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Black Friday is here. Save 25% on all apparel, 20% on everything else. Use BLACKFRIDAY
Facebook photograghy pageDeviantArt stock
Model - Luna
This image is included in my new calendar 'Women 5'
Featured in Fashionart, Emotive Portraiture and Stylish StorytellingThank you.
Canon 40D
people 400 brunette cathleen luna magical model tarawhiti views wardrobe
Ok I won't say it :)
Beautiful image though…….!
Haha, gotcha :) xx
beautiful, such a natural expression! ;]
Thanks hun :)
great take!
Hi, thanks :)
She sure is gorgeous! Love the processing here Cathleen.
Yep, thanks Mel :)
A beautiful natural pose. Lovely work!
Thanks Mark :)
What a fantastic,, full of life, natural shot! Love everything about this one Cathleen! Great work!
Hi Basia yes, I love the natural ones :)
This is so gorgeous Cathleen. Such natural beauty and animation :)
Hi, Thank you :)
Thanks :)
Fantastic, natural shot!!
Thanks Jane :)
beautiful, natural, so very special…..
Hi Wendy, thank you :)
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subset: commoncrawl


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(Written for a Justia client, March 2013. Used with permission.)
When married couples and domestic partners in California seek a formal end to their relationship, the most common procedure is divorce, legally described as a dissolution of marriage or domestic partnership. California law allows alternatives to jumping head-first into a divorce. In relatively rare instances, couples may be able to annul their marriage, which wipes the slate clean in a legal sense. Couples can legally separate, either to make gradual changes to their finances, or to conduct a "trial separation" before divorce. Some couples choose to remain legally separated but never divorce, while other reconcile after a period of separation.
Grounds for Divorce or Legal Separation
Divorce and legal separation follow the same procedural rules. A spouse seeking a divorce or legal separation must petition a court, and must first state grounds for the divorce or legal separation. California is a "no fault" state, meaning that a spouse does not need to show specific wrongdoing by the other spouse in order to obtain a divorce or legal separation. The two grounds for divorce in California are "irreconcilable differences" and "incurable insanity." Irreconcilable differences, defined as reasons identified by the court that show that the marriage should not be continued, is by far the more common ground cited in divorces and legal separations. Incurable insanity requires medical or psychiatric evidence showing that the spouse was insane at the time the other spouse filed for divorce or legal separation, and continued to be insane up to the present.
Legal Separation
A legal separation is a non-final divorce. A spouse can seek adjudication of the issues typically addressed in a divorce, including division of property, child custody and child support, and spousal maintenance. A court may issues orders regarding all of these issues, but stops short of granting a divorce.
Married couples that do not qualify for summary divorce or annulment (discussed below) and do not wish to continue in a legal separation must proceed to the full divorce process. One spouse may proceed with pursuing a divorce even if the other spouse does not agree. If the couple has not already done a legal separation, the court must consider all of the issues described above and grant the divorce. The parties may choose to negotiate and settle the matter between themselves and their attorneys, or they may use a mediator or other form of alternative dispute resolution. In the absence of an agreed settlement, the parties must go to trial.
Summary Divorce
Spouses and domestic partners who meet certain criteria may use the expedited process of summary divorce. This applies to couples that:
- Have been married or registered less than five years;
- Have no children born or adopted
- Do not own or rent any real property other than a rented residence
- Have $6,000 or less in community debt;
- Have less than $38,000 in community property;
- Have less than $38,000 each in separate property;
- Agree not to seek spousal support from each other; and
- Enter into an agreed division of property.
California law defines certain marriages as "void," such as marriages between close relatives and a marriage commenced when one spouse is still married to someone else. A person must petition a court to declare the marriage void.
Other marriages are deemed "voidable," and the procedure to end such a marriage is commonly known as "annulment." Voidable marriages may include:
- Spouse was under the age of eighteen at the time of marriage and did not have parental consent or a court order;
- Spouse has been missing for at least five years and is believed to be deceased;
- Spouse was of unsound mind at the time of the marriage;
- Spouse agreed to marry based on fraud or duress;
- Spouse was and continues to be unable to consummate the marriage ("physically incapable of entering into the marriage state.")
Each ground for annulment must be brought within a specific period of time after entering into the marriage, and many of the grounds are not available if the spouses cohabitate.


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GraphicRiver Director 6859637
Stock Vector \ Characters \ People
Director \ Standing \ Clapboard \ Vector \ Layers \ Organized \ Objects \ Artist
Stock Vector - Director 6859637 by zoljo @ GraphicRiver
Stock Vector \ Characters \ People
Film director standing in front of the big clapboard. EPS8 vector file. Objects are organized in layers.
Layered: Yes; Graphics Files Included: Vector EPS; Minimum Adobe CS Version: CS.
Superhero; Route; Lumbersexual Geek; Happy Holidays; Santa Claus; Drunk Santa; Santa and Snowman.
Keywords: adult, artist, cartoon, clapboard, director, entertainment, film, film industry, holding, illustration, male, man, media, movie, one, producer, standing, tv, vector.


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Agency: Fitzgerald & Co
Location: Atlanta, GA
Website: http://www.fitzco.com
Twitter: @Fitzco
Instagram: @Fitzco
At Fitzco we live to dare.
• Dare to fight against category norms.
• Dare to embrace new ways to engage consumers.
• Dare to hire those who don't fit the mold.
• Dare to develop personal and meaningful relationships with our partners.
• Dare to believe our best work is ahead of us.
Top 3 Interesting Facts or Things to Do in the Agency's Host City?
Explore the Beltine- take a walk from Piedmont Park to Krog St. Market and see what the midtown neighborhoods are all about. Stop to check out the patio at Two Urban Licks, take a walk through Ponce City Market or explore the many trendy restaurants in Inman Park, all along the east side Beltline.
Do a day on the West Side. Check out the wine, cheese & tapas at Barcelona, enjoy the fresh seafood and oyster bar at The Optimist, get a pic with an awesome city view at the JCT Kitchen or Oku rooftop, then head to Little Trouble and Ormsby's for some cool, hipster evening vibes.
Be a tourist. Head down to Centennial Park and hit the tourist stops all in a row. Visit the famous Georgia Aquarium, take a tour through the World of Coke, then get cultured at the Center for Civil and Human Rights and the High Museum of Art.
Top 3 Interesting Facts a #MAIP2017 Fellow Won't Find on the Agency's Website?
- Fitzco has a cool agency vibe, very collaborative, fun, and inclusive.
- We enjoy playing sports together, enjoying a cocktail or two at our SoCos, and we love celebrating each other, whether at our monthly birthday celebrations or anything really.


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A Child's Hope Fund
Fight childhood cancers and debilitating health conditions in children that are living in developing countries endangered by disease, poverty, war, and exploitation; through food and medical programs, and health education.
We touch the lives of children in positive ways which reflect hope, love and concern at a deeper level than "just" giving out food, etc. Our partners are chosen for their distinct abilities to show God's love in ways which people might want to respond to.
ACHF chooses not to seek USAID grants or financial resources from other government agencies. We rely on the generosity of our donors to continue ACHF's good works.
Humanitarian aid doesn't "just happen". It only happens because of individuals like you.
Small gifts have tremendous impact, just as the Bible's story recording how five loaves and two fishes fed 5,000 people illustrates the tremendous "multiplier effect" of a small amount of food to feed so many.
ACHF brings practical relief and hope to children around the world endangered by disease, poverty, abuse, war and natural disaster. Our tangible aid and the gift of hope reaches orphanages, schools, clinics, hospitals and community centers, right down to individual families and street children. Local groups know who needs help, and how best to deliver aid; our assistance strengthens those local efforts.
ACHF helps fight childhood cancer, diabetes and hunger through medical and food programs and health education. We support efforts to create an environment where children are unconditionally loved… something every child needs.
ACHF's goes far beyond traditional "delivery of aid", to promote pediatric palliative care and hospice in developing countries, helping those families for whom medical attention for their children sadly comes too little, or too late. Such tragedies are a sad reality in the overwhelming need everywhere for resources to survive, and to have hope.
ACHF changes lives, one child at a time.
Our beneficiaries are primarily children (including orphans) ant their families. We work through local groups especially able to give a high level of personal care and attention. We call these groups "embranceable communities" because they are small enough for us to get our arms around them and given the strength needed.
Many of those we help suffer from hunger and malnutrition, or they are devastated by other serious illnesses, including cancer, diabetes and HIV-AIDS. Whenever possible, we also give resources to help local efforts to promote health safety and awareness.
In 2005-200, ACHF shipped well over $15 million of food and other life-saving supplies, including vital medicine, medical equipment and supplies, to impoverished citizens of Honduras, El Salvador, Bolivia, Colombia, Peru, the Philippines, and Panama. We placed a special emphasis on fighting AIDS and cancer, strengthening prenatal care, and reducing infant deaths.
In 2009 we have expanded these outreaches to South Africa.
We offer our local partners in developing countries technical and human resource assistance, including project management strategies and accountability resources, so they can do a better job for the people they serve.
In 2008-09, ACHF volunteers visited hospice efforts in Honduras and South Africa and delivered workshops about "caregiver care".
For each of the past three years, over 99% of ACHF's total donated resources have funded supplies and projects for people in need. To keep costs low, we solicit donated supplies and normally only pay procurement, shipping and distribution costs.
Why should we spend your money to buy supplies, when we often can get the identical or similar product donated? When we ship commodities, we do not ship junk. Everything is totally safe for human consumption and presented to our recipients in an orderly manner.
Our local partners are selected because they can properly use the aid we provide and also report back to us on their activities. Our partner relationships are protected by written agreements which hold them legally responsible in their own communities, and our partners must be able to demonstrate their proven abilities to deliver aid with wisdom, effectiveness and human dignity.
ACHF is independently audited every year by certified public accountants and is regulated by several federal agencies and the Attorneys General in every state where we register to solicit funds. Our IRS 990s, Annual Reports and Audited Financial Statements are available online and many of our projects are open for anyone to visit except where privacy and security must be observed.


