text:
Image: "Architectural Peace," by Grace Milk, 2015.
Liz Cettina: How did you begin writing "primer"?
Rick Hong Manayan: I started writing "primer" because I'm in Advanced Poetry Workshop. We get a bunch of assignments and later compile work from them into a chapbook at the end of the semester. The assignment for one week was about color. We were instructed to go the Pantone website, pick a color, pick different shades of that color, and write prose poems for each of those shades. So I chose white. I was fascinated by the fact that white, in order to be anything other than white, has to have color added to it. All these various shades of white are actually not white at all. I was interested in the racial and political implications of what that meant. All the colors had these weird names like, "Bone White," "Brilliant White," "Whisper White." And I was just like, "What would it be like if I was a white person whispering? I began writing these prose poems about whiteness and the little and big ways that whiteness infiltrates everything. Then when I was coming up with the title for this project I was like, "Hm, white paint, white paint, primer. Because primer is the base coat for everything." I really like (hate) the idea that you put white under everything, like white paint gets set down before any color gets set down. I was like, "Wow, that's kind of fucked. Why did we normalize putting white on everything?" So that's where a lot of the poems come from. The poems are about who started what, why people like Christopher Columbus are so "important," who comes into being, who gets counted historically.
Emma Raddatz: How do you see your chapbook progressing?
R: I'm trying to figure out how to make my book an accessible, tangible thing. I'm trying to work with not just poetry but also with historical texts. I'm trying to incorporate historical documents, my historical documents. I think a lot of my history has to do with white people telling me what my history is. I learned all of these things in middle school and high school, and I would go home and tell my mom and she'd be like, "That's absolutely not what happened. This is what white people think happened to Korea, but this is what happened," my mom being someone who lived in Korea. A lot of my art engages with sociology and interrogating what it means to be sociological because when we say "sociology," we're talking about American sociology because we can only really interrogate what's happening in the place we live. Korea has its own huge subsets of sociology we have yet to explore, and I will probably not understand all of them because I've never been to Korea. Within my art, I work with representations of the Korean diaspora and what that means for people. I ask questions about why my work has to have a predetermined aesthetic feel or why my work has to look like something in relation to a white predetermined aesthetic choice or form. So I like to make my work kind of tongue-in-cheek because I'm a tongue-in-cheek kind of person. I heighten those aspects of my personality in my art because it works as a coping mechanism for me. At this point, I'm just so tired and sick of having to work through a system to dismantle it. The world is fucking tiring, how can you be engaged in the world and not be a tired person? For the chapbook, I'm going to buy primer and see if I can paint the pages or maybe use white out to play with what can be seen through the whiteness, words peeking through the primer. Or images from my personal history splattered or covered with white paint. There are a lot of ways I'm trying to play with form to re-interrogate how aesthetics come to be racialized.
L: How do work within and against poetry as an art form? How does visual art contribute to your poetry?
R: I was writing this one poem in response to Tracy K. Smith and Life on Mars, and how when she visited Wesleyan and students were asking questions, they immediately asked about David Bowie. And I was like, "Why, when this black, female, lauded poet comes to visit, do you have to ask about David Bowie? Why did it become about that white dude in space?" And then I was like, "White dude in space. That's literally every white dude who takes up space." So my visual choice to have chunks of white space allude to people who just take up so much space, contrasted with images of what it is to have white as a color, which means those swatches need color to be anything other than white. That's wild because those [off-white] colors are just the slightest bit different than what you're going to see on the page when it's printed out. My assertion is that we deluded ourselves into a world of whiteness where we think whiteness is safe when really it's so dangerous. I'm trying to play with space in a way that alludes to how much space white poets and people think they can take up or are conditioned into believing they're allowed to take up. In poetry, I play with capitalization and grammar and form because all those things are ways language has told you to assimilate into a hierarchical structure. I think poetry is boundless. I hate when certain types of poetry get lauded as genius over other types. I think there's room for all types of poetry and now, more than ever, is the time to question predetermined poetic forms. And my way of doing that is just by being really silly and cute and sarcastic and (hopefully) funny because if you're able to engage with art as a means of interrogating your world, you have a platform, so why not utilize that platform to talk about something that could possibly deconstruct the world around you and also totally change the way we live.
E: How does this image of the white man in space figures into the "cosmic latte" page?
R: I was looking at these swatches of white, and I saw this beautiful square that said "Cosmic Latte." I was like, "Are you kidding me?" So I looked up "Cosmic Latte" on Wikipedia, and it had this huge description about how these white dudes at Johns Hopkins University came up with a name for the average color of the universe—as if we all care—and it's white. And they're like "Cosmic Latte," the color of the foam on top of your espresso beverages. That's wild to me that they took it upon themselves to name something so "important." Then again, naming tactics figure into how we think about history and how white men love slapping a name on everything. Going in line with that, I love including images that seem kind of absurd just to point at how absurd the world is. The fact that people thought "Cosmic Latte" was this nouveau invention that required a Wikipedia page just points at the things that get space on the web.
L: How does that fit into your work as a barista?
R: That's so funny. I definitely don't identify as a coffee snob, even though I totally am one. I identify as a coffee snob in that I do manage a café, and I need to be educated in where our beans come from. It's funny because our work at Espwesso is a kind of social justice work in that we're attentive to who our beans come from, who is being involved in conversations of the process going from seed to cup. And in the coffee world, there are barista competitions where they judge how well you do latte art. And this goes back into who, historically, thinks their taste buds matter. Like who can identify as a "foodie." That shit is so silly. Like, no, just call yourself a colonizer, admit to it. It's subtle ways we're able to colonize people's bodies, a barista competition. Who's going to judge the competition, who's going to win? Usually the bearded white male who moved from a small town to Brooklyn and now rides a bike and only uses leather…goods. I definitely think it's funny that I was making fun of "Cosmic Latte," and I have this reputation of being involved with coffee. I'm down to have conversations about coffee because that's an example of a small thing in which we can talk about colonial powers and how they infiltrate aspects of our local economy.
L: Who do you read? Who do people tell you to read?
R: Well, I don't listen to anyone. I don't really read people who have been historically structured to be important or canonical. I don't believe in any sort of literary canon because when people utilize the term, "canon," it's sort of like doing the work that primer does, to set down whiteness and be like, "Okay, let's move on from here." It's like, no, how about we imagine a world in which whiteness doesn't come first? The average color of the universe doesn't need to be white because every time I look up, the colors are always changing, it all depends on your orientation within the world. Personally, I don't read all that much, but the things I do read are usually things my friends have written. I really like things written by people who have a similar scope to us as college students because I think that work is relatable and deconstructs hierarchies of high language. I hate, hate, hate, hate poetry's history of high language, and how it's just like, "This man's work was just very philosophical, you just have to get deep into the heart of it." It's like no, who gets to be philosophical? Who gets to be an objective viewer in society? If you get to take on the role of objectivism, then you're not being affected by the problems of today. The people I love reading right now are Kamden Hilliard (He's an incredible poet. His new book is called Distress Tolerance. It deals a lot with being a queer, black man in America right now and the intersections of those selves. He talks about hating white men but also hooking up with white man. He asks why we're attracted to dangerous objects.), Keren Alshanetsky (Her work is my favorite. She's a close friend. Her work speaks to me, and it gets to the heart of why we're friends because I feel like you create your chosen family through your friends here. We've become family because we deal with a lot of similar issues.). I guess when I choose people to read, it's people who make me feel less lonely, that's kind of sappy, but there's kind of a necessity for sappiness.
E: When did you start writing?
R: I was a TA in high school for my English department over the summer after sophomore year, and I didn't know why I was chosen. I guess I displayed talent in writing, but I had never written poetry until I had to write poetry as a TA for this poetry class. So I was like, "Shit, I'm bad at this. All my poems rhyme or are about Hillary Clinton." Then I started slam poetry in my junior year of high school. At Wesleyan, I've been taking poetry workshops sort of unlearning ways I was told to write, "good poetry," all throughout high school. If I don't see art that's making me feel better about the world or that there is a way to envision a world such that all inhabit it in equal ways, then I'm going to make that art myself.
