text:
Corporate Videos
We Create Videos that Inspire
Corporate Videos
Imagine a corporate video that could capture your brand essence in a few minutes of fast moving, beautiful video footage. Whether you need a branding, educational, training or web video, the talented young team at How2Media can help you create a production which will enrich your employees, blow your competitors out of the water and help your business leave a lasting impression.We are a team of dynamic, innovative and creative professionals who thrive on video production services. In fact, you could say we eat, breathe and sleep videography!The mission of How2Media is to enable businesses to develop creative ways to reach their customers with the use of high-quality visual media and commercial video production.Whether it's a South Florida video production or elsewhere in the United States, How2Media produces corporate video productions and television ads of very high standards.
High Definition Filming Services
Filming on the latest true High Definition cameras from the Arri Alexa, REDS , F300 to 5Ds and everything in between, and video editing on Apple's top-of-the range editing suites, Corporate Video Australia creates television programs and corporate video productions that are highly acclaimed internationally and meet the most rigorous of broadcasting standards.No matter the size, we brainstorm every company video production, with the aim of achieving productions that are laced with evocative and motivational scripts, superb images, sleek video editing and high-end graphics. Best of all, we have an unbeatable track record of delivering game changing corporate video's.
•Highlight your product or service
•Training Videos
•Promotional Videos
•Tradeshow Packages
•Marketing Videos
End results come with the following:
•HD Version of Corporate Video (Electronically Sent)
•Flash Video of Corporate Video (Electronically Sent)
•Smart Phone & Device Versions of Corporate Video (Electronically Sent)
*Please inquire about additional filming options and pricing*
Why Use H2M?
•One specific point person to work your business from beginning to end
•Full customization options
•All film footage is in high definition
•You receive all rights to the footage filmed
•You receive all components used to construct your video
•We will place your video on Google+, YouTube & Facebook channels
•Promotion of your video to drive traffic to your website


text:
This Teen Mom not named Jenelle or Farrah has an account on a sugar daddy website.
The photos are of a friend who is always on the show with the Teen Mom.
Apparently our Teen Mom is super broke and has been taking gifts for a couple of months from men she meets on the site.
One man she really likes and she has been stalking him at his business and his church.
He is married.
Leah Messer
Source: http://www.crazydaysandnights.net

subset: commoncrawl


text:
Join John Adams, world renowned Intl Matchmaker, Monday nights 8:30 EST for Live Webcasts!
And check out Five Reasons why you should attend a FREE AFA Seminar! See locations and dates here.
View Active Topics View Your Posts Latest 100 Topics FAQ Topics Mobile Friendly Theme
Girls in Mexico City
Discuss culture, living, traveling, relocating, dating or anything related to Latin America, Mexico, or Central America.
Moderators: fschmidt, jamesbond
Post Reply
8 posts • Page 1 of 1
Girls in Mexico City
Hi guys, I am going to live in Mexico city for 6 months and I would like to know more about the city, mainly the girls. I am from Portugal so my skin is a little bit dark and I have a good level of spanish ( does that help with the girls?). I dont know if you know but portuguese girls are hard to get, at least compared to the rest of Europe or to the USA. Do you think that it will be difficult for me to pull in mexico city? Are the girls hot? Do you have any advices about clubs where you think girls are easier?
Also, if you have any other advices about the life in Mexico city itself ( not only the girls) it would be really helpful. Thank you!
Check out our Dating Sites and International Romance Tours!
Actually there are plenty of lighter girls in Mexico City. Roma, Condesa, Polanco, and Santa Fe is where you need to be. The Zona Rosa area is more for guys that like guys. Just go to Avenida Michoacán in La Condesa for the nightlife. I think you'll have a good time. Make a friend so you have a wingman with you. The rest takes care of itself if you just be chill.
yes mexican girls are very soft, charming and romantic, much more than western european or US women.... european looking mexican girls are often commonly found in richer neighborhoods while the more indigenous stereotypical ones are found in poorer areas.....
they are a bit conservative and it goes down on how good you are at scoring..... if you're portuguese you'll be a novelty there and maybe you can get to score easier but you need to put from your part too.
and whatever u do, dont tell them you're an american, europeans are much better seen there than americans... americans are perceived as dumb, backwards, classless.... so if u have any links to north america dont put it out there too much, stick to portraying yourself as a european!!!
World traveler, questions about women from a certain country? Ask!!! I can help
Not true. Maybe you ran into a couple people with that viewpoint but well dressed gringos do very well in Mexico City. Seriously man just look around they are copying everything about our culture. Frozen yogurt shops are very popular right now so they copy our franchises. That's just one of an endless amount of examples. They copy the crap out of us and frankly that is the best form of flattery.
When it comes to eating and drinking the Condesa and Polanco neighborhoods are where it is at. Teotihuacan is also worth a visit if you are looking at doing something touristy. The Torre Latin American will give you a good view of the city. You definitely want to check out the Zocalo. My advice is to let the chicas you date be your tour guide.
Some people are cheapskates and will recommend street food and things of that nature. I remember a night out where we stayed at a bar for hours (beer tower, drinks, appetizers) and the bill came to $30 USD. Spending $10 for 3 steak tacos and a beverage was fine by me.
Post Reply
8 posts • Page 1 of 1


text:
From TheGenealogist (www.thegenealogist.co.uk):
New Passenger Lists go online for the 1920s era
TheGenealogist has just released four and a half million BT27 records for the 1920s. These Outbound Passenger Lists are part of the growing immigration and emigration record sets on TheGenealogist and contain the historical records of passengers who departed by sea from U.K. ports in the years between 1920 and 1929.
With the addition of this decade of records, the already strong Immigration, Emigration, Naturalisation and passenger list resources on TheGenealogist have been significantly expanded.
The fully searchable records released today will allow researchers to:
● Identify potential family members travelling together with SmartSearch. TheGenealogist's unique system can recognise family members together on the same voyage. In this case it will display a family icon which allows you to view the entire family with one click.
● Find people travelling to America, Canada, India, New Zealand, Australia and elsewhere in the Passenger lists of people leaving from the United Kingdom by sea.
● See images of the original documents which were kept by the Board of Trade's Commercial and Statistical Department and its successors.
● Discover the ages, last address and where the passenger intended to make their permanent residence.
● These fully indexed records enable family historians to search by name, year, country of departure, country of arrival, port of embarkation and port of destination.
Those with ancestors who travelled out of Britain will welcome this fascinating new release from TheGenealogist that adds to their Immigration and Emigration records which already includes passenger lists from as far back as 1896 and the valuable Naturalisation and Denization records.
(With thanks to Nick Thorne)
My next 5 week Scottish Research Online course commences Sept 11th 2017 - details at https://www.pharostutors.com/details.php?coursenumber=102.
For details on my Scottish & Irish genealogy guide books, please visit http://britishgenes.blogspot.co.uk/p/my-books.html.
For my genealogy research service, please visit http://www.ScotlandsGreatestStory.co.uk.
The GENES Blog (GEnealogy News and EventS): Top news stories and features concerning ancestral research in Scotland, Ireland, the rest of the UK, and their diasporas, from genealogist, author and tutor Chris Paton. Feel free to quote from this blog, but please credit The GENES Blog if you do. I'm on Twitter @genesblog - to contact me please email chrismpaton @ outlook.com.
Friday, 26 May 2017
TheGenealogist adds 1920s UK passenger lists
Posted by Chris Paton at 12:41
Labels: emigration, TheGenealogist, UK
Subscribe to: Post Comments (Atom)


text:
Social Media Marketing Strategy
We design custom social media marketing campaigns to achieve your goals. We devise the most effective marketing strategies to ensure that your social media marketing campaigns achieve the best possible results.
Grow Social Media Profiles
Let us build your social media profiles for you! Larger social media followings are proven to boost brand recognition and customer trust. We build large social media profiles with followers that are 100% real and targeted specifically to your brand.
Social Media Advertising
Use the power of social media to drive targeted traffic to your online store, event, website, or mobile app. Paid social media advertising is the fastest way to push targeted users to the platform of your choice.


text:
Help Us Grow: Donate to the CCM
CCM provides a unique atmosphere for children to discover and explore their world through direct experience. Exhibits emphasize real object manipulation, mufti-sensory learning, creative problem solving, and interpersonal interaction. A highlight for many visitors is to touch some of our animals – a corn snake, a domestic rabbit, a red-eared slider turtle, and others. Our programs cover an ever-expanding range of topics in the arts, sciences, and humanities. "De-construction" fits children with safety goggles and hand tools to take apart (non-working) appliances to find moving parts inside. They go on a Movement Scavenger Hunt around the building to find examples of such movements as: swivel, slide, and dangle. Lastly, they use cardboard and other on-hand materials to construct a model for a machine of their own invention. Often, our activities incorporate inter-generational connections so that adults can impart wisdom and encouragement to the young and children can engage their grown-ups in the ageless joy of play.
Donations and payments can be accepted by mail, in person at the museum or through Paypal. These can be for Donations, Memberships, Sponsorships, Registration for Classes or Reservations.
Membership levels:
$25 Summer – unlimited family admission June 1 through Labor Day
$75 Basic – immediate family for one year
$125 Reciprocal – ½ price for up to 6 ppl to Port Discover and over 200 other participating museums
$200 Funded – Reciprocal plus funds a local family-in-need for CCM membership
Exhibit Area for one year: $1,000
Event Sponsor – Kunta Kinte Sept. 27, Harvest Hootenanny Oct. 18; $1,000 to $5,000 (benefits increase with size of donation – includes ad in CCM newsletter, CCM passes, table at event)
Our Dream List:
Permanent exhibit area: $30,000
Playground: $50,000
Back porch with rooftop nature observation area: $50,000
Cooking and crafts classroom: $100,000
Parking lot with bus turn-around: $100,000
Home | About Us | Events | Resources | Contributors | Volunteer | Donate
The Chesapeake Children's Museum


text:
TACK International is the leading Sales and Sales Management Training Consultants with over 60 years of providing world class training programmes and Innovative solutions for all things sales
TMI is a leading global consulting and training organization,
who work with organizations worldwide providing innovative, customized solutions that inspire and enable high performance
MacTay Consulting
As your key accounts are your competitors' key prospects, you must pay particular attention to nurturing, growing and retaining these valuable relationships.
Our Key account management program will provide account managers skills needed in protecting a business's prosperity (key accounts) also providing the essentials needed to have a edge in a competitive market environment.
Anyone who is responsible for managing significant customer accounts, or aspires to develop into a key account role, will benefit greatly from this programme.
Key Account Management
Commercially focused managers from other disciplines who have responsibility for liaising with customers as part of an account management team will also benefit from attending.
Please note: This programme focuses on strategy and it is not a sales skills course. So delegates will need to have received foundation level sales training before attending Key Account Management.