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The 5-foot-8, 260-pounder estimates he has finished 276 triathlons since 1983, causing his doctor to marvel at this remarkable combination of fitness and admitted obesity.
"I am fat,'' said Alexander, 55. "I was born a big boy, and I'm always going to be big. But I'm healthy.''
Like many men his age, Alexander's silver hair is thinning. His bright blue eyes are going bad, and his barrel stomach is getting bigger. Other triathletes often mistake him for a race organizer.
"I'm a great bar bet,'' he said, laughing. "I don't look like I can walk across the street, let alone run a triathlon.''
Steven Blair, senior editor of the Surgeon General's Report on Physical Activity and Health, said a surprising number of people are both fit and obese.
In a recent study of obese men, Blair said that 45 percent had zero or only one of the major risk factors for an early death smoking, bad eating habits, a sedentary lifestyle, a history of heart disease. These men, despite their obesity, had no increased mortality rate.
"Most people see an obese person walking down the street and they think, 'This guy's a time bomb.' It's not necessarily so,'' Blair said.
Alexander is living proof.
In a recent super-triathlon in Eastern Hungary, he swam 9.6 miles, cycled 448, and ran what he calls "a 104.8-mile Bataan death march.''
Alexander attributes his great shape to persistence.
He said he competes at a furious pace, sometimes completing two triathlons in a week. He sleeps about 4 1/2 hours a night so he can put in the long hours he needs to train and conduct business at the oil company he co-owns.
Dr. Craig M. Phelps, his doctor for 15 years, called Alexander "one in a million.''
"And I say that statistically,'' Phelps said. "I haven't known of anyone his size who can do the swimming, the running, the cycling, at the ultra-distances Dave competes at. To be able to put all those things together at Dave's size is truly unique.''


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No Excuses Hot Babe
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No Excuses Hot Babe
Adriana is waiting for fun mindless sex on today as she gets comfy on the satin sheets. Hopefully someone will stop by later...
This Czech doll had too many gentlemanly guys who have fallen in love with her, but for a change she wants raw action instead of moony eyes and sweet nothings! She wants to get dirty with no guilt!
If the right stud would show up, she'd let him mold her into the nymphomaniac of his dreams. She aches to be a "no excuses hot babe" taking cock wherever and whenever! After all, look at that incredible ass...ain't it just made for doggie style all night with a few spanks along the way?
Oh well, she tells us, there's always a war between her head and her pussy! She wants to be "nice" and "bad" at the same time. That's why she's gone the glamour porn route--to let out her inner lusty lass! So enjoy her erotic video and nude pics naughtiness!


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3d Night of the Tenth Annual Series, 2015 Season
This event is by RESERVATION ONLY. Please reserve your seat by clicking here HERE call 831-667-2574. Films are shown on a big screen hung from a redwood tree. Doors at 8 pm; movies start when it gets dark. Come early and enjoy the world's best pop corn. Event is by donation. Thank you for your support! Questions? Call us! 831-667-2574.
Films This Week
By: Lesia Kordonets , Ukraine
Social systems come and go, but people remain. Since Soviet times an old ukrainian bus has been running along the outermost EU border. At the junction of this geo-political construct this old bus appears as fragile as the past itself. Will the bus come? Or not? Passengers wait patiently at the bus stop: and they dream that the bus will take them - perhaps to a better future.
Cops and Robbers
By: Eddie Alfano , USA
Eddie is frustrated. He's a 'typecast' actor, playing a cop on over a dozen TV shows. In an act of defiance against his complacent agent (Tim Bagley), Eddie takes drastic measures to land his dream role: a homicidal psycho killer. But can Hollywood see him as anything more than the kind, lovable guy he is?
Games People Play
By: Dawn Westlake , USA
A married couple vows never to speak another cross word, but playing some is not off the table.
By: Ninja Thyberg , Sweden
Behind the scenes of a porn shoot, the actors are practicing various positions. The rumor is that one of the girls is doing a double anal, an advanced routine that requires someone extremely tough.


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AnaCredit Benchmark Study
AnaCredit is just the beginning of a new age of reporting requirements.
The future of banking
The environment in which banks operate has changed rapidly and is continuing to do so at an ever-increasing tempo. Banks that want to keep up – and certainly those who want to take a lead – are having to pull out all the stops in order to respond properly to the wishes and demands of the client of the future.
Our analysis has revealed that new technology and legislation and regulations are the two primary factors pushing change. Regulations are making it easier for new players to enter the banking sector and, thanks to new technology, these parties are able to disrupt banks' business model. Besides these two trends, social, economic and environmental developments are also playing an important role. What is more, clients' expectations are changing now that they can be in contact with their banks digitally at any time and in any place, precisely at the moment in time that new players are forcing the banks slowly but ever more so to the background.
How do you ensure, in these changing circumstances, that your bank is a relevant player in 2020? We would be only too pleased to answer that question based on four factors which relate to client orientation, competition, the new business economy and the reinvention of your organisation. For more information about the 'Future of Banking' you can always contact our 'FoB' team.
"In the next 10 years, we'll see more disruption and changes to the banking and financial industry than we've seen in the preceding 100 years"
The relevance that banks have for interested parties is the product of three factors: Confidence, Convenience and Low costs. The higher each of these three factors are in the formula, the higher the relevance of the banks. None of the factors can be very low or negative.
Confidence means that banks are reliable, in other words predictable, transparent and honest to their clients. By confidence we also mean the degree to which banks can make a useful and valuable contribution to the society of which they are part. This is the foundation for the relevance of banks. Convenience can be a distinctive, added value of banks for their clients. By convenience we mean, among other things, the degree to which clients are satisfied with their user experiences in relation to the product and services provided by banks and about the speed, stability and simplicity which they experience in the interaction and communication with banks via their chosen channel. The further reduction of costs is an essential precondition for banks to be able to supply their products and services for a competitive price which clients regard as fair. The PwC Global FinTech report shows that Dutch financial institutions regard cost reduction as the primary basis for staying relevant compared to other parties (77% of the respondents).
Although new technologies and FinTech are often regarded as threats to banks, these developments can definitely also help banks to increase their relevance. The following is a description for each of the three factors (confidence, convenience, low costs) as to how banks can use new technologies and FinTech in order to increase their relevance.
AnaCredit is just the beginning of a new age of reporting requirements.
Given the significant economic and political turmoil in the financial services sector, many financial services organisations are (re) considering the location of their headquarters or parts of their business.
In the face rapidly shifting customer expectations, technological disruption and regulatory developments, the question is no longer whether financial services (FS) is being transformed, but how quickly, how to keep pace, and how to deliver strong business results in this new environment.
In recent months there have been numerous publications about MiFID II, the new regulatory framework for investment firms. However, a publication that dives deep into the practical consequences of this new framework did not yet exist. Ronald Janssen (Ortec Finance), Arthur Kilian (PwC) and Tom Loonen (VU) have now written a whitepaper with guidelines that will fill this gap.


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- Latest
- Popular
- Blogs
- Authors
- Topics
- Our Blog
… The nominees for the 8th Annual Shorty Awards, recognizing the best content and influencers on social media, are in. In addition to including the usual social media platforms — Facebook, Twitter, YouTube, Vine, Instagram and Tumblr — this year Periscope is being included for the first time. With the growing influence of social on TV and vice…


text: Sabot, we are very casual with rules... LOL. You have to have a mic and you must show up for one "Mandatory" practice a week. I mean, you can miss a whole week if you absolutely have to, but the people you are playing with are counting on having a full squad to help them win and build camaraderie.Check us out and let me know what you think.


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Expand Messages
- Let P(x) is none �zero ploynomial on field F.
Prove that:
There is none-zero polynomial K(x) on F ; which
P(x)*K(x) is not zero polynomial and we have :
For some p(n),such that p(n) is ith prime number,
And powes of P(x)*K(x) are consecutive primes.
Saeed ranjbar.
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
[Non-text portions of this message have been removed]
Your message has been successfully submitted and would be delivered to recipients shortly.