E: How does your poetry interact with other art forms (your dance, your photography)?
R: I'm a dance major so a lot of my ways of making choreography is having people improvise to some of the things I've written. I feel like a lot of my work in poetry needs to be heard to be fully expressed. I think it's very important to hear the speaker's voice and see how their social environment has affected the way they speak and present their poems in front of people. I think that everything is performance. Poetry and dance are just means of consolidating performance, but life is a performance. You go out, you go through your routines because you think your body needs to get to places or do certain things. Poetry and dance are my means of being able to deconstruct. The other day, my sociology professor identified herself as an anti-disciplinary artist, and I liked that so much because I don't like the idea that you have to identify as multi-disciplinary because that implies that you have a discipline, that you've studied the canon within these disciplines. I think we need more resistance within our art-making forms. Poetry and dance will always inform each other for me. I think dance is a language we speak with our bodies, we write poetry with our bodies. I think poetry is, similarly, a dance with words. I think both art forms are great means to interrogate what's considered "normal."
L: How do you control the reader's experience of your poems—hearing, seeing, reading?
R: I really like the idea of providing people with reading instructions for my poems, but often in poetry workshops, I get feedback that says, "There wasn't much room for breathing space," or, "The use of punctuation was totally unnecessary," and I'm like, "Fine, that's what you think. That's how you envision poetry, but this is how I'm envisioning it." I purposefully write my poems so readers feel like they can't breathe, you feel like you're running out of breath, because that's how I feel like life is for me. So I feel like my social environment is wholly reflected in the words I'm using and the way I structure my poems. If I'm going to present my poems, I thought a lot about how they are going to be perceived. If you feel like you're stumbling all throughout, that's fine because we need more mistakes in life. I utilize punctuation in ways that interrogate why punctuation exists. I think punctuation and capitalization exist for the purpose of having words make sense, but I think my poetry is a means of creating nonsense, and turning everything that has historically made sense to us into nonsense. Dance does that as well and I think art, in general, has a responsibility to do that. Like the white space I use, sometimes I use it as a place to breathe, sometimes to point out white people taking up space, sometimes to withhold certain things from the reader. I don't know everything about me so how could I get everything I need to say across to anyone in a coherent way? There's no such thing as a coherent self, you're always different, you're always in different social situations. You're always progressing and changing. Time is going, and the future is constantly happening.
E: How is your poetry situated between poetry and prose?
R: I've written in prose, but I choose to utilize poetry because it leaves enough room to incorporate prose in it to be accessible to the largest audience possible. I don't want to create work that feels exclusive, but I know that just being alive and being a person and having the privileges I have to be able to create art makes it exclusive no matter what. Still, my assertion is, I hope that I create art that doesn't historically exclude people.
E: How has your writing changed over time?
R: I guess the more disenchanted I get with the world, the more spiteful, angry, and angsty my writing gets. Actually, I think my work has gotten more child-like as I get older because I don't think there's a right way to be an adult. And there's a lot of pressure to assimilate into being the "normal" way. I think, as a creative, you need to keep the kid alive because there's such a power to be able to go back in time before you were socialized to be an adult. So I think my writing has become more honest in its desire to reach out and ask people for help. I think more so in college, last year, I was interested, in my writing, in reflecting the world I saw and not doing anything about it. But I realize now more than ever I need to be able to use art to hint at worlds I want to see, to ask for things even though I've been historically told not to ask for things. So I think my writing has morphed from being self-centered to being self-aware, selves-aware because there's more than one self. I think my writing definitely utilizes what orientation I have in whatever space that I'm in and writes from there in an attempt to comment on the environment, the worlds I'm in, hopefully trying to change them.
L: You said you were named a student poet for poems you don't really connect to anymore. Can you talk a little about that?
R: I mean, the way I engage with art changes when I get older. Everyone has license to fuck up/grow throughout their history as a student here. I think those poems just don't reflect what I'm trying to do with poetry because when I had to submit the poems, they had to fit, double-spaced, on four pages. So I was like, "Now, I really need to be careful with the wording." I do like the poems, but they're old, and they reflect the sort of person I killed or grew out of. I think my desires and needs for social change have changed drastically the more I've unlearned in being at Wesleyan. So those poems, I don't hate them, they just reflect a self that exists in the past. These poems observe the world as it is and don't really do anything to hint at how we can change that. It was my big angsty sigh phase. I think, now, there's a huge power in being sad and not being complacent about it because if you're sad, it shows that something in the world isn't working for you. It shows that happiness is kind of fake, it shouldn't be our be-all and end-all. I'm not saying you should suffer all the time but I don't think we should always be striving toward happiness.
L: Do you revise your poems? How does revision fit into your ever-changing perspective?
R: I think everything's a work in progress. Like Kanye keeps changing "The Life of Pablo" and I cannot keep up! Dances are shown to an audience who receive it in some way, but there's always something that could be different. I'm learning a lot about how artists go about reproducing their work, and why a lot of artists don't feel the need to make the same thing appear twice because that doesn't necessarily feel true. When I write, I revise as I'm writing so every time I place a word, I agonize over one line of poetry for like an hour, and I feel like, "Ah, that's so pointless! Just say what you need to say!" And I have moments where I'm like, "Bleh! This is how I feel! And it's all working! I'm just going to leave this as is because it's true to who I am right now!" The interplay between saying what's on my mind, not filtering, and agonizing over every word, filtering everything, is kind of what's reflected in my work I think because I'll have some very solemn, serious things to say that will then be contradicted by saying fun words. I like utilizing a lot of Internet lingo and text speak because I think that reflects the world we live in now and makes the language a little more accessible. Abbreviating the word sorry, "sry," like that's so cute and fun! That also goes back to me not thinking I should take up so much space with my words. So abbreviation becomes a tool that exemplifies that. Language is all strategy.
E: What has your workshop experience been like?
R: I don't really know because the workshop classes are kind of silly. You never know what you're going to get. I listen to what people have to say, but I know what I need to do to get across what I'm trying to say. I don't need to listen to how you would have written the poem because this is not your world and that's not helpful for me. I think a lot of workshop classes become competitions like, "Well, I would have written," or, "I would have used this," "I would have done it this way." Like bish, I'm not you, and that's the point, that's the whole point of why we're in poetry workshops because we all come from different places. We're not trying to assimilate towards similar styles of writing, the whole point is to honor the difference. The whole point of art is to work towards difference and to be like this is incredible, this is beautiful and messy and dirty. I hate the fact that we need to be clean, coherent beings. Like no, that's not how anything ever works. So that's how I handle workshops. I, one, don't really listen to them, but I do take into consideration when people seriously don't get something in my writing because that means I didn't do the work necessary to prepare them to dive into this mood or tone, I didn't do the work necessary to make this as accessible as possible because this is something that's rooted in my experience and my experience only, so how can I find some sort of coalition through changing my words, through opening up. I think, if you're in a poetry class with me, you'll end up learning a lot about me inadvertently, but I think that's good. That's the point, especially in classes as intimate as poetry workshops or dance composition workshops. When you see how someone creates, you see how the world has informed their aesthetic choices, you see how all of their political understandings come to flourish in how they treat space, whether it's on page or on the stage. You learn and unlearn a lot about people.
E: Anything else you want to add?
R: Well, my ideal date is, "Me and you get wine drunk. We go back to Community Engagement House and go straight to the bathtub. The bathtub is filled with bubbles and rose petals and there's a bottle of champagne. Then we go back down to my room and don't do anything. All we do is watch "Sailor Moon," then we go to sleep. So if anyone is trying to smooch, preferably soon, just kidding, not kidding, let me know.
Rick is a 2015-16 Wesleyan Student Poet and is currently working on a slew of creative projects including "primer." Read excerpts from it here.