text: While taking photos at Zandvlakte Farm in the Baviaanskloof in the Eastern Cape Province of South Africa I had the opportunity to take this panorama in the corral. The horses were really inquisitive, and while I was busy preparing the shot, the chesnut in the shot decided that it would really like to get to meet this horse in the lens a bit up close. So she strolled up to me, looked into the lens and then licked it. It was quite hilarious and I had to first clean the lens before I could take the shot :). These kind of moments make travelling so much fun and there are always memories to take along. Would I shoot another panorama in a corral? Hell yeah!! One other note for those who follow the whole skyfish phenomenon - This is the second time during a shoot that I encountered skyfish in my pics. If you look just above the shed, you will see one. I have purposefully left it in and not edited it out. The previous time was in over the Eiffel tower in Paris in March this year.


text:
Friday, June 6, 2008
Chapter eighteen: or whether they were feeding on the blood that leaked through
"But it was over so fast!" complained Joan while we waited for the crowd to settle and for the next fight to begin.
"So how long does it take you to come?" Cheryl asked with a little bit of a curl to her lip. Joan gave another giggle at Cheryl's sophisticated bon mot, while John continued to rub her body in the places that weren't covered with barbed jewelry.
Cheryl turned back toward me, and I asked, "Is this one of your standard Darkunder outings?"
"You mean, go to the fights then find some place where we can screw?" she asked. She showed her teeth; I'd call it a smile.
"You can't, you know," I told her, watching her face. There was a brief expression of confusion that flickered across it.
"Can't what?" she asked me.
"Shock me. You can't shock me. You're working a nice contrast here from the time Calvin and I had dinner with you. There you were cool and witty in a post-debutante sort of way, and here you're doing a good female slime-wrestling impression. I appreciate it, really I do. But it's not going to shock me, no matter what, so if it's an effort, or if you're doing it for my benefit, don't bother."
An angry look flashed across her face, but it died almost immediately and she laughed. Her whole body moved with her laughter, and then she squirmed closer to me in her seat and took hold of my arm. "I'm really glad we ran into you," she said. Then the public address system squawked and began to announce the next fight.
"Ladies and gentlemen, welcome to the main event of the evening, a blood match between two major stars of slash fighting."
The crowd cheered its approval, with special notice given to the mention of "blood." Two men appeared on the fight platform, rising from their respective trapdoors slowly, milking every bit of applause from the spectators. Ah, show biz.
"The challenger tonight is a newcomer from the far north, where they gut bloons before breakfast, and slice open squids for lunch! He was weaned on razor blades and learned to walk on broken glass! This man sleeps on a bed of nails. This man cuts no deals; this man deals in cuts! I give you, in white, Jaxon Manic!"
Both men were dressed in tight body suits that looked quite a lot like what Cheryl and her companions wore, sans the barbed wire, and the clothing extended up into hooded masks that looked like a cross between movie ninja and biocontainment gear. Both men were well built, and the sheen of their clothing highlighted their muscle definition. Certainly the material was too thin to leave anything to the imagination. Any thinner and you'd be able to make out the label on their loin cups.
"In the other corner, in black, is Caine, the current champion of The Arena Slash Ring!"
The rest of it was drowned out by the crowd. I caught something about "undefeated by rivers of blood" but I may have heard it wrong.
Both men were carrying a weapon, the crux of the forthcoming combat. It looked like a slightly shortened billy club, with three long, thin, knife edges set into it, each one quarter of the way around. The remaining flat edge I guessed as being for blocking and parrying. The club looked to be a soft plastic, slightly flexible, but tough.
The blades were narrow, no more than half a centimeter in depth, and there was no point to the weapon, just a blunt tip at each end. The blades ended far enough from each tip to make each end a handle. So "slash fighting" seemed to be basically short stick fighting, but with the added ability to make shallow cuts. Jabs wouldn't penetrate, but a straight strike could open a welt, and grabbing your opponent's weapon was out of the question.
The bell rang and the two fighters began to circle one another. Caine shifted his slasher back and forth from hand to hand. Manic kept his in his left hand, and kept rotating his wrist as he moved. Neither man seemed anxious to begin.
Suddenly, Caine darted forward and whipped his slasher toward Manic's left hand, apparently aiming for the wrist. Manic's elbow came up and the two weapons met, with Caine's being parried to the outside. There was a brief clack, and Caine withdrew.
This repeated itself several times, usually with Caine on the offensive. On the third or fourth time, however, rather than withdraw, Caine used his left hand for the slash attack, and as the two weapons met, he swung his right hand toward Manic's face.
Manic flinched, and as Caine withdrew, he flipped his slasher across the back of Manic's hand. The fabric parted slightly and a slight line of pink and red appeared.
"First cut!" cried out somebody to my left; I don't think it was any of my companions. The crowd seemed ready to surge to its feet, but then subsided back into the seats.
"Is that legal?" I whispered to Cheryl. "Using something other than the weapon, I mean. Can they kick or punch each other?"
"Anything they can get away with," she told me. "But they only score with blood."
As if to prove her correct, Manic tried to kick Caine in the knee, a crippler that would have left his opponent considerably less nimble. But he received nothing but a gash on his calf for his troubles.
The two then began a series of thrust and parries, with Manic on the defensive. He took a weak jab to his chest at one point, but he managed to cut Caine's biceps in the process.
It went on like that for a while; neither man was doing serious damage to the other, but the small cuts began to multiply. The idea seemed to be to use kicks and punches to set up an opponent for point gathering cuts, or, alternatively, to use the threat of a cut to try for some blow that would significantly weaken one's opponent. There were no rests allowed, so eventually one or the other would begin to make mistakes as his stamina ran out.
Or when his patience ran out. After about twenty minutes of back and fourth, Manic suddenly gave a piercing scream and ran full tilt at Caine. I could see some sense to it, especially if an opponent were good at the bloodletting, but not so hot at the rest of the fight. In that case such a tactic would give up some points on the attack, with the hope of a grapple that could do some real damage to the opponent. Unfortunately for Manic, Caine was as good at the rest of it as he was with the slasher. He sidestepped Manic's attack and slammed him in the sternum with the tip of his club when Manic got near enough. Then Manic was past him, and Caine made two quick, long cuts to Manic's lower back as he, Caine, backed off.
Then Caine made a mistake, probably thinking that Manic wouldn't try the same tactic immediately, he let himself relax slightly. But Manic came around without a pause and, screaming another bloodthirsty cry, came at Caine again. Caine slipped slightly; I couldn't see, but there might have been some blood on the floor by that time, since each fighter had at least one slow dripping wound. Manic took advantage of Caine's off balance posture and swung his stick high, with his whole weight behind it. Caine partly blocked the blow, but enough of it got through to glance off his head. The blades gleamed red in the light of The Arena, and suddenly Caine was bleeding from a scalp cut, just over his right ear.
Scalp cuts are real bleeders. The fabric that covered that part of Caine's head quickly soaked, and as the first rivulet of blood slid behind his ear to trickle down his neck, the crowd roared approval and leapt to its feet. One section began to chant "Manic! Manic!" and Caine glared at them.
Then, with his own weapon, Caine reached around and cut himself over his left ear, in a place symmetric to the cut that Manic had just inflicted.
For the barest instant there was a beat of silence; fighters cutting themselves was not a common thing, I guess, nor was it common for someone to so obviously sneer at the audience. Then there came a huge roar as Caine launched himself at Manic.
It looked like a berserker attack, no skill, no forethought, just overwhelming force. But it wasn't. To my eye it was a pure mastery of movement; force meeting little opposition because of the angles in which it was directed. Caine went in through Manic's defenses like smoke through a grating, and his left elbow came forward with a savage strike to Manic's lower rib cage. Manic's sudden exhalation of breath was lost in the thunder of the crowd, and I could see Manic's knees wobble. Caine's stick came down on the inside of Manic's elbow, then again, same spot, and Manic's stick slipped through his grasp.
Manic tried to protect himself from the sudden onslaught of blows that Caine rained down upon him. He fell to his knees trying to reach for his slasher, to maybe regain at least some possibility of rejoining the battle. But Caine was concentrating his strikes to Manic's head, and the blood was flowing freely, covering Manic's head with it, sluicing down into his eyes. Manic was nearly blind at this point, his white mask now bright red, and he was holding his hands to his eyes, both to try to clear them, and also to protect them from Caine's blows.
The overhead lights were flashing, a signal to end the match, I think, but the crowd had gone berserk, much more so than Caine. I could see spatters of blood whip off of Caine's weapon and splash upon the wire mesh of the screen that shielded the platform. Some of the spectators had left their seats and were trying to climb the wire mesh, but it was too fine for handholds. Others were pounding at it, and yelling. Some were pressing their lips against it. I couldn't tell whether trying to yell more directly into the ring or whether they were feeding on the blood that leaked through.
The trapdoors opened up and people spilled out of them, swarming over Caine and Manic, holding Caine's arms, pulling the slasher from his grasp. The new people in the ring were heavily padded and wore night vision goggles, or so I surmised, because then the lights went out.
They were only out for a few seconds, but when they came back on again, the stage area was empty. The crowd was still stone crazy, though. Several fights seemed to have broken out. One erupted only a few feet away from me, I think that it involved the guy that had tried to block our seats when we came in. I couldn't tell who was at fault, but I was annoyed, so I stepped over and rabbit punched one of the participants, and he dropped to his knees. The other guy looked disappointed and looked at me as if trying to decide whether to take me on as a consolation prize. I smiled at him and stepped away. He decided not to pursue it.
I took Cheryl's arm and leaned close to her ear. "Let's get out of here," I told her.
She fastened herself to my arm without even a backwards glance toward John and Joan. That was just as well. They seemed about ready to rip off each other's clothing and go at it on the spot. At any rate, they were temporarily oblivious.
It was surprisingly easy to get out, once we made it back out of the seating area, but we had to climb over some seats to do that. Once that was accomplished the combination of my size plus Cheryl's spiky clothing opened a pathway to the door. Thus we made our escape.
Next Chapter
3 comments:
The blades ended far enough from each tip to make each end a handle ... and grabbing your opponent's weapon was out of the question.
See any contradiction Killus? Meh.
The rest of that 'fight' scene exemplifies the low status of Hollywood screen writing. It does not matter how fine the diction, or how groovy the scene, if it ultimately says nothing it just another empty shell.
What is rather remarkable is the extent to which a less successful author would rather evade (blank-out) the values offered by a better author. So much easier to denigrate that author, rather than actually do the thinking required to understand what they actually offer than makes them superior. Such denigration quite matches the vandal's 'kill-the-rich' sense of superiority as he batters a Lamborghini with a baseball bat. After all, its a lousy color and hard edges are no longer cool! Never mind that he could never build such a car, his best hope for satisfaction is to trash one. And as he does, his resentment expressed as scorn, he ignores a faint awareness that he is attacking something more than just the metal and glass of a car.
Nah, can't be.
- June 6, 2008 at 9:18 PM
- James Killus said...
Actually, I believe that you have indeed caught an oversight. In revision I'll probably eliminate the possibility of an end grip, but I may change grabbing an opponent's weapon from and impossiblity to "difficult and unwise."
I'm guessing that you yourself have no weapons training. I'm basing these scenes on my own knowledge of the jo and bokken from Aikido (have you ever tried to grab a very specific portion of such a weapon? To call it difficult is a substantial understatement). I also wonder if anyone caught the fact that the first fight was taken from the Tyson-Spinks title fight of 20 years ago.
Oh, and to anyone who is mystified by Mr. rnbram's posting here, he is attacking me because he feels I did Ayn Rand a disservice in a literary critique over on my other blog, Unintentional Irony.
I wish that I could say that I'm surprised at self-identified Randites being offended by an essay that begins with what is basically praise for Rand as a novelist. But it ends with an observation of the degree to which Rand had to rupture several important narrative strands in order to advance her philosophical agenda, just as self-identified Randites usually engage in self-cancelling arguments.
Case in point, the one above, where Mr. rnbram purports to criticize me:
"Never mind that he could never build such a car [a Lamborghini], his best hope for satisfaction is to trash one. And as he does, his resentment expressed as scorn, he ignores a faint awareness that he is attacking something more than just the metal and glass of a car."
Leaving aside for the moment that no one person ever builds a Lamborghini (so the metaphor fails at the outset), I have written science fiction and fantasy novels, and I was criticising Atlas Shrugged on the basis of its main romantic narrative. Of all the randians who came out of the woodwork on the comments to the essay, not a single one of them even seemed to notice what the essay actually said.
In any case, if there is anyone here who is simply attacking someone with the barest of nods to their actual work, it isn't me. And there are only two people in this comment thread.
- June 13, 2008 at 5:59 PM
- Blogger said...
Did you think about trading with the ultimate Bitcoin exchange company: YoBit.
- May 27, 2017 at 11:30 PM