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The Linksys PAP2 Internet Phone Adapter enables high-quality feature-rich VoIP (voice over IP) service through your broadband Internet connection. Just plug it into your home Router or Gateway and use the two standard telephone ports to connect analogue phones or use one of the ports for a fax machine. PAP2 has 2 FXS Ports and 1 RJ45 Ethernet Port.
Configuration Instructions:
Before you begin, you must determine what IP address you device received. Do so by picking up the phone attached to the 1st line and dial: **** (four asterisks) then dial: 110 # - you will hear the IP Address read to you.
If your device has been pre-configured, you may want to apply a factory reset or update the device firmware before beginning with this configuration.
Now, switch to Admin by clicking the Admin Login in the top right corner of the page. Click on Line 1 for the next screen.
Depending on the registration type you requested at signup, there are two ways that you can register your device. You will either use (4a.) IP Address authentication or (4b.)SIP Username/Password Authentication. NOTE: You will only use one of the following registration methods.
4A. To configure your device with IP Address Authentication, from factory default, you will need to change the following fields:
From the default configuration, you will only need to modify the following fields:
Proxy: Origination IP (from provisioning letter)
Make Call Without Reg: yes
Ans Call Without Reg: yes
Display Name: Your Name
User ID: "enter your DID here"
Auth ID: "leave blank"
Password: "leave blank"
Name: Your Name
Click Save Settings. The device will reload and bring you back to the main page. From here switch to advanced view and click SIP.
At the bottom of the page, enter your Public IP address in the EXT IP: field. Click Save Settings and the device will reload. You are now ready to receive calls. If you require more assistance, please contact the technical support team.
4B. For SIP Username/Password authentication, From factory default, you will need to change the following fields:
From the default configuration, you will only need to modify the following fields:
Proxy: SIP Domain/Proxy (from provisioning letter)
User ID: Enter the SIP Username (from provisioning letter)
Auth ID: Enter the SIP Username (from provisioning letter)
Password: SIP Password (from provisioning letter)
Name: Your Name
Click Save Settings at the bottom of the page. The device will reload automatically and take you to the main page. You should now be able to receive calls. These settings are the same if you have outbound service with TalkinIP. If you require more assistance, please contact the technical support team.


text: After a wonderful New Years with my husband and some friends, I began to wonder what are some of the things your husbands/BF's have done that might classify them as the most wonderful cuckold? For example, on New Years, we were at a friends house and we had some wine and Champaign and were really having fun. At one point two of our friends began teasing and flirting with each other in front of everyone. They were not married to each other. As we watched, I cuddled up to my husband under a blanket and he started fondling and kissing and rubbing. I had positioned myself sitting between his legs with my back to him with his arms around me fondling my chest, and making me oh so horny I might add. As I got hornier and hornier I laid my head back on his shoulder and he let one hand work its way down and up my skirt. I was in heaven as he massaged my nipple and my lips through my panties. I was totally focused on the feelings my body was having with him fondling me with everyone in the room. I had not noticed what the others were doing. Suddenly I felt a kiss on my lips. It was warm and soft and I gently opened my mouth and in came a tongue. It took me a second to realize it couldn't be my husband. I opened my eyes to find his best friend standing over me kissing me deeply. As I melted I could feel a hand up my skirt again. This time it was his other friend. For the next hour or so, I laid there in my husbands arms as he helped and encouraged two of his best friends to enjoy my body. I was in heaven as I found my third orgasm at his friends hands and cocks. But I did not truly feel the superior cuckold feeling until I felt my husband squeeze my tits together and his friend slid his cock between them. My husband held me hard and strong as his friend tit fucked me right there with him watching and holding me. I felt my nipples get harder and harder as he stroked and eventually filled my tits and a few shots on my face with his cum. Then, my wonderful, understanding, sensual husband gently slid out from behind me, gently leaned over me and began sucking my nipples and tits and licked up every drop of cum. Now is that the most cuckold thing you ever heard? If not, share your experience, would love to hear it.


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Inactivity is causing as many deaths as smoking across the world- and Britain has one of the most sedentary populations on the planet.
Researchers used World Health Organisation survey data, collected by questionnaire, to compare 122 countries representing 89 per cent of the world's population.
The report, published in the Lancet, defined inactivity as not meeting any of three criteria: 30 minutes of moderate activity such as a brisk walk, at least five days a week; 20 minutes of vigorous activity at least three days a week; or an equivalent combination of the two.
According to the team of 33 researchers, inactivity was responsible for around 5.3 million of the 57 million deaths that occurred worldwide in 2008.
The contribution of insufficient exercise to disease and shortened lifespan was similar to that of smoking or obesity.
In total, 6 per cent of heart disease cases, 7 per cent of type-2 diabetes and 10 per cent of breast and bowel cancer cases are linked to lack of exercise worldwide. Amy Thompson, senior cardiac nurse at the British Heart Foundation (BHF), said:
"The results of this study, though shocking, tell us what we already know. Being physically active can have huge benefits for your health."
Experts say the problem is so bad it should be treated as a pandemic.
The report also revealed that Britain has one of the most sedentary populations on earth. In the UK, 63.3 per cent of the population fails to meet recommended levels of physical activity. In comparison, just 40.5 per cent of US citizens are considered inactive.
However, whilst smoking and inactivity kill a similar number of people, smoking rates are much lower than the number of inactive people- making smoking more risk to the individual. Dr Claire Knight, of Cancer Research UK, said:
"When it comes to preventing cancer, stopping smoking is by far the most important thing you can do."
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text:
ELEMENT necklace
indigo-dyed cotton, vegetable-dyed cotton, linen rope
Drawing its inspiration from the earth's elements, Field is a small, inter-seasonal collection with a focus on indigo. The natural-dye colourways—indigo blue, bengara red, pale pink—speak to the soft, calm palette familiar of Summer, but also the cool iciness of Winter, while the inclusion of khaki, persimmon, and deep purple add a touch of warmth to evoke Fall and the transition of seasons. Each of the pieces explore techniques in rope-making, coiling, and tassel-making.


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Separate names with a comma.
Discussion in 'Celebrity Endowments' started by TrentonLuke, Nov 9, 2010.
is this him? saw him on cam on manhunt
LOL that's not him. :biggrin1:
not even close. thats not him! lol! funny though! ha-ha.
doesn't look a thing like him
I bet Curt would love to have a dick like that though.
Clever way to sneak a thread into the celeb section though.
My Grandma looks more like Curt than that guy in the photo does.
Maybe that is "Spurt" from Glee: A Porn Parody
Actually Guys..it's Kurt
Not disagreeing with you bbb, but why do you say that. I think the photos looks like him.
I wouldn't mind it either. (Not on me necessarily...but to play with.)


text:
First Tutors helps you to find a private law tutor in Lurgan and anywhere in the UK. Local law tuition is an excellent way to bolster confidence while improving grades and doesn't have to be boring! Please use our service to search for Lurgan law tutors and select which best meets your needs.
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Seth Rogen Explains Why They Chose Michel Gondry for Green Hornet
by Alex Billington
February 25, 2009
When I first heard the news that Michel Gondry would be directing Seth Rogen's The Green Hornet, I wasn't sure whether to believe it at first. While I love Gondry, he just doesn't seem like the kind of guy who would direct a big-budget superhero movie - or so I thought. Rogen, who spoke with MTV recently about the news, enthusiastically explained why he is actually the perfect choice and even goes so far as to explain how they got him to begin with. After sending him the script, Gondry loved it so much that he shot a fight scene to try and prove to Sony that he could do it and make it look good - without using any cardboard.
Of course, Gondry doesn't only use cardboard, but if you've seen any of his films (specifically Science of Sleep or Be Kind Rewind), you know that he loves to use a lot of everyday material. He has a unique style, which I love, but it doesn't seem to lend itself well to a superheroes. But Rogen promises that this "will be a great combination… of both of our styles. It should have the type of conversational tone and comedy that me and Evan have been doing — and some of the action that we have been starting to try to do — along with the wild, visual imagination and funny awkward sensibility that [Gondry's] been doing."
If that's not enough to convince you that Gondry might be the perfect guy, then check out this story. Rogen explains that he got the script into Gondry's hands both for input and to convince the studio to meet with him. "They were skeptical of… I wouldn't say his ability to make a giant budget studio movie, but his willingness to make a giant budget studio movie. But he loved the script, he totally got it, which a lot of [potential directors] just didn't." From there, he overboard to prove he was the right director:
Gondry loved the Green Hornet script so much, in fact, that he began filming it immediately. "To convince the studio to let him do it, he filmed a fight scene on his own," Rogen marveled. "He just hired stunt men and did it by himself! Just to show some of the stuff he could do, some of the weird filming techniques he has and some of the stuff he can pull off. I mean, this is something he did in two days and it was instantly unlike anything you've ever seen before. It was impossible not to hire him once he presented what he could do for it."
I'd love to see that footage, but we'll probably have to wait for the DVD. Just hearing that story makes me so much more confident that Gondry can pull this off and that he does want to direct it (and isn't just taking a paycheck). "Me and [co-writer] Evan [Goldberg] have always been gigantic fans of [Gondry]," Rogen says. "We just like anyone who thinks outside the box, and there's really nobody who thinks more outside the box then he does; he's really a magician in a lot of ways." I couldn't agree more! With Gondry directing, I'm more excited for Green Hornet than I ever was before, even when Stephen Chow was attached.
And as for our concern about cardboard, I don't think we have to worry about that at all. "My direct quote to [Gondry] right before he met with the studio was, 'You have to convince them they're not gonna show up on set one day and everything is gonna be made out of cardboard.' And he said, 'I can definitely do that.'"
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What a man can do, a woman can do better is a popular phrase that drives women empowerment.
However, no matter the number of times this statement is made, there are things women find difficult to do in everyday life. It's not like they can't do it but I believe sometimes it's fear that prevents them from doing it.
Below are some things women find difficult doing.
1. Change A Car Tyre
Changing a car tyre ends with you having your clothes and hands soiled with dirt and sometimes grease. Before changing the tyre also, one must lift the car with a jack and that act demands some strength to accomplish. I guess this is what makes it difficult for women in general to change car tyres.
2. Fix A Light Bulb
This has got to do with electricity and women fear electricity. It doesn't matter if the switch is off. The process of climbing a stand and turning the bulb in the holder to remove it and then replacing it is not quite amusing to women.
3. Fix A Clogged Kitchen Sink
A choked kitchen sink can be a nightmare for a lot of people. It's either you use the suction cup or you remove the tubes and cups under the sink. This is quite a messy process. It has an awful smell too.
4. Wash Their Car
Washing a car is a messy task. You'll get yourself wet and dirty. Going down to wash and clean the tyre, the bumper, top etc., can be quite a task. I guess that's why women do not like doing this task.
5. Mount A TV Antenna
This is one thing I'm yet to see a woman accomplish successfully. Even indoor antenna's they find difficult to fix not to talk of outdoor ones which will probably involve climbing a ladder or getting on the roof of a building.
6. Connect TV With DVD Or Any Other Appliance
This is a job that requires some technical knowledge in the appliance, the type of cable and the kind of connection. It can get very frustrating since it's not always that straight forward.
7. Walk Barechested
This is something only men can do comfortably every day and get away with it. If you like, try and let's see….lol
8. Drive In Heels
A lot of women get into their cars and take off their shoes before driving, this is because they find it difficult driving in them. Heels on their shoes are normally long and therefore can get quite uncomfortable driving in them. It can get in the way.
Women love so many things about a man apart from money.
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Camping in Banff..
Banff Travel Blog› entry 6 of 32 › view all entries
We had hauled a tent and sleeping bags with us in the car, so we figured the best place to make good use of them was Banff. Afterall, it was the May long weekend and there was bound to be good weather. Right? ... right?
We drove from Edmonton with a stop in Calgary to see some of Denise's family. We got in around 7pm and called a couple of our friends who were driving in an RV from Montreal to Vancouver and who we were planning to meet in Banff. We had reservations at a campsite without hookups, so we drove up to the RV compatible site and managed to switch our reservation and get a great spot that would fit all of us.
It was getting dark and a little cold, so we layered up and decided to put up our tent before it got too dark. A couple mishaps and a re-do or two, we had our tent up and running. We stood to admire our accomplishment and saw a few deer standing about 20 feet away from our tent on the grass.
As the sun set, it got colder... and colder... and soon it was about 0 degrees celcius. We layered up even more and huddled in our sleeping bags, and finally our friends arrived. They set up their RV and since it had been a while since we'd seen each other, we spent a while talking and catching up. Both being on cross-country trips though, we were tired out pretty quickly.