text:
Did you know the "municipal fleet" of vehicles is more than just those City of Ottawa trucks and vans you see around town? Garbage trucks, fire engines, buses, ambulances – these are all part of Ottawa's municipal fleet, and they all represent opportunities for energy savings.
Public transit could be subject of its own story – many of its own stories in fact (some in the current edition of the PEN). Given that transportation accounts for 40% of the GHG emissions in the City of Ottawa (second only to the building sector – including heating and cooling – at 49% ***), public transportation is an obvious way to make an impact, but of course there are other kinds of vehicles the city relies on to function day to day.
"Fleet services is always striving to reduce our carbon footprint," says Luke Senecal, who manages Fleet Lifecycle and Safety for the City of Ottawa.
Indeed, the roots of the current Green Municipal Fleet Plan (GMFP) can be traced back to 2002, when Ottawa introduced its first fleet emission reductions strategy. At the time, this included researching into things like zero-emission public transit vehicles, but in 2008, municipal reorganization resulted in public transit and city fleet vehicles being grouped separately. Staff pushed for an expanded scope to the municipal fleet portion, eventually resulting in the GMFP.
To accomplish its goals, the GMFP focusses on three key areas: researching and acquiring alternative vehicle types (such as hybrid and electric), doing the same for alternative fuel types (such as biodiesel), and implementing vehicle telematics. Vehicle telematics combines GPS tracking and on-board diagnostics to tell how efficiently vehicles are being operated, and identify and correct specific problems such as idling (think of it as similar to remote building monitoring, as performed by the BEEM unit, except for things that move).
Taking into account work done by the City of Ottawa before amalgamation, early reductions from the first fleet emissions reductions strategies, and adjustments to align municipal targets with federal and provincial recommendations, the GMFP ends up targeting a GHG emissions reduction of about 1% per year. Early evaluations were discouraging, showing an increase in GHG emissions rather than a decrease, but on further consideration it turned out that an unusually warm baseline year (think "less snow removal needed") and failure to account for GHG savings of sustainably produced biodiesel were skewing the numbers. After adjustment, the GMFP has achieved a 6.3% reduction in GHG emissions for City operated vehicles since 2013 – exceeding their target.
In 2017, 11 new hybrid vehicles were obtained, options for refitting existing vehicles were researched, 21 telematics devices were installed in trucks, and 77 anti-idling devices were installed in ambulances. Why ambulances? It turns out that due to their need for a variety of life-saving (but temperature sensitive) medications, ambulances were being idled nearly all the time in order to maintain a stable temperature for drugs and medical equipment. By retrofitting ambulances with smaller climate-controlled compartments for the storage of these supplies, the need for most of this idling was eliminated.
This might seem like a small step towards reducing GHG emissions from City operated vehicles, but it is a novel and innovated solution that can be replicated across many different municipalities, ultimately resulting in substantial energy savings.
Considering that the GMFP is just one component of many strategies being used to reduce GHG emissions from transportation in Ottawa, the future is certainly looking more sustainable. For more details on Ottawa's GMFP, see the complete IESO Case Study conducted by Sustainable Eastern Ontario here.