text:
Gabrielle Goliath
Gallery News for Gabrielle Goliath
Gabrielle Goliath on Future Generation Art Prize exhibition at Pinchuk Art Centre in Ukraine
Gabrielle Goliath is on an exhibition at the Pinchuk Art Center in Kiev alongside 20 other artists shortlisted for the 2019 Future Generation Art Prize (9 February – 7 April). This global award, established by the Victor Pinchuk Foundation in 2009, offers artists aged 35 or younger the chance to produce new work for the Venice Biennale. The winner of the prize, which will be announced in March, is to receive $100,000 to help further their practice. The prize jury will also award up to $20,000 to five other artists on the shortlist. After being shown in the Ukraine, the exhibition will travel to Venice later this year.
Gabrielle Goliath named 2019 Standard Bank Artist of the Year for visual art
Johannesburg-based multidisciplinary artist Gabrielle Goliath has been named the Standard Bank Artist of the Year for Visual Arts. Goliath has been recognised for her socially-based practice which involves the negotiation of complex social concerns, particularly in relation to situations of gendered and sexualised violence. As winner of this award Goliath will realise a project that continues her interest in exploring music's capacity to both commemorate and evoke nostalgic memory, while navigating the possibilities and ethical demands of performing and making 'shareable' traumatic recall of rape survivors in South Africa. Once complete, the finished work will be exhibited throughout the country.
Gabrielle Goliath hosts collaborative 'Lesser Violence Reading Group'
At her new studio space Gabrielle Goliath has started hosting the Lesser Violence Reading Group, an initiative organised by GALA (Gay and Lesbian Memory in Action) and VIAD (Visual Identities in Art and Design, UJ). The group will meet over four interactive sessions where participants are guided through readings that cover the broad subjects of gender, sexuality, violence and visuality, with an emphasis on performance. The aim of the group is to provide an open platform to discuss issues related to the contemporary South African context, and in dialogue with concurrent discourses from the continent and its diaspora. Each session will be led by a different group of invited presenters involved in the broad fields of activism and social justice, art, performance, theatre, and journalism.
Gabrielle Goliath's 'Elegy' at National Arts Festival, Verbo in Mexico and Video Brasil
A durational performance conceived by Gabrielle Goliath titled Elegy brings together a group of female vocal performers to enact a mourning ritual. Intended as a response to the epidemic of violence perpetrated against women in South Africa, Elegy viscerally evokes the ongoing pain of countless individuals "whose subjectivities have been fundamentally violated – and who, as such, are all too easily consigned to a generic, all-encompassing victimhood." Over the next month, Elegy will be performed at the National Arts Festival in Grahamstown (28 June – 8 July) before travelling to the Verbo festival in Mexico (3 – 7 July) and Video Brasil (7 – 27 July).
More news
Faces Of War
In contrast to the public and often mediated nature of war, domestic violence, as a scenario of conflict effecting the everyday experience of thousands of men, women and children in South Africa, is confined by definition to the environment of the home – is deemed 'a private affair', happens behind closed doors. On account of this 'sanctum of the home', as well as the stigma and fear of reprisal associated with any sort of disclosure, the victims as well as perpetrators of this conflict are to a large extent 'faceless'.
In a series of twelve oversized and strategically altered photographic portraits, Gabrielle Goliath presents a cross-section of 'everyday South Africans' as Faces of people who may or may not be victims or perpetrators of domestic violence. Casting her subjects in a shadow of doubt – each one a potential victim or perpetrator – Goliath invites the viewer to question the unsettling anonymity or 'facelessness' of this conflict. Five women bravely disclose their own experience of domestic violence in the cycle of video portraits that is Personal Accounts. Again, however, the portrait is strategically effected. In a violent but demonstrative act of censorship, Goliath extracts the words from these personal accounts, problematically muting the dialogue. In Faces of War, Gabrielle Goliath's provocative manipulation of the portrait seeks to visualise the unseen and
'faceless' nature of domestic violence, to articulate something of its silences.
Solo exhibitions
Gabrielle Goliath / Stumbling Block / 2016
Goodman Gallery Cape Town
2 June 2016
In Gabrielle Goliath's performance piece Stumbling Block, a blanketed performer is situated at the main entrance of the gallery to complicate access. The artist considers the piece a perimeter intervention that throws the privileged remove of the exhibition space into question. The performance took place at the opening of the exhibition New Revolutions at Goodman Gallery Cape Town.
Gabrielle Goliath / Elegy / 2015
Goodman Gallery Cape Town
15 – 24 October 2015
The performance piece that is Elegy epitomizes the deeply poetic work of Gabrielle Goliath, whose practice has over a number of years addressed situations of violence perpetrated against women. The South African-born artist is becoming known for her evocative political installations and performances.
Originating in lengthy research processes, Goliath's photographs, installations, and performances critically negotiate the complexities of gender-based violence in South Africa. Her style has a poetic quality, punctuated by unsettling visceral elements. Rather than sensationalising the violence itself, her concern is primarily with memorializing the individuals victimised by acts of brutal and sexualised violence. This she accomplishes with powerful metaphors for essentially inexpressible experiences, evoking in a confluence of forms a sense of loss and horror.
A commemorative gesture, Elegy calls together a group of female vocal performers, who collectively enact a ritual of mourning. Durational and physically taxing, the performance sustains a kind of sung cry – evoking, in a symbolic sense, the 'presence' of an absent individual. Responding to situations of extreme violence perpetrated against women in South Africa, Elegy recalls the identity of individuals whose subjectivities have been fundamentally violated – and who, as such, are all too easily consigned to a generic, all-encompassing victimhood.
Nineteen years old and studying toward a degree in journalism at the Midrand Graduate Institute, Ipeleng Christine Moholane was first reported missing on May 16th, 2015. On May 25th she was found murdered, lying in an open veld in Tembisa. Identifying the body, her father Isaac Moholane recalls: "I can't tell you the pain and grief it brought me to see her lifeless body in that manner. She was naked, raped, legs bound… Someone had strangled her so brutally with the intention to make sure she died".
Enacted in commemoration of Ipeleng, Elegy performances will be scheduled throughout the week of the 15th – 24th October 2015, at Goodman Gallery Cape Town. Between performances the space will function as an installation, with an accompanying video projection. Intended as an ongoing performance project, future iterations of Elegy will be staged in various locations and contexts – with each realised in memory of a specific individual.
Goliath has an MAFA and BAFA from the University of the Witwatersrand in Johannesburg. She has held four solo exhibitions in Johannesburg, at the Goodman Gallery, Nirox at Arts on Main, Circa and Gallery Momo. She has exhibited extensively on local group exhibitions, including "Alterating Conditions: performing performance art in South Africa" at Goethe on Main & the Bag Factory, "Transformations: Women's Art from the late 19 Century" at the Johannesburg Art Gallery and "Space" at Museum Africa. Internationally, her work has featured on the Dak'Art Biennale, "Photoville", the Tierney Fellowship Exhibit in New York in 2012, "Between the Lines" at the Former Tagesspiegel Building in Berlin in 2013, and most recently at the Jewish Museum in New York. She is a recipient of the Tierney Fellowship Award, the Brait Everard Read Award 2007 and the Wits Martienssen Prize. Her work is represented in the collections of the Iziko South African National Gallery and the Johannesburg Art Gallery, as well as in various academic, private and corporate collections.
Gabrielle Goliath / Faces of War / 2014
For our opening show in 2014, Goodman Gallery will present Faces of War by Gabrielle Goliath – her first solo show with the gallery.
In contrast to the public and often mediated nature of war, domestic violence, as a scenario of conflict affecting the everyday experience of thousands of men, women and children in South Africa, is confined by definition to the environment of the home – is deemed 'a private affair', happening behind closed doors. On account of this 'sanctum of the home', as well as the stigma and fear of reprisal associated with any sort of disclosure, the victims as well as perpetrators of this conflict are to a large extent 'faceless'.
In a series of twelve oversized and strategically altered photographic portraits, Gabrielle Goliath presents a cross-section of 'everyday South Africans' as Faces of People who may or may not be Victims or Perpetrators of Domestic Violence. Casting her subjects in a shadow of doubt – each one a potential victim or perpetrator – Goliath invites the viewer to question the unsettling anonymity or 'facelessness' of this conflict.
Five women bravely disclose their own experience of domestic violence in the cycle of video portraits that is Personal Accounts. Again, however, the portrait is strategically effected. In a violent but demonstrative act of censorship, Goliath extracts the words from these personal accounts, problematically muting the dialogue.
In Faces of War, Gabrielle Goliath's provocative manipulation of the portrait seeks to visualise the unseen and 'faceless' nature of domestic violence, and to articulate something of its silences.
Gabrielle Goliath was born in Kimberley, South Africa, in 1983. She has an MAFA and BAFA from the University of the Witwatersrand in Johannesburg. She has held three solo exhibitions in Johannesburg at Nirox at Arts on Main, Circa and Gallery Momo. Goliath has exhibited extensively on local group exhibitions including Alterating Conditions: performing performance art in South Africa at Goethe on Main & the Bag Factory, Transformations: Women's Art from the late 19 Century at the Johannesburg Art Gallery and SPace at Museum Africa. Internationally, her work featured on the Dak'Art Biennale and Photoville, the Tierney Fellowship Exhibit in New York in 2012 and Between the Lines at the Former Tagesspiegel Building in Berlin in 2013. She is a recipient of the Tierney Fellowship Award, the Brait Everard Read Award 2007 and the Wits Martienssen Prize. Her work is represented in the collections of the Iziko South African National Gallery and the Johannesburg Art Gallery, as well as in various academic, private and corporate collections.
Group exhibitions
In Context: Where We Are
Goodman Gallery Cape Town
29 October – 7 December 2016
Kudzanai Chiurai • Nolan Oswald Dennis • Gabrielle Goliath • Haroon Gunn-Salie • Kiluanji Kia Henda • David Koloane • Moshekwa Langa • Gerhard Marx • Tracey Rose • Thabiso Sekgala • Jeremy Wafer
Goodman Gallery Cape Town's group show Where We Are is a partner exhibition to Africans in America at Goodman Gallery Johannesburg and the Johannesburg Art Gallery. Where We Are offers a counter conversation to Africans in America, which explores the shifts in perspective that are occurring among a new generation of artists from Africa and the Americas as they transverse between the two. The Cape Town exhibition presents work by African artists within Africa – many of whom are still based in their country of origin – as opposed to working in the context of the diaspora.
The artists' practice has either been rooted in or constantly drawn back to their places of origin – whether circumstantially or deliberately. Place is an inherent locus of the exhibition observable in a multitude of expressions, including map-making, borders, urban landscapes, migration and monuments.
Where We Are is a precursor to a larger exhibition that will take place in New York in 2017. It serves as a series of questions, interrogating history, geography and memory, both personal and collective. The artists examine the systems of place that define the daily lives and recent histories of people across the continent and find them wanting, resulting in many attempts at re-imagining. In the proposal of ideals and alternatives, the status quo is indicted and the past held accountable, as we attempt to understand where we are, how we got here and how to move forward.
Housed in an edifice of large wooden shipping crates, Angolan artist Kiluanji Kia Henda's video installation Concrete Affection – Zopo Lady references the mass exodus of Luanda's inhabitants after Angola's independence from Portugal's colonial rule in 1975. The cityscape becomes a vivid fabric of motion and colour in an expansive drawing by David Koloane, for whom the city of Johannesburg is a muse.
Gabrielle Goliath's chilling audio installation, Roulette, points to a defining feature of South Africa – the ever-present threat of violence. A stream of amplified static is punctured by a point-blank recording of a gunshot once every six hours (the damaging effects of which the participant is warned about before listening) – bringing to life femicide statistics showing that every six hours a woman in South Africa is killed by an intimate or ex-intimate partner, one of the highest rates in the world. Rather than confront the violence head-on, two photographs by the late Thabiso Sekgala look beneath the surface at the devastation in the mining towns of Rustenburg and nearby Marikana.
Drenched in red, Haroon Gunn-Salie's sculptures of dismembered hands cast from public statues of Captain Carl von Brandis, Johannesburg's first magistrate, and Portuguese explorer Bartolomeu Dias are a powerful indictment of colonialist expansion. Zimbabwean artist Kudzanai Chiurai engages in a similar re-contextualisation of colonial imagery in his Genesis series, which takes as a departure point stone reliefs commemorating the expeditions of David Livingstone and counters them by imagining an Africa reconnected with its rich traditional past. Tracey Rose also subverts historical assumptions of whiteness by recasting the role of the messiah as a challenge to canonical religious iconography.
The ideas of land and memory are central to Nolan Oswald Dennis' triptych, which contains extracts from Wikipedia entries for the term "Azania" and points to the limits of and Western bias still so prevalent in human encyclopedic knowledge.
Jeremy Wafer explores the arbitrariness of the physical barriers and boundaries that define country, specifically the demarcation between Mozambique and South Africa. Similarly, Gerhard Marx deconstructs the borders defined in mapping to question notions of territory and the place of the human in the abstracted aerial view.
The abstraction of the landscape is taken to its end point in Moshekwa Langa's work, an expressive evocation of distance and horizon offering a personal perspective on migration, loss of place and the bittersweet experience of return.
The exhibition includes a video programme hosted in Goodman Gallery Cape Town's new street-level video room on Sir Lowry Road, echoing the thematic content of Where We Are with a focus on the individual as an anchor to place.
New Revolutions: Goodman Gallery at 50
Goodman Gallery Cape Town
2 June – 20 July
In 2016, Goodman Gallery celebrates its 50th anniversary – five decades of forging change through artistic production and dialogue, shaping contemporary art within and beyond the continent. From early June, we will host major exhibitions between our Johannesburg and Cape Town galleries featuring significant work, installations, interventions, performances, a video and talks programmes.
Titled New Revolutions, our programme will include prominent international and African artists – each part of the Goodman Gallery's history, present and future – engaging with the idea of perpetual change, alternative independent movements and the reinvigorating of ideology based upon mutable historical realities. The project as a whole will consider Goodman Gallery's history as an inclusive space, as well as its approach to showing contemporary art that shifts perspectives and engenders social transformation.
New Revolutions recalls the fulcrum of activity into which the gallery was borne 50 years ago: revolutionary fervour, the gradual decolonisation of African countries and radical responses to the status quo. Locally, the gallery maintained a responsibility to show work by South African artists as museums served the agenda of the discriminatory government. By transcending its role as a commercial space Goodman Gallery rose to prominence as a progressive institution. And, while South Africa was deep in the throes of a draconian era, figures within the fight for African independence trail-blazed the struggle against apartheid. This exhibition reflects on how the events in Africa then, still play a part in the conceptual thinking of artists now. And, beyond that, how artists have responded to new forms of economic colonisation, migrancy, as well as radicalised reactions to economic inequality and lingering institutional racism.
By considering how the roles of artists cross into the realm of activism and socially transformative endeavours, New Revolutions explores historical and contemporary tensions and movements that are unfolding in Africa and around the world, through the panorama of contemporary art.
The 2016 anniversary programme highlights Goodman Gallery's ongoing affiliation with artists who explore the power of dissent and the importance of alternative factions and cross-disciplinary collaborations in order to engender change and encourage dialogue. A non-chronological, intergenerational but conceptually linked collection of artworks from the 1960s to the present will focus on the spirit of protest, resistance, and revolution, and the way in which South Africa, and Goodman Gallery in particular, has offered an important platform from which to explore such approaches.
The Artists
On the occasion of its 50th anniversary Goodman Gallery takes pleasure in announcing new partnerships with some of the world's most significant artists – Sonia Gomes (Brazil), Kiluanji Kia Henda (Angola), Shirin Neshat (Iran) – revealing new directions in the gallery's programme. Locally, we announce the representation by Goodman Gallery of Tabita Rezaire and The Brother Moves On. In addition, the exhibition will include work by international artists Kapwani Kiwanga (US) and Jacolby Satterwhite (US).
New Revolutions will provide an opportunity to exhibit those who have worked with the gallery for decades including William Kentridge, David Koloane, Sam Nhlengethwa, David Goldblatt and Tracey Rose, and some of the most influential younger voices in contemporary art including Kudzanai Chiurai, Hasan and Husain Essop, Mikhael Subotzky, Gerald Machona and Haroon Gunn-Salie. The show will also include artists who have been integral in the gallery's transformation over the past decade, including Ghada Amer, Candice Breitz, Alfredo Jaar, Adam Broomberg and Oliver Chanarin, and Hank Willis Thomas. Performances will be presented by local innovators, Nelisiwe Xaba and The Brother Moves On.
Beyond this, the iconic significance of the gallery, and the historical moment necessitates that certain artists whose ideas and actions impacted on society, and on the course of art history, be included. Artists like Walter Wahl Battis, Cecil Skotnes, Ezrom Legae, Leonard Matsotso and Sydney Khumalo are exhibited as part of our endeavour to show how the regeneration of ideas – and the gallery as a repository of change – is not confined to epochs.
With New Revolutions we invite you to celebrate with Goodman Gallery as we pay homage to artists who have shaped the landscape of contemporary art in Southern Africa. These include artists based on the continent, those of the Diaspora, our northern counterparts who have been distanced from sub-Saharan Africa and those from outside of Africa whose work explores territory such as unequal power structures and socio-political constructs.
New Revolutions is curated by Liza Essers and will take place throughout the month of June at our Johannesburg and Cape Town galleries, and with a special selection of works for Art Basel from 16 June to 19 June.
[Working Title] / 2012
Goodman Gallery Cape presents [Working Title] – a group exhibition of young artists working in South Africa, brought together in a way that allows multiple and perhaps surprising dialogues to emerge, and foregrounding questions of authorship, authority and notions of the relational.
Reshma Chhiba's Kundalini Shakti and Linga-yoni – a slashed canvas and an unsettlingly organic sculpture, both informed by the artist's ongoing interest in the Hindu goddess Kali as an embodiment of unbridled feminine creativity – act as a complement and counterpoint to the cool, Apollonian rationalism of Kyle Morland's Double-Ended Saddle Cut, a suspended sculpture of welded steel. Both are also concerned, in different ways, with the act and effects of making. Murray Kruger, too, plays with concepts of creativity and authorship in his recreation of, and extrapolation from, Walter Battiss' 1973 performance piece Open tent for contemplating the cosmic origins of art, while at the same time raising questions about the nature of the artwork, its evolution over time, and the ways in which its audiences are implicated in its inscription into history.
Gerald Machona's origami-based installation Bling Bling: Blood diamonds are a girl's best friend, a cynical comment on the abuses of power in postcolonial African politics, resonates with Monique Pelser's Conversations with my Father, a searingly intimate attempt, in an installation and set of photographs, to understand her father's death and life in the larger context of the dark and complex history of the South African police. A solemn photographic installation by Gabrielle Goliath titled Berenice 10-28 speaks poignantly of personal issues of loss and grief, while uncompromisingly confronting questions of violence and abuse in South African society.
Thabiso Sekgala's photographs of the workers and inhabitants of a housing estate in Ghent are a refreshing and original take on the questions of identity that inform so much contemporary South African practice, and a provocative inversion of the usual dynamics of 'othering', while his stark images of domestic objects, at once intimate and abject, are a compelling reflection on contemporary urban life.
[Working Title] is a showcase of young artists whose work, while ranging in media and crossing disciplines, shares an uncommon and original approach to contemporary practice.
Gabrielle Goliath was born in Kimberley, South Africa, in 1983. She is a multidisciplinary artist known for her conceptually distilled and sensitive negotiations of complex social concerns, particularly in relation to situations of gendered and sexualised violence. She is currently working on a number of long-term performance projects, including her Elegy series, initiated in 2015. Elegy performances have been staged throughout South Africa and internationally, with each iteration marking the absent presence of a specific woman, or LGBTQI+ individual raped and killed in South Africa.
Goliath is currently a Ph.D. candidate at the Institute for Creative Arts (UCT), and holds a Master's degree in Fine Art, University of the Witwatersrand (with distinction). Drawing on music's capacity to both commemorate and evoke nostalgic memory, her current research aims to explore the possibilities and ethical demands of performing and making 'shareable' traumatic recall, specifically the lived and perpetually relived trauma of rape survivors in South Africa.
As an artist, she has exhibited widely, and was recently selected to participate in the 11th Bamako Encounters Biennale (2017), Mali, where she was awarded the Institut Français, Afrique en Créations Prize (Jury Prize) for her 5-channel video installation Personal Accounts. Her work features in numerous public and private collections, including the Iziko South African National Gallery, Johannesburg Art Gallery and Wits Art Museum.
Solo Exhibitions
2014 Faces of War, Goodman Gallery, Johannesburg, South Africa
2011 Murder on 7th, Nirox at Arts on Main, Johannesburg, South Africa
2010 Berenice , Circa, Johannesburg, South Africa
2009 Murder on 7th, Gallery Momo, Johannesburg, South Africa
Group Exhibitions
2018 Fracture Zone, 24th International Symposium on Electronic Art, Durban
2018 Harboured, Analogue Eye, Silo's District V&A Waterfront, Cape Town
2018 Nirox Winter Sculpture Fair, Nirox Sculpture Park, Krugersdorp, South Africa
2018 Evidence of things not seen: Performing gendered and Queer Identities, Johannesburg Art Gallery, South Africa
2017 11th Les Recontres de Bamako African Biennale of Photography, Afrotopia: Mobilize Possibilities, PAC Pavilion of Contemporary Art , Bamako
2017 AFRICA. Raccontare un mondo, PAC Pavilion of Contemporary Art , Milan
2017 Looking after Freedom,Michaelis Galleries, University of Cape Town, Cape Town
2017 Writing for the Eye/ Writing for the Ear, Centre for the Less Good Idea, Johannesburg, South Africa
2017 Encounters of Bamako, African Biennale of Photography, Bamako, Mali
2017 Report Back: States of Grace, Zeitz MOCAA, Cape Town, South Africa
2017 Africa Raccontare un Mondo, PAC Padiglioni d'Arte, Milan, Italy
2017 SpielART Festival, Munich, Germany
2017 Live Art Network Africa Launch, Institute for Creative Arts UCT, Cape Town, South Africa
2016 The Evidence of Things Not Seen, Johannesburg Art Gallery, South Africa
2016 After the Thrill is Gone, Richmond Center, Western Michigan University, Kalamazoo, USA
2016 In Context: Where We Are, Goodman Gallery, Cape Town, South Africa
2016 New Revolutions: Goodman Gallery at 50, Goodman Gallery, Cape Town, South Africa
2015 Sights and Sounds: South Africa, Jewish Museum, New York
2015 In Print – In Focus,Michaelis Gallery, Cape Town
2014 Brave New World, Iziko South African National Gallery, Cape Town
2014 Language Games, Cape Town Art Fair, Cape Town, South Africa
2013 Between the Lines, Former Tagesspiegel Building (Between the Lines, Symposium North), Berlin, Germany
2012 Rewind: Dathini Mzayiya & Gabrielle Goliath, Centre for African Studies, UCT, Cape Town, South Africa
2012 A Shot to the Arse, The Michaelis Galleries, Cape Town, South Africa
2012 Working Title, Goodman Gallery, Cape Town, South Africa
2012 Photoville, Tierney Fellowship Exhibit, New York, USA
2012 Dak'Art, Biennale of Contemporary African Art: Contemporary Creation and Social Dynamics, Senegal
2011 Alternating Conditions: Performing Performance Art in South Africa, Goethe on Main and Bag Factory Artists' Studios, Johannesburg, South Africa
Teaching, Lectureships and Workshop
2018 Academic Presentation, Live Art Network Africa, ICA, University of Cape Town
2017 Academic Presentation, CFP: A Feminist Space at Leeds:Looking Back to Think Forward, Leeds University
2017 Artist's Lecture, Nondumiso Msimanga 3rd Year Class, Wits University
2017 Lesser Violence, Panel Discussion, Visual Identities in Art & Design (VIAD), University of Johannesburg, Johannesburg
2107 Academic Presentation, Life Narratives Conference, Johannesburg Holocaust and Genocide Centre, Johannesburg
2017 Artist's Lecture & Panel Discussion with Anne-Maria Makhulu & Walter Mignolo, Duke University, Durham
2016 Academic Presentation, Black Portraitures Conference, Turbine Hall, Johannesburg
2016 Academic Presentation, Draft conference, Zurich
2016 Artist's Lecture, Stellenbosch University
2013 Artist's talk, Between the Lines Symposium, University of Cape Town & Braunschweig University, Cape Town & Braunschweig
Awards and Merits
2017 Institut Français, Afrique en Créations Prize (Jury Prize), Bamako Encounters Biennale, Mali
2015 Ampersand Foundation Fellowship, New York
2011 Tierney Fellowship Award, Tierney Foundation, New York
2010 Brait Everard Read Award, Circa, Johannesburg
2007 Art's Alive, Johannesburg
2007 Wits Martienssen Show, Wits School of Arts, Johannesburg
Academic Record and Residencies
2018-present PHD candidate (Live, Interdisciplinary & Public Art), Institute for Creative Arts (ICA), University of Cape Town
2011 MAFA (with distinction), University of the Witwatersrand, Johannesburg
2007 BAFA, University of the Witwatersrand, Johannesburg
2016 Artist-in-Residence & Lecture, Gwen Frostic School of Art, University of Western Michigan, Kalamazoo
2003 Diploma Fashion Design, Technikon of the Witwatersrand, Johannesburg
2017 Afrotopia 11th Edition, Rencontres de Bamako,Published by Ministry of Culture, Mali, Éditions Dilecta,Exhibition catalogue
2014 South African Live Art and the Representation of its Residue: On Gabrielle Goliath's Stumbling Block, in Performativity in the Gallery – Staging Interactive Encounters, Outi Remes, Laura MacCulloch & Marika Leino, pub. Peter Lang
2012 Alterating Conditions: Performing Performance Art in South Africa
Editor: Claudia Marion Stemberger,Exhibition catalogue
2012 Dak'Art Biennale – 10th Biennale of Contemporary African Art
Published by the Republic of Senegal, Ministry of Culture and Tourism,Exhibition catalogue
2012 Space: Currencies in Contemporary African Art,Co-published by Africa World Press and,Unisa Press,Editor: Thembinkosi Goniwe,Exhibition Catalogue
2018 This song is for…Nondumiso Msimanga / Season 3, Centre for the Less Good Idea, Johannesburg
2018 Elegy / Sizakele Sigasa and Salome Masooa, Verbo 2018, Saõ Paulo
2018 Elegy / Sizakele Sigasa and Salome Masooa, Videobrasil, Saõ Paulo
2018 Elegy / Joan Thabeng,National Arts Festival, Grahamstown
2018 Elegy / Joan Thabeng,Do Disturb Festival, Palais de Tokyo, Paris
2017 Elegy / Hannah Cornelius, Spielart Festival, Munich
2017 Elegy / Camron Britz, Spielart Festival, Munich
2017 Elegy / Lerato 'Tambai' Moloi, Zeitz MOCAA, Cape Town
2017 Stumbling Blocks, Zeitz MOCAA, Cape Town
2017 Elegy / Lekita Moore, Duke University, Durham
2017 Elegy / Noluvo Swelindawo, ICA Live Art Festival , Cape Town
2016 Elegy / Koketso "Queen", Richmond Art Centre Atrium , Western Michigan University, Kalamazoo
2016 Elegy / Sinoxolo Mafevuka, Langa Methodist Church , Cape Town
2016 Stumbling Block' performance, Institute for Creative Arts, Cape Town
2015 Elegy / Ipeleng Christine Moholane, Goodman Gallery, Cape Town, South Africa
2012 South Africa, Goethe on Main & The Bag Factory, Johannesburg
2011 Transformations: Women's Art from the late 19 Century – 2010, Johannesburg Art Gallery, Johannesburg
2010 Blissful Disturbance – WITS Masters and Fine Art Students, Michaelis Galleries, Cape Town
2010 Unshape, Maker, Johannesburg
2010 SPace, Museum Africa, Johannesburg
2010 US ,South Africa National Gallery, Cape Town
2009 Art that comes towards you, Spring Art Tour, VANSA, Johannesburg
2009 Domestic, Goethe Institute Arts on Main, Johannesburg
2009 Sasol New Signatures, Pretoria Art Museum, Pretoria
2008 Four Tales, Gallery MOMO, Johannesburg
2007 Art's Alive JHB City Exhibition, Johannesburg
2007 Lost and Found, Market Photo Workshop, Johannesburg
Download CV
Personal Accounts (Christolene), from video cycle Personal Accounts
Personal Accounts (Christolene), from video cycle Personal Accountslink
Press for Gabrielle Goliath
Goliath Gabrielle / Artthrob / South Africa / 23 - 15 January 2014A Review of Faces of War, Gabrielle Goliath at Goodman Gallery by Nicola Kritzinger (1.9 MB)
Goliath Gabrielle / Business Day Live / South Africa / 30 January 2014GF.pdf (777.1 KB)
Goliath Gabrielle / Mail & Guardian / Johannesburg / 24 - 30 January 2014Abuse: A Goliath Undertaking by Zodwa Kumalo - Valentine (212.4 KB)
Goliath Gabrielle / Design Art / South Africa / Issuu No. 2 December 2010Scene Too Much Gabrielle Goliath by Bettina Malcomess (1.2 MB)