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Autel MaxiDiag Elite MD802 Comprehensive Mini OBDII Scanner for ALL SYSTEMS
Color Screen, Comprehensive OBDII mini scanner for ALL SYSTEMS. Include EPB (electronic park brake), oil reset, and other useful functions at very affordable price. Comes with more than 40 makes include Holden and Australia Ford.
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|212 mm (8.35")\110.5 mm (4.35")\37.5 mm (1.48")
|0.28kg(without wire) 0.484kg(with wire)


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Iona Trailer (2015)
Part coming-of-age story and part returning-home drama, Graham's striking and enthralling film is set against the stunning backdrop of the Hebridean island of Iona. Named after her birthplace, Iona, played by Ruth Negga, returns to the island with her teenage son to seek refuge from a violent crime in Glasgow. Iona's return exposes her tormented son, Bull, to a way of life she rejected when she left the island as a teenager and sends a shockwave through the family she left behind.
Watch the official Iona 2015 trailer in HD below or find more Iona videos on Vidimovie.


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Miami, Florida (PressExposure) October 17, 2012 -- Countertopstores.com features a comprehensive list of countertops stores, suppliers, fabricators, importers in all over Florida. It has been working with an aim and that is to help customers, home owners and builders to find fresh discount countertops from genuine suppliers.
Recently, Countertopstores.com has announced inclusion of stores to ensure more in depth coverage with maps helping customers to find the best supplier in their neighborhood.
The announcement of Countertopstores.com came in the wake of the continuous requests that the company receives from the customers seeking countertop stores. According to the insiders, Countertopstores.com has been designed to make it easier for the customers to purchase countertops from the genuine stores, thereby ensuring better value for their money and investment.
Through this latest announcement, Countertopstores.com has emphasized on the needs of the Palm Harbor community. The website has been continuously improving to help customers find the most up-to-dated resource.
Countertopstores.com is usually chosen for kitchen countertops because they offer information on suppliers, fabricators, distributors in and around different neighborhoods of Florida dealing with the following.
1. Granite countertops
2. Laminate countertops
3. Marble kitchen countertops
4. Bathroom countertops
5. Stone Fabricator and Supplier
6. Marble vanity tops
7. Solid surface countertops
8. Cheapest Granite Countertops
9. Natural Stone Countertops, Kitchen countertops
10. Quartz countertops
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Whatever information you may be interested in, Countertopstores.com strives to offer the most accurate websites of vendors listed on their website. Countertopstores.com also provides the accurate location in order to help customers, home builders and home owners find their dream countertops at the right place.
If you want to learn more about Countertopstores.com, then you can visit the website http://countertopstores.com. You call at (1855)664-7465 to talk to them.
Countertopstores.com is a solely information based website dedicated to customers, homeowners and homebuilders. The site helps you to search for the best natural stone supplier, distributor and fabricator in your own area. You can find vendors clicking on the zip code and the city links. For instance, if you want the list of stone fabricators in Palm Harbor, then you would need to click the city of Palm Harbor and your zip code. Nevertheless, you can also come across companies by name if you know from before.


text:
- Home |
- Departments |
- HUUSD Board |
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- Universal PreK |
- For Our Staff |
- For Our Administrators |
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- More
https://www.surveymonkey.com/r/6JLJ5TZ - Click here to register
Foundations of Dialogue Education: From Principles to Practice
Dialogue Education™ (DE) is a learning-centered system of teaching and curriculum design that is uniquely purposeful, engaging, and collaborative. Unlike traditional methods that push information onto passive learners, DE brings the learner into active relationship with both the content and the learning process. As a result, DE has the power to utterly transform the way you teach, and to also transform the way your learners absorb and retain content.
In this dynamic four-day workshop, you'll directly experience the core concepts and practices of Dialogue Education. By the time you leave, you'll have helpful tools and skills that will completely re-engage your passion and purpose for teaching, training, or facilitating.
Based on the insights and pedagogy of Dr. Jane Vella, Dialogue Education focuses on how adults learn best: by becoming active participants in their own learning experience. DE is highly collaborative, and recognizes the rich resource of knowledge each adult learner brings into the session so that this becomes part of the fabric of learning. The methods are proven and the results are measurable and profound. Further explore DE's unique benefits.
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Class size is limited due to participative, learning-centered approach and enrollment will be first come/first serve. Please click here to register.
This workshop is free for HUUSD staff and includes all workshop materials and supplies, a substantial workbook, and two teaching tools. You also will receive your own copy of Dr. Jane Vella's book, Learning to Listen, Learning to Teach.
Course Schedule
August 23-24, 2017 and October 5-6, 2017 (*must attend all 4 days)


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The Bluetones - Once Upon A Time In West Twelve (Music CD)
Release Date: 25 June 2007
Artist: The Bluetones
£6.79 includes FREE UK Postage (other delivery options available)
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Release Date: 25 June 2007
Artist: The Bluetones
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text:
Welcome to WebmasterWorld Guest from 22.214.171.124
Would someone be able to give me some advice on a dispute over a domain name?
UK company owns abc-xyz.com
US company owns abcxyz.com
US company bought their domain around 2000, but have received virtually no traffic at all, though they also own the Trademark abcxyz.com
UK company bought abc-xyz.com in 2003 and receive approx 5 million hits/mth.
Both companies deal in similar fields.
US company has contacted UK company via email and demanded the domain (abc-xyz.com) be handed over, otherwise they will go through WIPO.
US company has also offered to sell the abcxyz.com domain AND trademark to the UK company for $10,000.
If I had it I would spend it. As it is, there are a few incarnations of my domain out there that have been a thorn in my side for a few years. I find it amusing that they are trying to play this one both ways.
That is, assuming that my assumptions are correct.
Yes, your assumptions are spot on!
I believe we should spend the cash, but can you sell a US Trademark in that way to someone in the UK?
What sort of case would they have though (realising nobody here can give legal advice)?
I've looked at past instances of similar cases and it seems very 'hit or miss' to me.
Thinking out load, is the domain fairly generic. For example:
if is it more like
and it is ford who have contacted you you will be on shakier ground me thinks.
Welcome to WebmasterWorld by the way :)
Lots of bogus claims in this realm IMHO.
I've called the UK Patent/Trademark office, they referred me to Nominet (err this is a .com not .co.uk) - neither have helped.
Called the Tradmark office in the US, no one was available to talk (except the receptionist).
Any advice on what I should do next?
Talk to a lawyer. NOW. Anyone who gives you any further or other guidance at this point is doing you a disservice and you are doing yourself a disservice by mining for guidance here.
Webwork, Esq.
You may still have a legal case but when you see what domain name lawyers charge you'll realise that $10,000 won't get you too far anyway. Meanwhile, if these guys are contacting your customers I believe they've seriously overstepped the line and you may well need to go down the legal route to get an injunction.
I don't know what business you're in, but it seems like a site with 5MM visits a month (something in your first post) should be able to afford the $10K, which seems quite cheap. You'll easily burn through that in legal fees if you end up pursuing either a claim or counter-claim to its end.
As far as owning TMs in another country, all I can say is that my company owns a dozen TMs in different countries, even though we're a US company. Our TM attorney has told me (paraphrased):
There's no such thing as a global TM. There's just a collection of TMs in each country.
Whether that applies to your situation, again, I can't say. Definitely time to call your solicitor.


