to have some kind of other name recognition. There were musicians with whom I wanted to collaborate anyway. I contacted some of them, but although they were down, the problem is one person is in Amsterdam, another is in London, and ultimately these were the sorts of people I'd trust to do what they do. Unfortunately, it was just going to be a logistical nightmare…But when it came down to it, as much as I like that music, I think the music I have to use is my own because the stuff that I like and the stuff I'm going to put in my films are two different things.
Mondi: There's a lot of music I like but often you have to choose just one section of the music you want to use because you can't stretch the animation to last for the whole song. For everything I've done so far I've made the music myself, even though I'm not very good at sound.
Elepano: In my case I'm interested in community-based performance, like my group of friends who do professional line dancing. I would like to do a piece based on their performance. There is a kind of music from the ritualized music in Bali…meant to exorcise the evil spirit. I listened to the tape, and it's so powerful. If I had the money, I would go down there and work with them.
Adamczyk: I had the good fortune to meet Bill Irwin, an actor and physical comedian, and I went to a conference to give a performance where he was also performing. The organizers suggested that we do something together. Unfortunately we didn't have time to do it but I had really wanted to do a duet between a dancer and animator. When I heard "Bill Irwin," I was really jazzed, because I don't think there are many people as physically inventive as he is. If I had a budget, I would call him up and suggest we do a project.
Created by jeremy
Last modified 2006-10-02 21:39


text:
|Timothy M. Garrity | REALTOR®
Tim Garrity is a real estate professional with a strong business and personal network in the Greater Philadelphia area. He consistently sets and meets his clients' expectations by utilizing his extensive real estate knowledge, local market expertise, negotiating skills, and confidence.
With years of experience in the mortgage, real estate, and residential new-construction industries, his business strategy is to help every client achieve their home ownership goals by communicating regularly and providing a high level of customer service. Tim has a BS degree from La Salle University's School of Business, and received an MBA degree from La Salle University as well.
He grew up in the suburbs of Philadelphia, but has lived in the city since 1997 and currently resides in Roxborough. Tim's knowledge of Greater Philadelphia expands throughout the city and suburbs, with a focus on Northwest Philadelphia. More specifically, in Manayunk and Roxborough.
Tim Garrity believes in building professional, personal, and long-term relationships in order to expand his network and help his clients achieve their real estate goals.
- Buyer Representation
- Seller Representation
- Investor Representation
- Tenant Representation
- Landlord/Landlady Representation
- Foreclosures & Short Sales
- Property Valuation
- Real Estate Education
- Consulting
- Extensive Local Network
Work Experience
Copper Hill Real Estate
Co-Founder, COO, Broker of Record
REALTOR, ABR, e-PRO, SRS | Philadelphia, PA | December 2014 - Present
U S Spaces
REALTOR, ABR, e-PRO, SRS | Philadelphia, PA | June 2011 - December 2014
Brown McKinney Real Estate
REALTOR | Philadelphia, PA | January 2010 - June 2011
Pulte Mortgage
Production Manager | Fort Washington, PA | October 2004 - January 2010
JP Morgan Chase
Loan Officer | Blue Bell, PA | September 2002 - October 2004
Polley Associates
Broker License | Newtown Square, PA | 2011 - 2014
Schlicher Kratz Institute of Real Estate
Salesperson License | Philadelphia, PA | 2010 - 2010
La Salle University
MBA, Management | Philadelphia, PA | 2008 - 2010
La Salle University
BS, Marketing | Philadelphia, PA | 1997 - 2001
Bishop McDevitt High School
HS Diploma | Wyncote, PA | 1993 - 1997
Groups & Networks
Suburban West REALTORS Association (SWRA)
REALTOR + Member | Malvern, PA | June 2011 - Present
Website: SuburbanWestRealtors.com
Northwest Philadelphia Network (NWPN)
Website: NWPNetwork.com
Roxborough Development Corporation (RDC)
Board Member + Promotion Committee Chair | Philadelphia, PA | June 2011 - Present
Website: Roxborough.us
Green Tree Run Condominium Association
Board Member | Philadelphia, PA | January 2009 - Present
Website: GreenTreeRunCondo.com


text:
4x NCAA Champion, Kyle Dake, teaches you how to pin your opponent at a crucial moment in the match. If you are having trouble scoring points or you need a lot of points, use this series of moves to create a pin.
The goal of this series is to get the opponent into an uncomfortable position where they fight to get out of it and flip onto their back where you can then move to pin them.
Check out an additional clip from the Championship Productions' DVD "Signature Move Series: Kyle Dake's Claw Series." If you're interested in more Wrestling videos on Pinning, click here.
Here we have new Wrestling videos featuring Zack Esposito, 3x All-American, and his dominating wrist ride series that will turn average top wrestlers into dominating pinning machines. Also, see Obe Blanc teach the mechanics of the single leg attack, a high-percentage move that helped him become one of the best wrestlers in the world. And learn Kyle Dake's favorite series in wrestling, the claw series. Dake was the first wrestler in NCAA history to win four NCAA titles at four different weight classes and was recognized as the 2013 Sports Illustrated Male Collegiate Athlete of the Year!
See where you can view these exceptional wrestling videos and more, right here!
Championship Signature Move Series: Zack Esposito's Wrist Ride Series
Championship Signature Move Series: Obe Blanc's Single Leg Attacks
Signature Move Series: Kyle Dake's Claw Series
This is the Wrestling DVD that all coaches and wrestlers have been waiting for! Learn to wrestle and score from the claw position – the same series that took Kyle Dake to four NCAA championships. Dake demonstrates his favorite series as he takes you step-by-step through the series of tilts and turns that he has used to find success. Don't miss the chance to get training tips from one of the top wrestlers in the sport.
Signature Move Series: Kyle Dake's Claw Series
About Us | Security & Privacy | Shipping | Affiliates | Advertise With Us | Help | Contact Us | Site Map | Drake University Distance Learning | Gift Certificates | Request a Catalog | Print Order Form
© 2016 Championship Productions, Inc.