text:
Dim sum is food I eat once in a blue moon. Not too sure why but sometimes it's difficult to get really nice ones hence I don't eat it often as I like. I do have childhood memories of indulging in Sunday dim sum lunches at the old Merlin Hotel's Chinese restaurant where Concorde Hotel is now. My favourites were the steamed char siu paus and their cool coconut dessert. What was also memorable was their tortoise pond which was an essential spot to play at.
Recently, we visited Teochew Restaurant, an old style Chinese restaurant which still serves their dim sum in metal pushcarts just like the old days. I love that way of serving dim sum versus the order from the paper menu which is adopted by most restaurants since I'm hopeless in Chinese and visuals of my food is a great guide. Char siu pau is an essential for me but this time round, I settled for these mini chan buns which also contain the same meat filling but they are encased in a bread dough.
Something unusual in dim sum restaurants, steamed pumpkin buns topped with black sesame seeds. This was really yummy and nice, I love the sweet pumpkin filling encased in the steamed bun.
Not many people eat dim sum nowadays as they claim it's too rich and the meats they used are too fat. It's okay to indulge in them once in a while just like this abalone topped dumpling. For me, I usually drink lots and lots of chinese tea during and after the meal as it's believed that it helps disperse the oil within your body.
Teochew Restaurant has a slightly different version of the glutinous rice, it's fried instead of steamed. Not so great as it was oily and somehow the flavours weren't so nice.
An essential order whenever you eat dim sum is the Har Kau - steamed prawns encased in a semi transparent skin. The prawns were crunchy and the skin was not too thick.
This is similar to the Har Kau except fresh scallop topped with fish roe is used instead of prawns.
Another must have in dim sum restaurants - siu mai which is steamed dumplings encased in a thin wrapper with a meat and shrimp filling. This is topped with crab roe.
Certain of their dishes have been given modern twists like this chee cheong fun which was stuffed with pumpkin, mushrooms and sweet corn instead of the usual char siu and prawns. Pretty good stuff I thought.
For desserts, instead of the egg tarts, we went for the deep fried buns filled with salted egg yolk custard that were yummy and rich tasting.
If you want to indulge in some old style and slightly modern dim sum, do try this place which has almost 100 types of dim sum they serve for breakfast to lunchtime (7.30 am to 2.45 pm). They also have a limited dim sum menu at night with less fried items. Besides dim sum, this restaurant also serves Teochew specialities like Teochew Special Fish Noodle, Teochew Salted Duck, yam and vegetables in claypot and Teochew style steamboat with fish head.
Teochew Restaurant
Tel No: 03 - 2141 5851
Tagged with: Malaysian Food + Dim Sum