text:
This interview focuses on Kristina Darling's X Marks the Dress: a Registry, co-authored with Carol Guess and Lightsey Darst's DANCE.
Virginia Konchan: In both of your recent books you explore the semiotics of fashion in different ways. In 1967, Barthes made the connection, in Elements of Semiology, between text and textiles, describing the text as an interwoven fabric of quotations drawn from culture, rather than from any single reading experience. Referring to textual production as a "garment system," Barthes describes the act of speech as comprised by "all the phenomena of anomic fabrication" or of individual style—tracing the very origin of the word "text" to the Latin past participle texere, to weave or fabricate. The author's successor, the scriptor, exists simultaneously with the text, not in a subject/predicate relationship, dislocating the text's meaning to "language itself" and the effect on the reader.
From the punk band Glamour Kills to the relationship between fascism and fashion (a symbolic code too often replacing signification through speech or writing for women with a codified language—literalized through semaphores such as sex bracelets worn by middle-schoolers indicating what sex acts they perform, or a diamond ring signifying a woman's unavailability as well as cultural "worth"), the idea that "clothes make the man" takes us to the metonymic conflation, in "polite society" between a well-dressed or spoken individual and his or her character.
Can you speak to the semiotics of fashion (as a signifying system) in your two books, which present female speakers with various degrees of agency, as well as to silencing? I'm especially curious how you relate the semiotics of DANCE, Lightsey (la geste rather than logos, as signifier) to female agency.
Lightsey Darst: When I went to make hell (the first section of the book), I turned to what I had at hand. I was interested in making an attractive hell, a seductive hell, a baroque and beautiful hell, and so I went for what makes me feel a really nasty appetite: fashion. Somewhere along the way, though, I started to think about fashion not as an inherently cruel system, but more as an amoral growth formed in reaction to other cruel systems. So fashion may be nasty, but also redemptive—as when a woman remembers what she wore for the last time that she saw her beloved, remembers how she concealed or revealed or altered her body, how she made herself appear. And appearances are realities. Local glamour. Alteration of air.
Kristina Darling: That's a great question. When writing X Marks the Dress, my collaborator and I were especially interested in exploring the ways that culture is historically sedimented, particularly the various rituals and etiquettes associated with weddings. The book takes the form of a bridal registry, with each poem named for an item on such a list. Carol and I sought to evoke the myriad ways that contemporary beliefs, desires and sexualities don't fit within such a heteronormative framework. Just as the book creates a discontinuity between form and content, the identities of the characters don't conform to established gender categories, particularly since these identities question, blur and ultimately reject these categories.
With that in mind, I like to think of clothing, particularly the highly gendered attire worn at weddings, as vestiges of history that we carry with us, and that inform our thinking about what is possible within love, relationships and for the individual self. In much the same way that language circumscribes what is possible within thought and expression, the particular types of clothing associated with gender identities restrict what is possible within our thinking about selfhood and the expression of personal identity. When writing X Marks the Dress with Carol, my goal was to make the reader suddenly more aware of the ways that gender, and the clothing we wear when we perform gender, are historically sedimented. We carry the weight of history with us, and cannot be unburdened unless we become more aware.
In this respect, I think that X Marks the Dress shares many parallels with Lightsey's magnificent collection, DANCE. What struck me most about Lightsey's book was the way in which cultural artifacts become ornamentation, yet the reader is so artfully reminded of the histories these items carry with them, since imperialism and violence are not far beneath the shimmering surface. What I love most about Lightsey's work is the way she prompts the reader to question the structures of power and authority associated with beauty, ornamentation and artifice. I think we're both invested in the ways in which belief systems manifest in material culture, and the vast histories that are housed within the most commonplace items.
VK: Lightsey, I'm wondering how you relate writing to dance (step work in formal dances—from the waltz to the quadrille, to meter, and purpose and design, or classical ballet with the illusion of weightlessness or modern dance with its interest in showing seams of textual and self-construction to be a made thing), or dance to paraphrase, fracture, question, conversation, interpolation, to the question of authorizing powers (the inventor vs. the executor of forms)?
LD: What a wonder it was to be able to go to studios where people were making fantastic dances and sit in the corner and take notes. Minneapolis Dance made this book possible. Hijack (the duo Kristin Van Loon and Arwen Wilder) showed me how the inside of the work can be one thing and the outside another. Chris Schlichting gave me the formal idea of total gratification (for the paradise section). But these connections are difficult to explain, because you would have to know the dances I was looking at. Another way to put this: I'm not a dance artist myself. In DANCE, I pay homage to some elements of dances I have seen and I employ some ideas from choreographers I've known, but I don't think that I alter or critique or plumb dance itself.
VK: Quoting from your poem "Crocheted Tissue Box Holder," Kristina: "I can't save / you: I can only be careful…We'll lash our rings to a red satin pillow. / Keep the flower girl leashed. Use erasable ink." How do your speakers metamorphize from muse (template or mannequin, with "virgin eyes") to speakers, rather than to inscriptional, blank fields (virgin white prevails, as a color, in DANCE), and how are you complicit, or compassionate, with these flower girls, as "authors" of these texts?
KD: I think you're right that my poems are, to some extent, complicit, or compassionate, with idealized depictions of femininity. I've chosen this direction for my work because it's impossible to completely discard culture, even with its many flaws, and the ways in which it circumscribes possibilities for the individual self. I say this because I'm at heart a pragmatist, and I believe that it's more effectual to work within the confines of culture and expand what is possible within it. When writing X Marks the Dress, Carol and I were especially interested in presenting an expansive, and more inclusive, definition of marriage, as well as the ways that an individual can inhabit such a union.
For me, the speakers of the poems enact the traditional relationship between muse and poet (who speaks on behalf of the muse), while at the same time revising and modernizing that relationship. For me, this critique of the poet/muse relationship mirrors our critique of the husband/wife relationship, particularly as the characters transgress boundaries between these received categories of identity. The muse is no longer silenced by the poet, who writes on her behalf, but rather, she inhabits both of these roles, in much the same way that the speakers metamorphose from bride to groom and back again.
With that in mind, I think that Lightsey and I share an interest in unearthing culture, as this is the first step toward opening up its possibilities. I love that Lightsey's book presents poetry as archival practice, one in which texts (Defoe, John Donne, etc.) are brought into new syntactic and cultural contexts. I think Lightsey and I ask similar questions: To what extent can old frameworks be adapted? How are our belief systems enacted and embodied by material culture? Which cultural artifacts can be salvaged, and which cannot? Although our work takes somewhat different forms, I believe that we do address many of these same concerns.
LD: Let's hope virgin white doesn't prevail. … I don't know that I have a sense of such speakers here—or not to the exclusion of other speakers. Certainly in my last book (Find the Girl, 2010), a flock of girls find their way through to their adult (mythic, wicked, terrifying) voices. Here in DANCE, I think or hope that we all wander towards an ecstasy which is not so much about speech but rather about becoming and undoing.
DANCE was not really intended to be a female book (as opposed to Find the Girl). However, I am a woman, and so it seems that I've written a female book again. Funny how that works.
VK: Violence (socio-symbolic, domestic and historical), from kidnapping to murder, underscores these texts.
From Kristina's "Appendix C: What Survived the Holocaust":
I was stolen." "Stashed between / my mother / clawing…marriage / dissolves: / She's / chained // face first."
And, from Lightsey's "Cleveland":
Last seen wearing a yellow blouse, gray tweed skirt, white bobby socks & black-bow
ballerina flats. a bracelet-length sleeve is simply more elegant, but no tourniquet is enough
& corrodes the flesh beneath. [go home girls] Black velvet rich on both her sides
(speak each way) corrupts, & rend apart the tacked-down tears to hope, enchain & out glides
[sorry love] "tucked up today's scar" ruched blood in a narrative "so fast lord loud &
at the same time (as in ashes they find your gold more easily / beautiful" hand
(beautiful") that ambles, spiderlike, through her unguent pots in search … you swallow
enigmatic jewel, twelve emblems & a secret motto" / the story's gore—eternity or so
in malachite & kohl. Those pleasing girls, out late, looking glass guardrail and I walked
into my own—it was cold there—thus the furs. Smooth walls" so thin hands take
back each necklace of poisoned hearts—how once hung, she thinks / nothing /
nothing" torture. birchbark skin signed in bruise.
Thinking here of Karnya McGlynn's I Have to Go Back to 1994 and Kill a Girl, and of Julie Carr's disturbing 100 Notes on Violence, how does the history of documentary and confessional poetry or poetries of witness factor into your work?
KD: When working with Carol on this collaboration, I was especially interested in the ways that language systems, particularly the judgments, metaphysical categories and worldviews that they communicate, constitute a kind of violence. After all, the rules of language, its grammatical and syntactic structures, circumscribe what is possible within thought and expression. I'm deeply invested in not only documenting the ways in which language shapes consciousness, but also exploring the exciting possibilities (for meaning, for poetry and for one's personal identity) that exist at the very edge of what's intelligible in language.
I find it tragic that we often lack the language to describe something that exists outside of a heteronormative framework. For me, this paucity becomes especially apparent when thinking about the ways we talk about weddings. There's always a bride, groom, bridesmaids and groomsman. There's a white dress and the bride is the one who's given away. Because language embodies and enacts certain ideals about what gender should or ought to be, it becomes difficult to label and describe anything that exists outside of (or beyond) a heteronormative framework. I think there's something inherently violent about a language system that limits possibility.
With that in mind, I'm fascinated by the ways that Lightsey's poems suggest that objects, and material culture more generally, act as a kind of signifying system. More often than not, these items that she describes signify a violent past. This is at times a linguistic/metaphysical violence in addition to literal violence. I'm very interested in this idea that something that resides outside the boundaries of language proper can signify so powerfully the violence inherent in our attempts to communicate. Lightsey's book was really a joy to read, and has opened up new possibilities for thinking through these questions in my own work.
LD: Yes, I read 100 Notes on Violence somewhere on the way to my own book, and I loved that form, journal-cum-poetry, which I am still learning about in my current work.
That poem "Cleveland" concerns a particular pair of murders that I obscured because they aren't mine to write about. I kept wavering on that line: What am I allowed to write about? I write about the slave trade in DANCE, for example, and about lynching, both very obliquely. I'm still not sure about my approach. It's safer, with any particular atrocity that isn't your own experience, to either leave it out or make it the subject, but I wanted to be honest about the place these atrocities occupy in a life that might be mine.
I'm thinking about Turner's The Slave Ship right now, with its little tufts of hands and limbs barely distinguishable from the fins of fish and the turning waves, easy to miss in a first view of the storm and the ship and the marvelous sky. Turner made a hard object there, hard to look at, hard to think about.
VK: Mario Lupano and Alessandra Vaccari's Fashion at the Time of Fascism explores and compares a huge range of forgotten archival sources, such as women's glossies, fashion, film and gossip magazines, photo archives, exhibition and commercial catalogues, books, manuals and magazines on tailoring, dressmaking, design and architecture, and corporate and government journals through the four basic themes of "Measurements," "Model," "Brand" and "Parade."
Fashion at the time of fascism is an interesting gambit, as is, today, the retail industry's complicity with the "economic stimulus" linchpin of free-market capitalism: buying more consumer goods to bail water from a debt economy, female agency translated to purchasing power, discretionary income spent on decorating the body rather than improving the mind, decline in quality from sweatshop labor exacerbating the disposability of goods (and thus the landfill crisis). Under this aegis, is refusing to buy (or refusing to dance, perhaps, if marionetted or as a chorus girl) to refuse inauthentic forms of subjectivity and relation?
KD: This book sounds fascinating, and I must get a copy of my own. Thank you for the recommendation. I find this question intriguing for several reasons. When writing X Marks the Dress with Carol, we were both interested in the ways that heteronormative assumptions about gender are deeply embedded in consumer culture. In many ways, consumer culture, even in a freemarket capitalist society, represents a kind of dictatorship of ideas, values and identity politics. Carol and I were both interested in working within these inauthentic forms of subjectivity and relation in order to expand what is possible within them. So the wedding registry becomes an argument for marriage equality.
In this sense, I think that Lightsey and I are taking up similar questions, albeit in different forms. Her stunning verse addresses many of the same concerns that are at the heart of my hybrid-genre collaboration: To what extent are we complicit in perpetuating these inauthentic forms of subjectivity and relation? How can we move more effectually, with greater awareness and the possibility for change, within a flawed and somewhat violent system? I don't think there are any easy answers to the questions, but I see my book and Lightsey's as initiating a dialogue.
LD: A woman gets dressed for a lot of different reasons. Fashion is not always a luxury. I've noticed lately how often fashion is the target of thrifty talk ("Beware of all enterprises that require new clothes," Thoreau warns)—fashion rather than, for example, weapons (beware of enterprises that require new guns, we might say).
But, then again, Thoreau finishes the above thought by preferring, over new clothes, "a new wearer of clothes." I can get behind that. Let's have a wearing that is sensual and informed. Let's see how that paradox looks on us.
VK: Kristina, I'm thinking of your poem "His-and-Hers": "Everyone brought babies to the bachelorette party. / Some were real and some were fake."
Or, in an extended example, from "Pizza": As we flipped through the album, I noticed a / handsome stranger standing half in, half out of / several photos" says the narrator. "Explain that man," she demands.
His response:
Darling, you know how my mother and father / rejected me? How they said they couldn't support / our relationship, that our wedding was an insult to / God? Well, I told my parents I was marrying a / man. I hired an actor to play my husband…I did the ceremony real quick, just a few / people…He has an apartment on the / south side of town. He has kids from his first / marriage, Becky and Jeff.
Those are our kids' names.
I know, you said. That's why we had to name / them Becky and Jeff.
I'm fascinated by the different ways these texts forge poetic taxonomies, as part ars memoria, part legerdemains of social expectation and debt—whether as wedding registries and photo albums, for Kristina, or for Lightsey, in occultist forms (horoscope machines, Kabbalah, the gnostic gospels and botanical charts).
I'm curious how you see your work engaging with the drive to make "an account" of items: the past, indebtedness, as well as issues relating to validity or proof (prophecy, authentic, copyright, forgery)?
KD: I love your description of the book as a "legerdemains of social expectation and debt," since I feel that this gets at the very heart of what Carol and I were striving for. When writing X Marks the Dress, we both were interested in the various ways that social expectations shape our identities, our goals and the course of our lives. But I like to think of our book not as looking backward and documenting past social expectations and pressures, but rather, as a project that's more oriented toward the future. By taking an inventory, by assessing and documenting the current cultural climate, we both hoped to play a small part in changing what is possible within culture, to open up new possibilities, rather than examining all the ways that possibility has been foreclosed. I think of writing as consciousness raising, a means to document the many inconsistencies between the beliefs that mainstream culture holds and the actual people who inhabit that culture.
In this sense, I think that Lightsey and I are addressing similar concerns, but with a subtle difference. I was intrigued by Lightsey's concerted effort in DANCE to suggest that language and culture get permeated by a past, and belief systems, that we don't necessarily consent to or endorse, though nonetheless we find ourselves engaging with them through our participation in culture. I'm interested in this idea of the legerdemains as a means toward gaining greater consciousness of the beliefs and assumptions embedded within culture. Poetry, for Lightsey and for myself, serves as a form of consciousness raising. I think we're asking many of the same questions: how can we inhabit a culture that we don't consent to, and with unknown origins? What's fascinating about Lightsey's work, and what distinguishes her work from my own, is that her book opens up the possibility of consenting (or not consenting) to the culture we find ourselves immersed in, as the reader is rendered suddenly aware of its origins.
LD: Yes. It's important to owe, to acknowledge owing. I don't believe that there's nothing new under the sun, but constantly striving for newness can mean overlooking the beautiful and painful wreckage that must be reckoned with. I wanted to pick up things that had moved me for obscure reasons and reset them. And yes, there's a connection to tarot and other fortune-telling devices, because those occult systems are collaborative constructions, made of our shared dream-images.
I did get a little obsessive about text in the making of DANCE, saving tiny bits, stitching fragments together in piecemeal torrents, feeling all of it as material—but, come to think of it, I always am that way. I am still marveling over the idea that our words can survive us and speak intimately to utter strangers hundreds of years later. I am immensely grateful for my experiences with the inner lives of others, and I always find it hard to let anything go, though of course editing and filtering is vital work. In fact, perhaps that's what the work of the writer is.
VK: To risk representation is to risk being reduced into a perceptible object, in the eyes of the other: to risk being objectified, reviled or just misunderstood. And yet, to remain mute is to be represented (dressed, oriented, staged and spoken for) by another, usually male, authority. As post-Language writing (the dance from and between silence, the mark, the sign and the letter) attests, mimesis is requisite to begin the process of women's signification in Western culture, as a necessary step on the pathway to (re)signification—yet imitation cannot remain stagnant as a site of mere recursivity. How do you see yourselves, as female writers, subverting or interpolating with literary traditions and power structures (Victorian, modern, postmodern) and the cult of femininity, writ large? Is this aesthetic dilemma more fraught, do you think, for women, for writers, and why?
KD: I'm intrigued by this question and, for me, it's intricately connected to genre categories and how they function within the literary community. My collaborative book, X Marks the Dress, takes the form of prose poems, flash fictions, footnotes and erasures. For me, this subversion of genre categories remains inextricable from the subversion of power structures within the literary community. More often than not, genre categories serve as a means to exclude writers from public spaces. If something doesn't fit within established frameworks for thinking and writing, it becomes difficult to publish or promote, as it seems "unintelligible" to those in mainstream culture. Additionally, work that resides outside of the traditional categories of Poetry, Fiction and Nonfiction often doesn't fit within the means of production and dissemination. With that in mind, I think of the experimental forms found within X Marks the Dress as expanding what is possible within the existing means of publishing, disseminating and promoting literary texts.
I think that there's a reason that women are drawn to these hybrid genre forms, since the genre categories that we've inherited are so intricately connected to a male tradition. Adrienne Rich once said that she refuses to write in a tradition that's hostile to her. I think that's part of the reason that hybrid genre and post-genre forms are so appealing to those writing from a feminist standpoint.
LD: It's like this: I'm in the water, so I'm swimming. Occasionally I have a thought about how to do or survive something or other, but these realizations are makeshift—practical rather than theoretical.
I do have a sense of working through a series of quandaries. At the moment, I'm trying to figure out how I feel about revelation, in particular in relation to sex. Some people seem to be trying to wear out the category of the abject. Can you do that, I wonder? Is it a liberating or a puritanical pursuit? I understand the urge to get our bodies and our sex lives on the page as normal, as things you can simply mention as you would a plant. On the other hand, I like a dangerous edge in my revelations—I wouldn't want to lose that.
I've had this thought before: I'm fucked up; I use my fucked-up weapons and enjoy fucked-up pleasures. And everyone in a culture can say the same. (And so, while I think questions of identity loom larger for writers saddled with an identifying adjective of some kind, I believe everyone does face these problems.) However, it is one of the tasks of the artist to go against training, to try to undo some of one's acculturation, to be in some way wild.
VK: Politics of class surface in your books in fascinating ways. From Lightsey's "Treasure":
All last season, the skeletons rose and fell on biers of pack ice—I mean the frames of slaves, / gilt & cast out, amber veins sprayed in a soft net, generous as fish scales in a river's harvest. / Meanwhile, our vacant mansions stand in fields of mud, their windows maze cracked under the strain / of bending idle lines of sight while a single horse, tired of providing scale…).
According to critic Paul Fussell, we are what we wear, signifiers of apparel (from blue jeans to badges to feather flourishes), revealing what our clothing says about class, sex and our desire to belong to communities (military, the church, family, health care, sports, universities, civic life).
Do you envision a time (Lightsey's "raveling edge of this event horizon") when we don't need these signifiers of class to "mark" us as purchasing agents in a male imaginary—homo economicus rather than (however post-humanist) subjects? Similarly, do you envision a time when women aren't taxed with the role of signifier, rather than signified (providing economies of scale, marking, as in Kristina's work, place, wherein the self is substituted for a material fetish, without the power to actually assign value)?
KD: That's a thought-provoking question. I don't necessarily envision a world without these kinds of signifiers, since history will always be present in some way, informing how we inhabit gender, and even our conscious experience. What I do think is possible is the increasing subversion and repurposing of the very signifiers you describe. When writing X Marks the Dress, Carol and I were very interested in exploring an imaginary world in which signifiers no longer mean what we think. For example, a white dress wouldn't normally be associated with a critique of marriage, of gender and of heteronormative culture. Likewise, the groom's magnificent tuxedo conveys a growing sense of unease with these signifiers of class. Indeed, the groom's attire comes to signify the intense amount of pressure that cultural constructions of masculinity place on the individual. One must not only support oneself, but be able to purchase and support the bride as well. The signifier is appropriated as part of a critique, a subversion of the very system it represents. With that in mind, I'm very interested in literatures that reinscribe these cultural artifacts, these material signifiers, with new and more complex possibilities for interpretation. I think that Lightsey and I share an interest in changing, or prompting the reader to reexamine the values we attach to material artifacts, as these bear the weight of complex and difficult histories.
LD: Not really. I'm not a forward-thinking person; the present absorbs me (with the past in it: "the new moon with the old moon in her arms"). I think my "raveling edge" is scary—a millennial fantasy. Of course our personal raveling edge will come, and then everything will be different…
To answer this another way: In the last section of this book, the paradise section, I imagine everything coming right again—bodies growing in the roots of a lynch tree, for example. And things have changed since I was young. But I note that some of the changes are beyond my experience, in the same way that integration is beyond the experience of people who finished school before the 1960s. I can perhaps gesture at these changes that already are too late for me, though.
VK: "Since when is pretending a job?" asks the speaker of Kristina's poem "Pull-Out Closet Organizer & Shoe Rack." "I'm still paying / the mortgage with my fashion sense: pink / sunglasses, matching pumps, & your favorite dress…Clothes cost money, darling. A / husband like you should foot the bill."
Walter Benjamin claimed epic theater a process by which to "make gestures quotable." Speaking of these fissures between forms of signification, and labor (performing femininity in lieu of other viable employment options in the market), could you speak to the politics of performativity in your texts or fashion, attenuating the contiguity between form and appearance ("self-expression"/performance, role-playing and drag)?
KD: I'm intrigued by your reading of the poem. When working on the collaboration, I became very interested in the emotional weight that we attach to objects: "pink sunglasses," "pumps" and "a favorite dress" come to represent the tensions, insecurities and resentments that culture breeds, particularly when one falls short of the commonly accepted definition of "femininity." Clothes, and the material artifacts of femininity, become a means toward critique, subversion and manipulation of the very system that perpetuates these definitions of what womanhood should or ought to look like. With that in mind, I became invested in creating a speaker who used clothes and other material artifacts to lash out, manipulate her surroundings and get what she wants. I tried to create moments where the speaker found herself suddenly empowered through these supposedly repressive artifacts of femininity.
LD: More and more, I think of a poem as a script or score for the reader. A friend recently pointed me to this, from a Paris Review interview with Helen Vendler:
I don't believe that poems are written to be heard, or as Mill said, to be overheard; nor are poems addressed to their reader. I believe that poems are a score for performance by the reader, and that you become the speaking voice. You don't read or overhear the voice in the poem, you are the voice in the poem.
So yes: I have this desire to get people moving and uttering things and wearing difficult emotions on the outside. When I read, I often get other people to read my poems with me, and I really enjoy that—enjoy the vulnerability of reading, perhaps. I did another performance recently as part of a residency at the Walker Art Center Library in which participants simply read, silently to themselves, sitting at a table. People are beautiful when they're reading: the arc of the hand, the angle of head to page, the quiet receptivity. When we read, silently or aloud, we are able to entertain what's dangerous. We are in a play space.
VK: One chasm of modernism was the question of whether language itself was "merely ornamental," describing rather than enacting reality (no ideas but in things), or can language do (or rather, be) both.
How do you deal with the materiality of language: the actual wrestling with words, as objects, the means by which we signify, as well as the communicative utterance (structuring desire and intention) itself?
KD: I love the fact that you've read X Marks the Dress in the context of the debates surrounding literary modernism. Much of my scholarly research addresses modernist women poets, particularly H.D., Mina Loy and Gertrude Stein. When reading their work, I'm always interested by the ways in which language can be ornamental in the sense that you describe. But I don't think that language is ever merely ornamental. I'm interested by this aperture between description and reality, and think that these modernist women poets used it to subversive ends. For instance, there are moments in H.D.'s poetry where she describes the events of her life, but also layers that description with historical material, particularly classical sources that represent an alternative worldview when compared with the urban industrial society she inhabited. Thus the ornamental qualities inherent in language serve to convey a sense of time as recursive, to communicate the layered quality of experience.
I definitely see X Marks the Dress as emulating these amazing female writers. The book has several appendices, which are written from different historical moments: Victorian footnotes, contemporary flash fictions and erasures that resist being situated in any given time or place. In this sense, language as ornamental, particularly as description is heaped onto description after description, serves to convey the idea that culture is historically sedimented, that we bear the weight of all of these narratives as we inhabit culture. I think that Lightsey and I have really taken a similar approach to layering many narratives, which take place at different temporal moments, to convey a sense of time as recursive, and history as layered, sedimented with so many fragments of culture.
LD: If I am pushing to say something, usually there is a problem.
However, I have a hard time obeying the rule I might lay down about that. So I do push to say on occasion. I do put my desires in words. There's a sort of nakedness about my work that sometimes strikes me as embarrassing. Why is it like that? I imagine, maybe we all do, a poet who is completely open to the objectness of words, who really does not want for you, the reader, to get anything in particular (and not just from any given line, but from a whole book). But this strikes me as an outer bound—like the ideal of a body absolutely without unneeded muscular tension (for dancers, this is a holy grail). Perhaps this would strike us as inhuman if anyone attained it.
VK: Love can't be bought, only given, or withheld, yet it too (the ultimate surplus value) can also be made into a transactional fetish (an object or token or formalized "act").
As one of Lightsey's speakers says:
Love me? down to the very gene, viral sheen of my crown & breath spent, heart gnawn, you see, I didn't make it. [many dismal objects] [Coffined] Can't shake
this mood, this sorrow, not an accurate word. This sense of thin ice & break. Listen:
Once they'd reached this point, some sort of reckoning was inevitable. "Morbid."
Both your books are rather damning or at least suspicious of bourgeois institutions, whether of marriage or culture. Lightsey elsewhere references these boxes or spaces as "hysteria zoo"; "perfumed grave for the demimonde"; "prison"; "house locked up, sealed on a scream of a jade design."
Is there a neo-Gothic element of real, not just campy horror (Poe's "death of a beautiful woman" and other archaeologies of matricide or the return of the repressed) to these reified coffins you describe, wherein speakers must scream to be heard (or not, for, say, Kitty Genovese), or, as a cry for help, not speak?
LD: I wound up writing a lot about the Black Death, which is horrifying and certainly Gothic (all those woodcuts of maidens dancing with skeletons). I was trying to imagine, in a human way, the worst thing that can be imagined. The Black Death might be a safe space for that kind of imagining because it's so distant and so…Gothic: that is, so aestheticized. But, of course, the real category of the worst thing imaginable goes on growing, and I did some wrestling with that too.
What does this have to do with something so small as a marriage? We feel what we can in the lives that we have. To feel more, you have to change the circumstances of your life.
VK: Somewhere between the cultural functions of poetry (marking, mourning, commemoration) is the making (materially, and as vision) of the new. I'm thinking of Lightsey's lines, "Taken from the center & thus we see what held there all / Along … I was raised by wolves …/ & I will lose myself in oleander," and the formality of beginnings and endings (to our poems, and mortal lives). How do you address the volta to the "beyond" from the cyclicality of life and death: the death drive, into life, ownership, community, pleasure? Again to quote Lightsey: "My plants were rescued from the site of the downtown public library when construction was commencing. I talked a workman into digging up the clump of leaves (not knowing exactly what the plant was), and we split them. I hope he has enjoyed his as much as I enjoy mine."
LD: That's my mother! She was writing a weekly email that year, each email featuring a different bulb that was blooming in her yard.
Let's see: I had set myself the task of following the form of the Divine Comedy. That meant, dauntingly, that I had to get to Paradise. And it was a strange time to get to paradise—2010, 2011, when I was writing this. There were deaths in my family and among my friends. And the decade just past had felt so full of suffering and disaster, all over the world. Where was paradise in all this?
A friend told me that the ending of DANCE felt less like a paradise and more like a reckoning. I can get with that: Paradise is a return with a difference.
I'm having trouble composing this answer, I admit, because I had a lot of quasi-mystical thoughts and a lot of personal experiences that led to the altered state that occurs at the end of DANCE, and I think most of them are neither here nor there for readers and fellow writers. …The writing changes you. It's not inert. It is one of the primary relationships in a writer's life.
Kristina Marie Darling is the author of 17 books, which include Melancholia (An Essay), Petrarchan and a forthcoming hybrid genre collection called Fortress (Sundress Publications, 2014). Her awards include fellowships from Yaddo, the Helene Wurlitzer Foundation and the Hawthornden Castle International Retreat for Writers, as well as grants from the Kittredge Fund and the Elizabeth George Foundation. She is currently working toward a PhD in Poetics at SUNY-Buffalo.
Lightsey Darst is a writer, critic and teacher based in Durham. Her books are Find the Girl and DANCE. You can find her criticism online at mnartists.org, walkerart.org, The Huffington Post and Bookslut.