subset: commoncrawl


text:
Filter by category:
Why are my insurance costs going up?
Even if you are a client with no claims, many factors beyond your control are pushing your premiums up. These factors are both local and global. Aging municipal infrastructure – over-capacity…Read Blog
Important Changes to Privacy Laws in Canada
In attempt to bolster and standardize cyber breach reporting, the Privacy Commissioner of Canada has changed its reporting requirements under the Personal Information protection and Electronic Document Act (PIPEDA).Read Blog


text:
❮ Back | ×
Please select all options below.
Product Code: FTBTGT
This Tailgate Zone Party Tape measures 3" wide by 20' long and features the words Tailgate Zone in black and yellow. This useful tailgating tape is made of polyethylene and can be used indoors or out. Section off your area for tailgating with this Tailgate Zone Party Tape.
Please allow ample time for delivery. The delivery date for this product is noted above for US shipping only. Please refer to checkout for delivery dates outside of the Contiguous 48 States.
Shipping charges are based on the value of the merchandise and not the number of shipments. For additional shipping information, please contact our Customer Service Department at 800-348-5084.


text:
Hire Silent Disco in Stevenage
Submit your event / occasion details to see a personalised list of Silent Discos in Stevenage available to book instantly.
Silent Discos in Stevenage to book instantly
Instant prices & availability for Silent Discos in Stevenage to consider for your event / occasion
Fill details of your event / occasion and search services from 44 Silent Discos local to you now.
Super Silent Discos(104)
3 Channel Wireless Flashing LED Super Silent Disco System 🎧🎧🎧
Verified bookings: 431
This Super quote is for our fantastic 3 channel FLASHING LED headsets and everything you need to hold a Super Silent Disco (just add dancers). The price also includes delivery and collection. The system is delivered to you 2 working days prior to your party and it contains your headsets (plus 2 s…
From: £65 per event
Silent Disco King(6)
Dry Hire of Premium LED Headphones for Silent Disco - 1 Day
Verified bookings: 21
Whether you need 6 or 6,000 headphones - we can make it happen! Our one day dry hire quote is based on our premium LED headphones, as used at Glastonbury. No matter how many headphones you have, the price will include three transmitters (for three different channels), cables, spares and everythin…
From: £118.80 per event
Silent Disco by Hedfone Party(11)
3 Channel LED Silent Disco Headphones - Great for socially distanced parties!
Verified bookings: 5
This is for our three channel headphones! Our headphones are great quality, sound amazing and competitively priced. Our headphones are very robust and will only break if they are subjected to excessive force (i.e if someone decided to jump on them and/or physically snap them). There is no way the …
From: £3 per person
Silent Discomania(39)
x15 Plain black 2 Channel Silent Disco Headsets
Verified bookings: 184
x15 Plain black 2 Channel Silent Disco Headsets - 24 Hour Hire OUR PRICE INCLUDES DELIVERY AND COLLECTION TO ANY U.K ADDRESS MONDAY FRIDAY 9AM - 5PM WE LIKE TO DELIVER AT LEAST 2 DAYS PRIOR TO YOUR EVENT AND COLLECT THE FIRST WORKING DAY AFTERWARDS WE HAVE QUOTED FOR THE CHEAPEST OPTION PLAIN 2 C…
From: £85 per event
VIP Your Event
Silent Disco
Our aim is to make the hiring of equipment easy, affordable and enjoyable. We offer the services and expertise to make your event extra special, even if you're a Silent Disco newcomer. Whether it is for your wedding, house party, hen party, corporate event or festival – we are here to help with q…
From: £4 per person
The A.L.S. Group
Silent Disco
Verified bookings: 4
A silent disco is an event where people dance to music listened to on wireless headphones. Rather than using a speaker system, music is broadcast via a radio transmitter with the signal being picked up by wireless headphone receivers worn by the participants. There are 3 channels on each of the …
From: £120 per event
Silent Noize Events(14)
Silent Disco - 10 Headsets
Verified bookings: 45
Thanks for getting in touch! We can do 10 of our fantastic 3 channel LED light-up headsets including transmitters, connecting audio cables with delivery, collection & VAT for £80. You can reserve your date with a £25 deposit. Let me know how that sounds to you and any questions please don'…
From: £80 per event
Entire Production Services LTD
2 Channels Silent Disco
Verified bookings: 1
Here we have 2 channel silent disco headsets + transmitter. They come in boxes of 40! Plug into the system with either phono plug or 3.5mm Jack plugs. This comes with instructions for ease of use. So you don't have a DJ chatting rubbish! We clean every headset before it goes out and when …
From: £101 per event
Boombastic Events Ltd(5)
All Inclusive Silent Disco Party For 10
We offering an ALL-INCLUSIVE Silent Disco Party Pack for 10 people! Perfect for small get-togethers, gatherings or parties. The package is £125 and includes: Delivery and Collection throughout Mainland UK Up to 10 top of the range LED Silent Disco headphones 2 Transmitters 2 Playlist Loaded …
From: £125 per event
Installed Events(6)
Silent Disco Hire
Verified bookings: 2
We offer a straitforward, plug-and-play dry hire solution for any size of event. Simply connect your music source(s) – whether that be a phone, laptop or professional DJ – to our transmitters, hand out the headsets and you're away! One, two and three-channel systems are available with a range of…
From: £115 per event
HUSH Silent Disco Company(1)
12 x Headphone House Party Package
Verified bookings: 7