text:
Before heading to the zoo this morning we stopped by our local Starbucks for lunch. More specifically, their Bistro Boxes. We wanted lunches that were both convenient and nutritious.
These eight new Bistro Boxes have less than 500 calories – whether you opt for the snack or entrée size – and each box contains daily essentials of protein, vegetables, fruits and whole grains. The full selection includes favorites like Cheese & Fruit and Chicken & Hummus, as well as new varieties like Chipotle Chicken Wraps and Sesame Noodles.
Let me tell you, it was really hard to choose – everything looked so delicious. I loved that the resealable boxes clearly showed the contents – and even included an ingredient list so I confirm exactly what was inside. I can't say that about the competition, who often hides half their box behind wasteful cardboard packaging (another clue maybe they aren't so fresh!!)
Since the Bistro Boxes were going to be enjoyed by myself and my family (which includes my husband, 3 1/2 year old son and 1 year old daughhter) I selected the Sesame Noodles Bistro Box, the Protein Bistro Box and the Chicken and Hummus Bistro Box.
I'm gonna say I was pleasantly surprised. It can be tough to get quick and easy meals on the go that are nutritious and taste good! I should also mention they were really affordable! The snack Bistro Boxes were $4.95 and the Entree portion was $7.95. We would easily spend that (or more) at a local fast food joint and it wouldn't be nearly has healthy and would have lots of chemicals!
My husband says "It's the quality I come to expect from Starbucks. I eat their sandwiches from time to time for lunch. It's a good quantity of food, the flavors are nice and balanced."
My son loved the fruit in the Protein Bistro Box and kept asking for more!
The Bistro Boxes from Starbucks are now at the top of our list when we are out and we need a bite to eat. We know that the meals will contain fresh ingredients that we feel good giving to our children.
My only request? I'd love to see a Gluten-Free Bistro Box!
Disclaimer: This post was made possible by Mom Central. I received a Starbucks gift card for the purpose of this review. The opinions here are my own.