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I chew gum like a mad man, especially at work! I love trying out new brands and flavors, which is what prompted me to try out Stride ID gum. I'm sure most of you have tried Stride gum, which most people know as the gum with the crazy commercials! They have great flavors (and lots of them!) which has always been what I've loved about Stride. But recently Stride Gum released a whole new line of gum aimed at teenagers (Or anyone who would like to try something new for that matter!)
What Stride ID says about this new product: iD gum not only boasts a delicious twist on much-loved flavors like Peppermint, Spearmint and BerryMelon – it's also packaged in a sleek, innovative folding pack featuring a new and unexpected magnetic closure.
Stride ID is encouraging teens to explore their own individuality, which is where the "Kinda" mentality comes from (kinda more than gum. kinda amazing.)
The packaging on this gum is AMAZING. After you unwrap it, you get a unique picture on each pack by emerging artists. I have to say the artwork is pretty fantastic, its abstract and just really interesting to see it on the front of a pack of gum! There are 18 designs in total, which makes the packs quite fun to collect! Each piece of gum also has swirled designs on them, almost too cute to eat!
I do have to say my FAVORITE thing about this gum though has to be that it has a magnetic closure. Usually when I carry gum at work, it tends to fall out of the package and then the wrappers open in my pocket, making the gum no good. I am so happy that this concept was created, I no longer have to throw out my gum because it's full of lint or dirt from the insides of my pocket.
This range of gum has three delicious flavors: Berry Melon, Peppermint, and Spearmint. My favorite has to be Berry Melon. I'm big on fruity flavors and this one is a unique mix that doesn't disappoint. Peppermint and Spearmint are your typical minty flavors, but I've found they last much longer than other gum brands, a huge plus.
Overall I've been absolutly loving Stride ID gum and urge you all to try it out! Check out the video below for more information on the gum and a special website created by Stride ID full of unique, extraordinary arcade games for ID gum chewers!
ID GUM's FACEBOOK PAGE:www.Facebook.com/iDGumPage
Content and/or other value provided by our partner, iD GUM.