A huge thanks for considering Hush Silent Disco Company for your Silent Disco. Our awesome Summer House Party package brings the Silent Disco headphones to your back garden this Summer, and includes a 12 of our awesome flashing LED headphones, two transmitters, alongside the cables to plug in y…
From: £80 per event
31 Silent Discos in Stevenage to request a quote from
Are you looking for a Silent Disco Supplier in Stevenage, Hertfordshire? Our catalogue includes 18 companies available in Stevenage for hire.
Super Silent Discos
Available in Stevenage from £65
431 Verified bookings
104 Reviews:
Recent review: Very easy to use and everyone had lots of fun
Focus Booth
Available in Stevenage from £enquire
1 Verified bookings
6 Reviews:
About: Focus Booth provide every kind of photo booth possible Here is a quick rundown of what is included when you rent from us: 3 Hour Hire (operational time) Unlimited photos throughout the hire Doubl…
Silent Discomania
Available in Stevenage from £75
184 Verified bookings
39 Reviews:
Recent review: equipment arrived promptly, all in good condition and with instructions how to use. Music quality fine and a good time had by all!
Entire Production Services LTD
Available in Stevenage from £none per event
1 Verified bookings
About: Here at Entire Production Services, We supply the entire Technical package, from Sound systems, Lighting rigs, Stages, Magic Mirrors, LED dance Floors, Silent Disco, Drapes, cold sparks pyrotechnics …
Big Night In
Available in Stevenage from £60
10 Verified bookings
3 Reviews:
Recent review: We had a silent disco at my house for my 21st with big night in and it was so much fun! Big Night In were really helpful, responded really quickly to all messages prior to the event and on the day of…
Available in Stevenage from £none per event
About: With over a decade of experience in lighting audio and power we can bring you the best experience to your event. Small tight knit team means you get the best customer service with the same skilled pr…
I Do Festivals Group
Available in Stevenage from £enquire
About: The I Do Festivals group of companies deliver high end provisions for every aspect of a festival celebration. From our award winning event management service, to our 5* FSA rated catering service, ma…
Silent Disco Ldn
Available in Stevenage from £none per event
About: Silent Disco LDN is West London's Number 1 silent disco hire company, providing a highly quality service to those within the UK. You provide the music and we will provide our 2 channel led headphon…
The Silent Disco Company
Available in Stevenage from £125
About: This is the latest craze that is sweeping across London and the UK so dry-hire our Silent Disco Headphones to add entertainment to any occasion. The silent disco is a perfect addition to make your ev…
Wackybooth Events Ltd
Available in Stevenage from £400
About: Whether you're planning entertainment for a wedding or looking to spice up a party that you're throwing, a photo booth can add some much-needed fun and also give you fun pictures to remember the even…
JukeBox 45s
Available in Stevenage from £245
About: JukeBox45s is the biggest, and longest established jukebox hire company in the UK. We hire Touchscreen, Digital, CD and Vinyl Jukeboxes for parties, events, weddings, TV, Stage and Exhibitions. We un…
Silent Noize Events
Available in Stevenage from £none per event
45 Verified bookings
14 Reviews:
Recent review: Silent Noize were fantastic. The headphones were great quality. It was really easy to set up and the delivery and collection went smoothly. Would recommend!
A Funky Disco - Silent & Mobile Disco Services
Available in Stevenage from £170
About: We supply Silent Disco, Mobile Disco, PA Hire, and Lighting hire. Both Wet and Dry hire services are available along with delivery and setup services.
VIP Your Event
Available in Stevenage from £200
About: VIP Your Event is a family run business based in Surrey. We are able to supply and deliver hire equipment all across the UK to cater for any size function, from an intimate dinner party to an extrava…
Wyldsoundisco & Event Services
Available in Stevenage from £600
About: WyldSoundDisco & Event Services, providing quality entertainment, DJs, Bands, Soloists, Tribute acts, magic acts and so much more.
Boombastic Events Ltd
Available in Stevenage from £none per event
5 Reviews:
About: Event Planning and Silent Disco Hire Services. Planning parties and providing top of the range LED Silent Disco Headphone hire throughout the Midlands and UK. With over 15 years of experience in the …
The Silent Disco Company
Available in Stevenage from £enquire
About: The concept of a Silent Disco is fairly new and people constantly ask how does it work? It is very simple. We use state of the art fully rechargeable LED headphones with powerful transmitters to ensu…
JLA Sound and Light
Available in Stevenage from £100
About: A family run business in the Ipswich area, offering a wide range of services. As well as offering silent disco systems and children's parties (as DJ Hamster), we also have a large stock of profession…


text:
Meera Regular
Meera Regular is a Regular TrueType Font. It has been downloaded 2304 times. 16 users have given the font a rating of 4.94 out of 5. You can find more information about Meera Regular and it's character map in the sections below. Please verify that you're a human to download the font for free.


text:
A beautiful small, hardy shrub with deeply cut silvery-grey leaves which originated at the National Trust garden at Powis Castle. It does not produce significant flowers and so retains it's compact habit. The best of it's type for general garden use and excellent ground cover in full sun.
Height 50cm (1.5ft), Spread 1m (3ft), 5-10 years to maturity.