text:
These 3D pumkin toppers are made from royal icing and stand approx. 1 inch tall.
Price is for 1 pumpkin.
Cupcakes in picture 2 made by Lushcups.
All items are packed with utmost care to ensure no breakages during transit.
These should be stored at room temperature in a sealed container in a dark pantry ( to avoid fading or melting) and they will last up to 12 months.
Do not refrigerate this product.


text:
Hanni El Khatib – Build. Destroy. RebuildApril 20th, 2011 by Siegz | Rock |
Since I heard this song in March, I have just liked it more and more. Reminds me of "United States of Whatever" by Liam Lynch but like 5 times better. Nevermind, with Hanni El Khatib's punk/garage/blues style, this sounds a bit closer to the next Dan Auerbach of The Black Keys. If worst comes to worst you don't like this song, at least listen to the end because the ending is one of the best parts of the track.
Hanni El Khatib – Build. Destroy. Rebuild.


text:
Is some sort of a "leadership bubble" may be preventing you from getting all of the information you need to effective lead your organisation?
Whether you realise it or not, as a leader with significant power over the lives, the development and livelihoods of others, most people you communicate with are going to be careful about their interactions with you. Even the most friendly and approachable leaders eventually come to terms with this reality.
Your power is what gives you the potential to make a positive difference. And it also gives you the potential to cause harm and to fail in your role of being a career builder. Everyone around you knows this. Have you noticed that most people laugh at your jokes or feigns more than natural interest in what you say sometimes ? It's hard to be so direct to break this to you, but actually, your stories are not quite as funny or entertaining as you might think. You see, leadership and sales leadership is not a popularity contest and you're not always right, even though fewer and fewer people are willing to disagree with you? When was the last time you had someone come forward and tell you that you were wrong?
Welcome to the "leadership bubble" almost all top business and senior sales executives live in, and it can create a distorted view of reality if you are not careful.
It can also mean that you are not getting the bad news that you really need to hear if you are going to be an effective leader. So let's start with a few questions you should be asking yourself to determine if you are really getting all the information you need to execute your vision, allocate resources productively and make well informed decisions.
• How often do you hear about projects that are not meeting their timeline or budget? What do you think this means?
• When was the last time someone disagreed with you openly during a business meeting? How did you respond?
• Look at the team you have assembled around you. Are they cohesive because they are all cut from the same cloth? Or are they a broad mix of backgrounds, opinions and thinking styles?
• Do you really want to hear the bad news? Or do you expect others to deal with it before the information gets to you?
There is no way to give you a standard "ones size fits all" approach to this issue. Every organisation is unique and every leader is is complex. Business cultures present many variations that will impact your approach. But the ultimate goal can be universal: build a corporate culture of open communication, frank discussion of difficult issues and encouraging diverse points of view before making key decisions.
So what can you do to encourage this type of corporate culture? There are five specific actions that can help you.
1. Tolerate Dissent
This can be difficult for many leaders. After all, most of us would prefer that everyone "see the light" and agree with our thoughts and opinions. But even if you are correct, it still can be helpful to tolerate dissent. At the very least this will provide a crucible in which to test your thoughts. If in fact your vision or strategy or decision is the best one then an engaged discussion should make that clear.
Remember, the individual; who is dissenting is often giving voice ot the opinions of many others who are not as comfortable speaking up. So the way you treat this person will be carefully observed. If you embrace the dissent and engage fully, you are likely to see more of this behaviour in others eventually. But if you cut the person off and make it clear that dissent is not tolerated, you will produce the opposite outcome.
2. Encourage Frank Discussion
Many leaders feel they are being paid to be decisive and to lead, not to discuss. They are not comfortable in the role of a discussion "facilitator." They would rather hear a few opinions of others, then make a decision. And the reality is that often the leader's decision is the right one.
One of the reasons they have been placed in a position of leadership is that they have been right more often than they have been wrong. Business leaders are typically bright, competent and dedicated to doing what is best for their organisations. So they can be forgiven if they sometimes tend to lean a little too heavily on their own council.
But over time, a leader who does not cultivate a culture of open discussion and dialogue within his organisations will tend to become more and more myopic in his thinking. As he or she gets wrapped in the leadership "cocooon" that filters information coming in, the business instincts that served so well in the past can veer off track.
So encouraging frank discussion can help to ensure that you are always hearing the authentic thoughts and opinions of those around you.
3. Ask Provocative Questions
One way for a leader to "prime the pump" and drive an organisation toward more frank and candid discussions is to ask questions that provoke a truly engaged response. Not obvious questions where the "right" answer is clear, but subtle, nuanced questions that force people to think. Be sure to avoid telegraphing your own thoughts or opinions when you ask these questions, and don't let anyone hide out.
If you have someone who tends to speak up consistently. let this person know how much you appreciate their opinion, then ask them to hold back in order to force others to step up.
4. Reward Dissent / Punish "Yes People"
Ultimately you will see more of the behaviour you reward, and less of the beh avior you "punish." So find ways to reward those who are speaking up. Let the organisation know why you are rewarding them. Make it clear that one of your top values as a leader is open, authentic dialogue. And be patient – some will believe you and respond right away. Others will take longer to be convinced. And some will never be comfortable sharing their genuine thoughts in an open forum. For those people you may need to schedule one-on-one time to get to their true thoughts.
And if you eventually determine that an individual cannot make the transition, then you need to help to move them on to a career somewhere else. This will send a powerful signal to everyone in your organisation, that open dialogue isn't just desired, it is a critical part of your corporate culture.
Download the SkillMaps eBrochure
Request More Information on The Selling SkillMap NOW !
Take The Selling Skillmap Assessment Now !Take The Selling SkillMap NOW !