text:
Afternoon Warehouse Fire
Posted on 03/20/2013 5:52 pm
This afternoon at 4:14 p.m., Wilmington City firefighters on the D-Platoon were dispatched to the 1000 block of Christiana Avenue for a reported warehouse fire. Upon arriving, Deputy Chief Michael Donohue reported that smoke was showing from the front side of a large warehouse. The warehouse is occupied by Intercontinental Services at the entrance to the Port of Wilmington. Warehouse workers advised Deputy Chief Donohue that the warehouse contained bulk storage of 7000-12000 tons of Sodium Nitrate. The hazardous materials were reportedly in close proximity to the fire, but was not on fire. Sodium Nitrate is an oxidizer and hazardous material that can accelerate burning and cause moderate health hazards when involved with fire.**
Fire suppression units made an aggressive interior attack on the fire and found that the fire was burning ordinary building materials (walls and insulation) in the corner of the warehouse. The fire was contained and extinguished without spreading to the Sodium Nitrate or other areas of the warehouse. The fire was placed under control at 4:54 p.m. by the Incident Commander, Deputy Chief Michael Donohue. No civilian or Firefighter injuries were reported. Fire damage was confined to corner of the warehouse and business operations for the company have been halted until the Fire Marshal's Office and Department of License & Inspections completes their investigations in to the cause of the fire and damage assessment to the building.
The fire investigation is active and ongoing at this time.
Thirty-seven fire and EMS personnel responded to the fire. The following units responded: Squad Engine 1, Squrt 4, Engine 5, Squad Engine 3, Tower Ladder 2, Ladder 1, Battalion 8, Battalion 3C, Deputy 2, F1, F17, F8, Battalion 10, FM13, FM15, Ambulance PA4, NCC Paramedics, Wilmington License & Inspection, and Delmarva Electric.
** Source - US DoT 2012 Emergency Response Guidebook


text:
Tom Ford 'White Patchouli' Eau de Parfum Spray
With its sensuous core of patchouli, Tom Ford White Patchouli perfectly captures the myth of a generation. Surrounded by sleek wood notes, tempered by elegant white flowers, this modern fragrance with retro-classic influences is a sophisticated interpretation of bohemian chic. bergamot, coriander, jasmine, white peony, rose, white patchouli, woody accord, ... Learn More


text:
Wednesday, September 29, 2010
A Blissful Burlap Bunting for Fall
22 comments:
Oh, I like it! Who doesn't love burlap? I agree, every mantle should be wearing one : ) Good job!ReplyDelete
so cute!!! mine is about burlap today, too. great minds think alike. ;)ReplyDelete
It looks great! I have my burlap and letter stamps all ready for my own if I can find a spare minute. I hope it turns out as cute as yours! Happy fall...ReplyDelete
Julie- You did a great job! I love your banner...and I love burlap...I am sorry to say that it makes me "itchy". I used to have to lug those darned feed bags around when I was a kid and I can still remember scratching like the devil when I got done handling them. Maybe today's burlap is a bit more refined. I'll have to check it out. Hugs- DianaReplyDelete
Love love love the clothes pins. So cute and simple too! Thanks for the freezer paper idea :)ReplyDelete
~Emily N. from "too Blessed to Stress"
Cute and Simple! I think I'll make own too!ReplyDelete
Very fall-ish and simple. Love the idea.ReplyDelete
Hi Julie, thanks for linking up. I really like your burlap-version banner. The crisp colors of your ribbons look so nice in contrast with the burlap. And using clothespins?! It couldn't be easier.ReplyDelete
You did a great job on the banner! My plans are to make for Christmas. Thanks for visiting my blog and for your sweet comment.ReplyDelete
Have a wonderful day.
Love it! Just the right amount of decor for your mantle. I like the way you left the edges rough and unfinished and added ribbon to add punches of color.ReplyDelete
Very fun, it looks great on your mantle. Enjoy your weekend.ReplyDelete
That turned out awesome. I need to get me some freezer paper. Thanks for sharing!ReplyDelete
You had me with the orange ric rac!ReplyDelete
- MeredithOctober 4, 2010 at 6:29 PM
Your banner is precious! If you don't mind me asking where did you get the cute quatrefoil canister (i think its a canister) that is on the mantel? I love quatrefoil!ReplyDelete
I got that canister at Marshalls a few months ago. Hope you can find one somewhere!
I love this! So cute! Thanks for sharing it!ReplyDelete
Hi Julie, I just wanted you to know I featured your banner. :)ReplyDelete
Just love this idea!!! I'm going to make it with my kids and also feature you on our blog in a few weeks. Thanks for inspiration :)ReplyDelete
Thanks for sharing!!! I linked you in my blog! http://twolittlechickadees.blogspot.com/2010/10/ode-to-autumn.htmlReplyDelete
Love this! FYI we gave you a shout out on our blog today, thanks :)ReplyDelete
I would love for you to share this on my Thanksgiving Link up!ReplyDelete
Such a cute banner!!
I love it! Of course I have a slight burlap fettish ;)ReplyDelete
I love hearing from each of you and will do my best to respond! Thanks so much for stopping by. So glad you're here!