text:
We are very proud to announce that Walsh Accountants have been named on the Australian Financial Review Top 100 Accounting Firms for 2019 The second year since making our debut in 2018. Thanks to the Team at Walsh Accountants To say we are proud to be included on the Australian Financial Review Top 100 Accounting […]READ MORE
The Gold Coast Women in Business Awards
The Gold Coast Women in Business awards was held on Friday 18th October at the Gold Coast Convention and Exhibition Centre A powerful platform for Women in Business The Awards is a very powerful platform that celebrates the achievements of women and female leaders across the Gold Coast region. Being an award category sponsor for the past four years, […]READ MORE
Walsh Accountants Raises $6700 for Perry Cross
As the dust settles and the Walsh Accountants Entrepreneur's Cup wraps up for another year, our team are so proud that we managed to organise and host another very successful event. It was a day full of fun and laughter with family and friends all whilst networking with the amazing business people of the Gold […]READ MORE
Walsh Accountants – WIN TAX AND COMPLIANCE FIRM OF THE YEAR!!!
We are very honoured to announce that Walsh Accountants has won the 2018 Tax and Compliance firm of the Year for the SMSF & Accounting Awards. Shape We humbly accept this award and would like to take this opportunity to once again thank our clients for the nomination. We really appreciate your recognition of our work and […]READ MORE


text:
News from your branch
Coronavirus - update
We understand that this is a challenging time. Our priority is the welfare of our customers and colleagues, and to ensure our customers can access our banking services. We have comprehensive and robust plans in place, and the Bank has undertaken significant work to minimise disruption to our services. We have secure remote access to our systems and equipment to continue to serve you. If our response is a little slower than usual, or your usual contact is unavailable, please do bear with us in these exceptional circumstances.
If you have concerns or would like to speak to us about any aspect of your finances, please do not hesitate to contact us via the details below. We ask that you do not visit the branch premises for the time being, due to social distancing measures and to safeguard you and our employees. Customer meetings will instead be taking place over the phone. Please contact our team using the details below.
Our coronavirus help and support page provides you with up-to-date information on Handelsbanken's response to the coronavirus.
|09:00 - 17:00
|09:00 - 17:00
|09:00 - 17:00
|09:00 - 17:00
|09:00 - 17:00
Meet the team
What our customers say
''I decided to approach my local branch of Handelsbanken as I had heard positive things about them. I'm pleased to say that they didn't disappoint, taking a proactive approach to our lending request, keeping us informed and working closely with both ourselves and the solicitors throughout the transaction. It is refreshing to be able to simply pick up the phone and speak directly. Whilst they were keen to complete the deal, they allowed us space to make some final decisions before we finally pushed the button to re-finance. We have chosen a bank which takes an active interest in their clients and truly understands the importance of customer service and good communication. I would have no hesitation in recommending them to others.''
Partner of professional firm, Corporate banking customer


text:
i wrote this post at the end of 2012 and finally decided to post it after reading this post on the good men project's website. someone asked me recently why i don't have a job in photography since it was, after all, what my degree is in. i first went to school for english and […]
Tag Archives: hate
self-loathing and selfies
Sunday, April 14, 2013 – 5:31 pm
Posted by Caroline
Also tagged: photos/self-loathing/selfie
Also tagged: photos/self-loathing/selfie
hate vomit
Friday, March 8, 2013 – 11:15 am
i'm around the internet in plenty of places, personally and professionally. i read blogs, websites, and the like, on various topics – art, design, politics, feminism, pop culture, music, you name it. the topics may vary but one thing remains the same – the hate vomit spewed throughout the comment sections and sent as emails […]


text:
Cheap tickets from Whitehorse to Phoenix
You can count on WestJet when it comes to cheap tickets from Whitehorse to Phoenix. We fly all over North America, Central America, the Caribbean and Europe, including Phoenix Sky Harbor International Airport, so you can always rely on us to go to the destination you need to be. Our mission is to provide our guests with great experiences, which for many means safe and affordable travel. Browse our cheap tickets today.
Low fare finder
Don't see what you're looking for? Find all of our great low fares in one place.
Plan your visit to Valley of the Sun with WestJet
Airport Details: From YXY, Erik Nielsen Whitehorse International Airport To PHX, Phoenix Sky Harbor International Airport
Located in the Sonoran Desert, Phoenix is a hot destination with a fitting nickname — the "Valley of the Sun." This is one of the largest cities in the United States in terms of both area and population, and a true magnet for outdoor enthusiasts. The growing energy of the evolving downtown core is also waiting to be explored; here, visitors can enjoy great shopping, dining and cultural attractions.
Book your cheap ticket and look forward to touching down in one of Arizona's most bright and enthralling destinations. Enjoy swift, comfortable travel from Whitehorse to Phoenix with WestJet and put Desert Botanical Garden, hiking Camelback Mountain and Heard Museum right at your fingertips.


text:
Having a human resource department in your place of business is very important. The human resource department is mainly concerned with managing the employees in the workplace. Motivational levels tend to vary amongst the employees. The human resource manager is responsible for making sure that all employees perform to the best of their capabilities and that any altercation between employees are minimised. Without a proper human resource department, it's difficult for business owners to understand their employees properly.Read More →
Who Can Avail Benefits From HR Solutions?
There is much talk nowadays about solutions for Human Resources professionals, but what are these exactly and how are they beneficial?
Rewards For Well Performing Staff A New HR Strategy
In a difficult economic environment, rewarding high-performing staff with bonuses may be neither practical nor desirable. If you have motivated employers who are performing well, however, you will want to recognize their efforts. Here is a look at four ways that you can do so in a more modest way.