text:
Some rabbits learn to use a cat flap if it is a light one. Cat flaps are sometimes used to give privacy for breeding rabbits in laboratories (Beaumann et al., 2005). Watch a rabbit using one at http://www.youtube.com/watch?v=F21hkMMgRpM
NEVER stuff a reluctant rabbit through it – that will put them off for life. Try holding the cat flap open using wooden clothes pegs. Each time the rabbit goes through, you will have to change the pegs to the other side. Over time slowly lower the flap, making it only half open so that rabbit has to push with its head to open it.
Never let a rabbit out unsupervised into an unprotected garden if there is a chance of foxes, cats or even birds of prey.
Baumann, P., Oester, H. & Stauffacher, M. (2005), 'The use of a cat-flap at the nest entrance to mimic natural conditions in the breeding of fattening rabbits (Oryctolagus cuniculus),' Animal Welfare, 14, 135-142.
These notes are my copyright. I am also usually happy to have the exact words reproduced on websites, in return for a link, my name, and if permission is asked beforehand. I like to check the websites where it might be used. Email me via this website for permission which will usually be given. Organisations wishing to use them in print should contact me via this website. Copyright © 2007 Celia Haddon. All Rights Reserved.
All normal safety precautions should be taken when dealing with animals. The advice in this section should be taken only at the owner's own risk. All sick animals should be seen by a vet.
General advice of the kind found in this website is no substitute for an individual consultation with a vet or qualified behaviourist working on a vet's referral.
Join me


text:
Wednesday, September 15, 2004
Rush - NEC - Birmingham
"And you may ask yourself-well...how did I get here?"...more
Posted by Unknown at 2:52 pm No comments:
Saturday, September 04, 2004
Ginger - The Rig - Rock City - Nottingham
I don't know why but there always seems to be a decent football match on the telly when I'm meant to be watching a gig at Rock City/The Rig. This...more
Posted by Unknown at 3:52 pm No comments:
Ginger - The Rig - Rock City - Nottingham
Ginger, the legendary hard rockin' hard drinkin' frontman for the Wildhearts, has been doing these small venue acoustic sets for a couple of years now...more
Posted by Unknown at 3:51 pm No comments:
Subscribe to: Posts (Atom)


text:
When I told her that her boyfriend was making out with another chick, all she said was "which one"
You must be Logged in to post a comment
Which boyfriend is what she meant.
She just want's to know who she's having later. 3some fun!
Sounds like she's used to it.
she's use to him bringing home strays......
Well, she might have wanted in on the fun! Swingers in the making <3
bitch fight
She was probably asking so she'd know whose hair to grab. But it's weird that so many women do that instead of giving their CHEATING ASS BOYFRIEND the right hook.
Haha, not you.
If she's prettier than her, oh boy, look out.
So she knows who head kick
damn, some girls and their low self esteem. Crazy


text:
Nice 2 see u again, Sinead O'Connor!
The 44-year-old singer once again looks like her early-90s self! O'Connor performed at the amFAR Inspiration Gala on Thursday in West Hollywood and showed off her bald 'do!
In August, the Irish singer was completely unrecognizable; she performed in her hometown of Bray in County Wicklow with chopped, shoulder-length black hair and fuller figure.
One reason O'Connor might be returning to her '90s look? She's "desperate for sex."
In September, she posted on her official website that she was "in dire" need of intercourse and needed to "take drastic action" before it was too late. "What I do for a living makes it hard for me to find men that only want me because they like my (legendary) arse," she wrote. "Yet I am in the peak of my sexual prime and way too lovely to be living like a nun, and it's very depressing."
What qualities does O'Connor look for in a man? "He must be no younger than 44, must not be named Brian or Nigel, must be blind enough to think I'm gorgeous, has to be employed and he has to like his mother" — among various other requirements.
A mother of four children, O'Connor came out as a lesbian in 2005. She later told Entertainment Weekly: "I'm three-quarters heterosexual, a quarter gay."
Tell Us: Do you like Sinead's new version of her old look?
Sign up now for the Us Weekly newsletter to get breaking celebrity news, hot pics and more delivered straight to your inbox!
Want stories like these delivered straight to your phone? Download the Us Weekly iPhone app now!


text: Sola stood staring at the calendar; she could hardly believe her own eyes. Just some days ago, when she received the alert, she was so excited. Sola had a list waiting and immediately she started her execution plan. But today, just about 6 days later she was back to being broke and sadly she was still yet to settle some other bills. "Where did all my money go?" she thought. To be frank, Sola was tired of being so broke and living from one pay check to the other. Her 9-5 job was taking so much time and wasn't yielding much either.


text:
Phone number: (07) 5413....
Fax number: (07) 5413....
Email: Click to view
URL: http://www.aitkenlegal.com.au
Year Established: 2006
Trading/Opening hours:
|Mon: 9:00am - 5:00pm
|Tue: 9:00am - 5:00pm
|Wed: 9:00am - 5:00pm
|Thu: 9:00am - 5:00pm
|Fri: 9:00am - 5:00pm
|Sat: ---
|Sun: ---
|Public Hols: ---
Business Info
An Employment Law firm specialising in Employment and Workplace Relations law and representing Employers only.
Aitken Legal is a boutique Employment Law firm for Employers with offices on the Sunshine Coast and the Gold Coast.
Aitken Legal is constantly evolving and growing in order to satisfy the needs of our clients. Employment Law has become a very specialised area of law and the team at Aitken Legal ensure they are up to date with the latest changes in legislation and recent decisions of relevant courts and tribunals.
Employment Law covers a broad spectrum of laws and regulations including contracts of employment, enterprise agreement, employee entitlements, performance management, termination, discrimination, workplace health and safety, redundancies, transmission of business and much more.
Due to the complexities with interpreting the legislation and industrial instruments governing employee rights and entitlements, Employment Law has become a very specialised area of the law. The team of Lawyers at Aitken Legal appreciate this and devote their entire practice to employment and workplace relations law ensuring we can always provide our clients with accurate and up to date advice. We also keep our clients well informed through our e-newsletter, the Employment Update, as well as through workshops and conferences.
There are no other firms on the Sunshine Coast or the Gold Coast dedicated in this way and therefore this specialised. (more)
Employment Law
Recommend This Business
The review system is a way for customers of this business to easily share their opinion. By sharing your experience with this business, you help other consumers find the right business for them! By leaving a review, you also earn STARPOINTS. Starpoints can be redeemed for cash or prizes like iTunes giftcards. Find out more about Starpoints here.
Some tips when posting a review: When writing a review, see if you can be as balanced as possible. What did you like, what didn't you like? Here are some things to think about - How was the customer service? How was the product or service quality? How was the price/value? Please also check and adhere to the editorial guidelines when posting a review.


text:
#CabinetReshuffle does little for a housing market under pressure – Seeff
Expect the unexpected and prepare for a challenging time ahead; that is how we prefaced the year. Caution has been the order of the day for the last two years as we have seen political instability and poor governing decisions negatively impact the economy. [caption id="attachment_1745"


text:
This is on the Skin & Bones CD release!!! Be sure to get your copy!!
This is on the Skin & Bones CD release!!! Be sure to get your copy!!
Sitting int the Darkness, Life passing me by
Like a little bit of smoke, fogging up my mind.
Sorrow and goodbye left me empty
I believe, there's more for me
No matter what,
There is always hope!!!
This song is about making a comeback , from pain/adversity/any obstacles life throws at you!!!
You can make it!!!
Title Track of the new Skin & Bones CD!!! Go get it!!!
I believe the Son will rise
And light the darkened skies
I'm living on the hopes and dreams
And the strength I've got inside
Nothing here weighs heavier on me, than regret
I know that I've been knocked down, don't give up on me yet
I'll be stronger than before
When my soul was skin and bones
Just hangin' on by a thread
They cannot hurt me anymore
When your life is spiralling out of control and it seems like you're at the end of your rope... Just know, it's not over. It's ok to need and ask for help.
From the new Skin& Bones CD... get your copy today!!!
She feels like a refugee looking for protection
From the fear of a shameful past
Crying out for absolution, no longer and outcast
She cries in the night, I need You to
I cry out to God
Deep inside i shout
Oh that you would hear me
I would have no doubt
I searched for the Lord
All night long i prayed
Lift my hands to heaven
This is what I say
I'm Yours
father I'm Yours
This is Bob Davenport's favorite song of all time. It is recorded as a Thank You to everyone who has taken time to support this musical journey. Charles Thaxton ( keys), Steve Hornyak (bass), Matt Schmidt ( guitar), produced by Bob Davenport( drums). Recorded at AudioFlare studio ( engineered/mixed/mastered) by Chris Stoll
Free Bonus Download exclusive to thank everybody who support the music!!!
A heartfelt examination of conscience and redemption. It is a walk into the soul and a search for deeper meaning and light in a world where corruption, malice, and darkness tries to choke out our decency. Finding strength in the storm and looking for guidance through the maze of life. Plus, it just Rocks!!!! A soulful journey that reminds us of the healing power of good music.
From the NEW Skin& Bones CD!!!
The grief process is a difficult thing to go through when you lose someone you love. If there were a chance to talk with them and spend time with them one last moment that would last forever. I experienced the loss of my mother at a very young age and it has had a lasting effect on my life. In discussing this with Matt Scmidt, who experienced similar feelings after losing his dad... he had started writing this beautiful bluesy song that touched my heart... we got together and finished this piece and ... it says all the things we wish we could...
From the New CD Skin & Bones!!!
A journey of reflection on the place where we find ourselves in life and what is the truest and most important Good... God's grace and mercy and the lesson of life itself.
On the 2011 CD, ALL GOOD... available for download and purchase NOW!!!