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At Gemvara, we believe that the yellow gold round ruby jewelry you wear should be precious because it's personal. Every beautiful Gemvara design is made just for you, in your choice of gems and precious metals. Your child's birthstone in white gold. Your favorite gem in palladium. Add your own meaning to every design, creating beautiful memories and brilliant reminders. It's jewelry for all life's occasions, from a wedding or holiday to your own personal milestones and celebrations. Gemvara uses only the highest quality materials to craft your yellow gold round ruby jewelry with meticulous attention to detail. Our precious metals are recycled or responsibly mined. Our wide selection of yellow gold round ruby jewelry by Martha Gomez Gutierrez, Bijoux & Bijoux, Jessica Behzad, and other talented designers means you can find jewelry that's just your style. In legend, ruby is the gem of the heart with the power to kindle the flame of desire. Ruby is the July birthstone, the 15th anniversary gem, the 40th anniversary gem, and the zodiac gem for the sign of Cancer. Gemvara's rubies are chosen for exceptional color and lasting value. Round is the classic gemstone shape because it has the most brilliance of any gemstone cut. Classic 14 karat yellow gold is both beautiful and durable. Gemvara also offers every design in rich 18-karat yellow gold, which has a more buttery color and is 75 percent pure for long-lasting value. Clean your yellow gold round ruby jewelry with mild dish soap: use a soft brush where dust collects. Gemvara's fine quality yellow gold round ruby jewelry is designed to be passed down for generations to come, crafted by hand in the United States.
We can help right away. Chat with a jewelry expert now!