text:
Our laminate flooring range is sourced from Haro - a leading supplier of high end flooring - specialising in beautifully constructed boards that blend durability, performance and remarkable longevity.
All our laminate flooring options come in a selection of distinctive and authentic wood finishes, designed to completely transform the look of any traditional home or contemporary commercial space.
It appears that there are no products in this category at present


text:
Dutra Maquinas are one of the leading e-commerce companies in Brazil which are supplying Hardware & Construction machines. This company was established in 1982 and it is a very popular brand, which provides almost all kind of hardware tools such as tools used in housing and garden, for construction work, for cleaning purposes, for maintenance, automotive products, and accessories, for mechanical work and much more.
There are various kinds of products available at their stores. They are having many branches in different areas and an e-commerce portal to provide branded and good quality products online. All these products are organized in a manner so that you can easily pick according to your work. They also offer plenty of discount on their selected products. Dutra Maquinas is a very popular brand for their quality and their service to their customers. You can go to their stores or you can visit their online website to know more about their products and about their company. If their customers are not satisfied with their service then they can return their products to them. You can talk to their customer service executives for any type of problem or complaint. They also provide many different modes of online payment such as you can use your Debit card, Credit card, Visa card, Master card, American Express, Elo, and Hiper card to make the online payment process easier.
Here we provide you all the information you need to know about Dutra Maquinas like what is their customer service number, consumers what is their official head office, what is their head office location, what is their head office contact number, what is their official email id and their official social profile links. For any kind of help regarding any products details and complaints, you can easily contact them on these.
Dutra Maquinas Customer Service Contact Details
Dutra Maquinas Customer Service Number: (11) 2796-8844
Dutra Maquinas Customer Service Email Id: firstname.lastname@example.com
These are the official customer service contact details mentioned above. Regarding any products details or any help you can call to them on their customer service number or you can mail then at their email id. You can get information about you product delivery, payment, return, exchange cancellation procedure. You can also order your products by calling them.
Dutra Maquinas Head Office Contact Details
Dutra Maquinas Head Office Address: Av. Serafim Goncalves Pereira, 340 Pq. New World – Sao Poulo
Dutra Maquinas Head Office Phone Number: (11) 2795-8800
Dutra Maquinas Head Office Email Id: email@example.com
Here we are providing you their head office contact details above mentioned. If you are satisfied by their service or by their product you can visit their head office for complaint for queries. They are having customer care executives consumer's help and to provide a there customer a better solution about their problems.
Dutra Maquinas Official Website: www.dutramaquinas.com.br
This is the official website link provided above, you can visit their official website to check their products or their product details. Click on this link to open their website and you can also order your product from their website.
Social Profiles
Facebook Fan Page: facebook.com/DutraMaquinasBR
Twitter Handle: twitter.com/dutra_maquinas
Google+ Profile: plus.google.com/115345380657140748746
Pinterest Profile: n/a
Instagram Profile: instagram.com/dutramaquinas
Linkedin Profile: linkedin.com/company/dutra-m-quinas
Youtube Channel: youtube.com/user/DutraMaquinas
The above mention links are Dutra Maquinas official social profile account links. You can follow them on their social profiles to know more about their products and about their new arrivals. The post latest updates on their social profiles about their products. You can directly open their profiles by clicking on these links.mportant link
Important Links
Jobs: dutramaquinas.com.br/trabalheconosco
If you want to work with this company then you can by opening this link, which is above mentioned. They provided all the information regarding their vacancies and their jobs. You can also send them your resume at their official email id which is firstname.lastname@example.com


text:
Yaasa Adjustable Bed
- Split King Adjustable Bed Frame with Massage - $1,129.00
- iDealBed 4i Custom Adjustable Bed Base - $649.00
- Blissful Nights Twin XL Adjustable Bed Base - $399.00
- LUCID Adjustable Bed Base with LUCID 12" Latex Hybrid Mattress - $1,451.20
- Blissful Nights 10" Medium Plush Split King Premium Cool Memory Foam with Latex Mattress and Adjusta - $1,299.00
Not one to settle for mail-order mattresses alone, Yaasa has developed the Yaasa Adjustable Bed to accompany their hybrid foam-and-coil snooze cushion. At first glance, this bed looks: 1) like something I would like to have to soothe and sit me upright when I'm so hungover I can hardly roll over on New Year's Day; and 2) Attractively minimalist and stylin' for what is essentially a piece of furniture you'd typically only see in hospitals and your grandma's bedroom.
The Yaasa Adjustable Bed comes with a backlit wireless remote that has one-button position changes between Flat, Anti-Snore, and Zero Gravity. There is also a full range of custom adjustment options for you to tweak to elevate your upper and lower body for working and reading, watching TV, or promoting blood circulation.
While Yaasa obviously made their Adjustable Bed for use with the Yaasa Mattress, the frame will support most modern mattresses in sizes Twin XL through King. Yaasa also sells a Split King Adjustable Bed for partners who want to control their adjustments separately.


text:
Fear Not Tomorrow, God Is Already There
Tomorrow is a word often filled with promise and hope. But during times of uncertainty, the very thought of tomorrow can be filled with fear. An unexpected turn of events can flip our lives upside down and bring us face-to-face with daunting challenges that leave us feeling anxious, inadequate, overpowered, ill-equipped, or even beyond hope. Can God be trusted? Does He care? Ruth Graham asked herself these questions as she faced uncertainty in her own life. Join her as she explores the character of God as revealed in Jesus' encounters with real people—a band of frightened fishermen, a woman facing unspeakable grief, a man scarred by his own sin, and others. You will discover as she did that you need not fear tomorrow…God is already there.


text:
Global Wealth Management
Edmond de Rothschild
Edmond de Rothschild is an independent, family-controlled financial group specializing in Private Banking and Asset Management.
Oran was recently named as '30 Under 30′ by Forbes magazine. He is the former Vice President of TerraLab Ventures – a leading Israeli VC, investing in and incubating novel technology companies. It focuses on sectors that positively impact the lives of millions, such as clean energy, resource efficiency, sustainability, mobility, and wellness. With 23 companies in its portfolio, Terra manages a total of $60M.
Oran also served as Chairman of the Board at IDC Entrepreneurship Club, the leading academic entrepreneurship center in Israel (Voluntary & Philanthropy).
He provides value within IDC (Israel's Ranked – #1 College) for 2000 students from 31 countries – Through 10 different entrepreneurship programs.
Prior, Oran worked for Cannan Partners – a US-based VC fund.
Oran founded 2 Startups and owned a restaurant in Tel-Aviv (Acquired after just 4 months by Israeli master chef – Nir Zouk). He writes on regular basis for Israeli economic newspapers – "The Marker", "Globes & "Calcalist".
Furthermore, Oran launched "Inspiration Day" – a yearly conference tackling the biggest challenges facing humanity in the 21st century, with more than 500 attendees and 20 speakers every year. He also lectures within the "Executive Education" division of IDC, and hosts delegations of hi-tech executives and politicians and represents Israel on official tech delegations abroad.
Oran served for 3 years in IDF in the elite technological unit of MAMRAM and graduated both LLB & BA degrees from IDC Herzliya.