text:
MIDDLETOWN, R.I., May 10, 2002 /PRNewswire via COMTEX/ --
TV Star Lisa Whelchel and Family have One of the First TracNet Systems Installed Aboard their RV
The full power of the Internet is now available on the move for mariners, travelers, businesspeople, and public and emergency services thanks to the TracNet(TM) Mobile Internet Server, available exclusively from KVH Industries (Nasdaq: KVHI). After being introduced in late 2001, the TracNet system is now in production and being installed aboard vehicles and vessels throughout the United States. For the first time, high-speed Internet access is available on the move as TracNet receives Internet downloads at speeds reaching 400 kilobits per second (Kbps) via the same award-winning TracVision(R) antennas used to receive satellite TV entertainment.
"The response to TracNet has been outstanding," declared Ian Palmer, vice president of satellite sales. "The intense interest among our customers and advance sales in both the marine and land mobile markets illustrate both the tremendous demand for mobile high-speed Internet access and the viability of the TracNet approach. We are extremely pleased that this versatile system is now being shipped to our dealers and customers nationwide."
TracNet consists of the server and multiple integrated return paths for complete two-way Internet access. The high-powered mobile DirecPC(R) downloads are received by a KVH TracVision mobile satellite TV antenna, which relays the data to the TracNet server. Two-way, high-speed access to Internet data is available to laptops and PCs either through TracNet's 10/100BaseT Ethernet connection or the integrated 802.11b wireless network, which permits multiple users to surf the web at any time from virtually anywhere in or around the vehicle or vessel. Requests for additional data, outgoing e-mail, and other information are relayed to DirecPC through TracNet's return path, which includes a landline connection for use while parked or docked and a wireless satellite/cellular system for use while the vehicle or vessel is on the move.
One of the first customers to receive a TracNet is TV star Lisa Whelchel, who portrayed Blair on "The Facts of Life" during its nine-year run on NBC. Lisa, along with her husband, Steve Cauble, and their three children, Tucker, Haven, and Clancy, are in the final stages of a 1-year tour of the United States in their motorhome. As part of the trip, Lisa and Steve are posting daily journal entries on their web site, www.LisaWhelchel.com, to keep friends, family, and fans up to date on the family's latest adventures. They are also using a KVH TracVision in-motion satellite TV system as a means of home schooling as well as entertainment during the journey. With their motorhome now equipped with the first production TracNet system as well as the family's existing wireless network and laptop computers, Lisa, Steve, and the kids have a new degree of freedom and an on-the-move connection to the world.
"I can't begin to tell you how excited all of us are, especially Lisa and me since we are the ones that must constantly find a telephone connection to send the journal entries and get our e-mail!" remarked Steve. "The system works wonderfully well, and we are all enjoying 'on demand' Internet and e- mail as a result."
The family's continuing travels offer an outstanding opportunity to demonstrate TracNet's capabilities throughout the United States. "We have a lot of traveling yet to do before we get home (California) on July 1st," explained Steve. "KVH is certainly a leader in this area and we are very pleased and thankful to be partnering with them in this endeavor."
The story of the Cauble family's adventures on the road is told in the original article, "Lisa Whelchel Takes Her Family Dream on the Road," written by Brad Johnson and offered for editorial use by KVH Industries. The complete text of the article and several 300 dpi, JPG format, press-ready images are available for download from KVH Industries' web site. The direct link is http://www.kvh.com/Press/pr.asp?id=126&category=SATELLITE.
A copy of this press release and several 300 dpi, JPG format, press-ready images are available for download at http://www.kvh.com/Press/index.asp?category=SATELLITE.
KVH Industries, Inc., is a leading provider of innovative high-bandwidth communications products. Using proprietary fiber optic and satellite antenna technology, the company is developing next-generation systems with greater precision, durability, and versatility for communications, navigation, and industrial applications. An ISO 9001-registered company, KVH has headquarters in Middletown, Rhode Island, with a fiber optic manufacturing facility in Illinois, and a European sales, marketing, and support office in Hoersholm, Denmark.
Please log in or create an account to receive access to complete information about KVH's award-winning products and services, including quick and easy downloads of KVH support documentation. It's free and easy and gives you access to the latest info on all of KVH's products.


text:
Physical Therapy FAQ
1Do you have any suggestion for people seeking a physical therapist?
Make sure the facility is well equipped and that the clinicians are well educated. Patients should also understand that a hands-on-protocol is important to return to full function. A good physical therapy patient is one who communicates exactly what he or she is feeling when they're going through exercises and through hands-on mobilization. A patient should want to invest and understand how to get better efficiently, without harming themselves.
2What are some typical questions your hear from potential patients?
Many patients we get don't understand that the point of physical therapy is to get you back to where you were before injury. For example, a patient may come in saying, "I'm not in pain all the time now; I don't need physical therapy." That doesn't mean the therapy is over if prior to injury, that person was running three miles a day. Our goal is to get the patient running three miles a day again, to 100% functionality, whatever that functioning was. In fact, we don't release patients until they are back to their pre-injury functionality.
3What are some trends you've seen in the physical therapy arena?
There's a fundamental lack of understanding in many physical therapy clinics of the biomechanics of the body and how they work in interaction with the musculoskeletal system. Too many physical therapists do not understand how to use body mechanics and exercise to progress the patient. Often there's a lack of hands-on experience and understanding of the true ways the body moves. At Back in Action Physical Therapy, we train our staff to put all disciplines taught in school together into one holistic approach.


text:
HSS - How Do IP Addresses Work?
What is an IP Address and How is it Used?
Before you learn how an IP address works, it's important to know what an IP address is. All computers, tablets, smartphones, and devices connected to the Internet have a unique IP address or Internet protocol, used for identification and communication. It's the equivalent of someone's name and the language they speak.
How Do IP Addresses Work?
How do IP addresses work to deliver information over the Internet? The same way as any other language; they communicate using set guidelines to pass information. All types of devices find, send, and exchange information with other connected devices these protocols. That's why any computer from any location can "talk" to one another; they are "speaking" the same language.
Why Should You Hide Your IP?
Hiding your IP address keeps critical location data such as your city, country, state, and ZIP code private and secure.
Hide Your IP Address to Help Keep Your Location Data Safe!
I Often Hear About TCP/IP - What is It?
Transmission Control Protocol/Internet Protocol is the basic communication system for the Internet. Every device connected to the Internet gets a copy of the TCP/IP program.
How Do the OSI Model and Burgers Come into the Picture?
The Open Systems Interconnection (OSI) model is a communication system for networks. The OSI model has 7 layers. IP addresses and routing protocols are part of layer 3.
What Is the Difference Between IPV4 And IPV6?
The Internet Protocol Version 4(IPv4) is protocol for use on packed-switched Link Layer networks (e.g. Ethernet). IPv4 provides an addressing capability of approximately 4.3 billion addresses. The Internet Protocol version 6 (IPv6) is more advanced and has better features when compared to IPv4.
|TCp IP 4
|TCp IP 6
|Address size
|32-bit number
|128-bit number
|Address format
|Dotted decimal notation
|Hexadecimal notation
|Prefix notation
Ok, Got It. But, What About the Classes of IP Addresses?
There are five IP address classes. These are classes A, B, C, D and E. The first three classes A, B and C, are commonly used as host addresses. Classes D and E are rarer and represent multicast and research addresses, respectively.
Download Hotspot Shield for Free!
Join the over 650 million users who are unblocking websites, watching videos unrestricted
and conducting online activities with full protection by downloading our trusted Hotspot Shield VPN risk-free today.
More on IP Addresses and How an IP Address Works
How Do I Change My IP Address?
Internet users all over the world are becoming more knowledgeable and are in better control of their online security.
What Can Someone do with your IP Address?
Someone who finds your IP address can gain knowledge of your city, state and zip code. This can be the first step in someone's efforts to dig up more of your private information.
Hide Your IP Address
By hiding your IP address, you can surf the web anonymously and keep your sensitive data secure. Also, you can unblock any website you choose to.
Some More Helpful Articles
Unblock Websites at School or Work
Learn how to instantly unblock your favorite sites like Facebook, Twitter, and YouTube when you are at school or work.Learn more
Is an IP Address Fixed to One Computer
Many questions arise concerning IP addresses – How do they work? How are they assigned? What is an IP address made of?Learn more
Benefits of VPN
VPNs can be used to unblock websites, protect your private data, secure your Wi-Fi connection, and unblock websites at school or work.Learn more
Unblock YouTube at School & Work
Easily get access to YouTube content privately without being traced at school or your job.Learn more
Will My IP Address Change If I Move?
Our online privacy experts explain how IP addresses are assigned and whether or not your IP address wil change when you move.Learn more
How Does a VPN Work on iPhone
A VPN is a networking service that routes your mobile traffic through a private server to mask your actual location.Learn more


text:
Immediately following his graduation from Moravian College, David was hired by HMK Insurance as an Account Executive. His quick grasp of the industry and additional knowledge in the field of technology advanced his career with HMK Insurance. He became a shareholder in 2008, the same year his son, Mason, was born. David and his family reside in Center Valley.
- Moravian College, B.S.
- Quakertown High School
Professional Organizations:
- Certified Insurance Counselors Program (CIC)
- Certified Insurance Service Representatives Program (CISR)
Community Involvement:
- Relay for Life volunteer
- After coaching boys youth basketball for many years, David now dedicates his free time to his family.
- Manage large commercial accounts
- In-house technology advocate and problem solver
610-868-8507 ext. 215 Download vCardLinkedin Profile