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Salman Khan fans out there, here's a breaking good news for you all. After megastar Amitabh Bachchan, Salman Khan has joined Facebook. Salman has launched his official Facebook page and would be using this medium to connect with his fans worldwide.
The actor's facebook page went live Friday morning and has already got 2.6 million likes. In a video message posted on his page, Salman said: "A lot of people told me 'there are so many of (your) fake Facebook pages, so when are you joining it'. So here I am on this platform."
"Jitne fake pages hain woh ya toh woh join kar le is page ko or kya kahun main? 'Fake off' (So all the fake pages either just join this page or, what can I say, fake off)." "We are opening Being Human stores all over India starting October," he added.
Click here for Salman's official Facebook page
Read more about: salman khan


text: Okay...so I read that hulu is blocked on our phones, and someone said to try netflix instead. Well, I have a netflix account and it sounded like a great way to stream something for the kids when we're stuck waiting. But...NO IT DOESN'T WORK! UGGHH!!! Am I missing something? Has anyone gotten either of these to stream on their droid? I'm rooted and running BB v0.4 if that makes any difference. TIA for any help!


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The Rev. Mark Andrews, District Superintendent
3400 Shamrock Dr., Charlotte NC 28218
Mail: PO Box 5622, Charlotte NC 28299
Phone – 704.525.3395 | Fax – 704.525.4238
DS Email: email@example.com
District Office Administrator:
Ravonda Britt- email@example.com
Phone- 704.239.3850
Church Vitality Strategist:
Stephanie Hand- firstname.lastname@example.com
Phone- 704.714.2330
Click here to see a list of churches in this district.
Click here to see a list of clergy in this district.


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One "small" wish:
I like reading change logs before installing/buying/upgrading something. For me installing a newer 1.1 update of something onto an older 1.0 without knowing what will be changed is a bit strange.
Theres another reason behind this request:
When Im deciding to buy a software I always have a look in the recent change log to see whats happening. Is it regularly updated/corrected. (maintenance)? If I see something is regularly corrected or recently updated/upgraded -> buying something for me way easier to decide than without this info. So it would help me a lot to see whats going on at the module upgrade site.. whether its in the module description or as a weekly or monthly module change post in the forum.
Like I decided a few years ago for the first Accordance Studienbibel GBS package instead for the SESB GBS package.. which is still a version 3.. and prbly not under development anymore. Im glad I did look into the change log back then and saw there was a lot going on with Accordance 8...
This is a request for the feature not for the past.. it would be nice to have this info as well for the modules and not only for the apps.
Ty for your great App development and your very fast bug fixing.
Edited by JayDee, 02 April 2014 - 11:05 AM.


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Providing valuable information to help you make important decisions.
We provide resources to help you meet your needs. We are always here to assist you. Please contact us with any questions.
Choose from the Links section to learn more about that topic.
We seek to serve our patients with the utmost care and integrity. Our primary objective is to provide accurate educational information about pregnancy, fetal development, lifestyle issues and related concerns.


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Revenge Trailer (2015)
07 November 2015 Drama, Thriller 100 mins
Rebekka travels back to a hotel by the Norwegian fjords seeking revenge on the man who ruined her sister's life. Traveling under false identity, Rebekka arrives at an idyllic hotel situated in the majestic fjords of Western Norway. She is going to meet Morten Holand, the innkeeper and the town's "Golden Boy", with whom she shares a dark secret surrounding the death of her sister. Fixated on plotting her revenge against Morten, Rebekka sets out to destroy his perfect family life, turning his friends and the townsfolk against him. Soon it becomes apparent that Rebekka's action have consequences for more than just Morten himself, as life in the village begins to unravel, and Rebekka must determine how far she will go to seek revenge.
Watch the official Revenge 2015 trailer in HD below or find more Revenge videos on Vidimovie.