text:
Posts Tagged 'Bordeaux'
2005 Bordeaux, Living Up To Its Reputation
Wednesday, April 2nd, 2008
The 2005 Bordeaux reviews have not been unkind to the region. And with that said I decided I wanted to find out what everyone is talking about. I choose a wine from Graves, Albert Duran, 2005, Chateau Beauregard Ducasse. With Graves' dignified reputation, and eloquence about it, it seemed like a good way to start. I wouldn't say that 2005 is a year of extra outrageous wine, but I would say that it does bring together. I certainly have tasted the same quality in a table wine at a café in Paris. It has an easy drinking-ness around it that makes you want to open a bottle with friends and just chill out. I would say that this is a conversation wine, not for the fact that you will be discussing the wine, but you will be talking amongst yourselves and indulging in each others banter. This wine makes me want to call up a friend and chat. I just might, actually. (more…)
Tags: Albert Duran, Bordeaux, Chateau Beauregard Ducasse, elixir, France, Paris, review, Wine
Posted in Wine Review | No Comments »


text:
In recovery, it is always helpful to share our stories and insights with each other, or to say some kind words to affirm each other and draw some inspiration from, and sometimes it's nice to just have a laugh at something funny that a person said. But one thing that is very well known in recovery is that not much of what is said in a 12 step meetings is original. It is all a story handed down. In recovery we all try to put words to our experience and sometimes it is difficult to find the words. We're going to do our best to compile a list of inspirational quotes for you to relate with and to share with others!
"You know you're an alcoholic when you misplace things … like a decade." — Paul Williams
"Hardships often prepare ordinary people for an extraordinary destiny." – C.S. Lewis
"The mentality and behavior of drug addicts and alcoholics is wholly irrational until you understand that they are completely powerless over their addiction and unless they have structured help, they have no hope." – Russell Brand
"What is addiction, really? It is a sign, a signal, a symptom of distress. It is a language that tells us about a plight that must be understood." – Alice Miller
"All the suffering, stress, and addiction comes from not realizing you already are what you are looking for. " – Jon Kabat-Zinn
"Sometimes you've just got to give yourself what you wish someone else would give you." – Dr. Phil
"Don't let the past steal your present." –Terri Guillemets
"People spend a lifetime searching for happiness; looking for peace. They chase idle dreams, addictions, religions, even other people, hoping to fill the emptiness that plagues them. The irony is the only place they ever needed to search was within." – Ramona L. Anderson
"I got sober. I stopped killing myself with alcohol. I began to think: 'Wait a minute – if I can stop doing this, what are the possibilities?' And slowly it dawned on me that it was maybe worth the risk." ― Craig Ferguson
"Experience is not what happens to you, it is what you do with what happens to you." – Aldous Huxley
"You can come out of the furnace of trouble two ways: if you let it consume you, you come out a cinder; but there is a kind of metal which refuses to be consumed, and comes out a star." – Jean Church
"We honor ourselves when we speak out for recovery. We show the world that recovery matters because it brings hope and peace into the lives of individuals and their loved ones." – Beth Wilson
"Sometimes we motivate ourselves by thinking of what we want to become. Sometimes we motivate ourselves by thinking about who we don't ever want to be again." – Shane Niemeyer
"The only person you are destined to become is the person you decide to be." – Ralph Waldo Emerson
"Success is the sum of small efforts, repeated day in and day out." – Robert Collier
"Our greatest glory is not in never failing, but in rising up every time we fail." – Ralph Waldo Emerson
"If you can quit for a day, you can quit for a lifetime." – Benjamin Alire Sáenz
"Addiction begins with the hope that something "out there" can instantly fill up the emptiness inside." – Jean Kilbourne
"Addiction is just a way of trying to get at something else. Something bigger. Call it transcendence if you want, but it's like a rat in a maze. We all want the same thing. We all have this hole. The thing you want offers relief, but it's a trap." – Tess Callahan
"If you know someone who tries to drown their sorrows, you might tell them that sorrows know how to swim." – Ann Landers
"We missed the reality and the beauty of the forest because we were diverted by the ugliness of some of its trees." BB. Page 50
"The alcoholic is like a tornado roaring his way through the lives of others… "Don't see anything the matter here, Ma. Ain't it grand the wind stopped blowin'?" -BB. Page 82
"If you spend time praying for people instead of talking about them. You'll get better results." -Unknown
"Worry is a conversation you have with yourself about things you cannot change. Prayer is a conversation with God about things He can change." -Unknown
"Want to feel better? Offer to help another person. Genuinely be there for someone. It will lift your heart." -Unknown
"Acceptance makes an incredible fertile soil for the seeds of change." -Unknown
"Don't give up on the people you love. Your patience and faithfulness may be exactly what they need to make a complete turnaround." -Unknown
"There is a difference between sobriety and recovery." -Unknown
"The first three steps taught me how to give up. Four, five and six taught me how to own up. Seven, eight and nine taught me how to make up. Ten, eleven and twelve taught me how to grow up." -Unknown
"Sometimes it's okay to not be okay and that's just how life works sometimes." -Unknown
"Things work out best for those who make the best of how things work out." -Unknown
"It is not happy people who are grateful. It is grateful people who are happy." -Unknown
This piece will continue to be a work in progress. If you have any suggestions of quotes that can be added to this list please comment below! Also if you happen to know who coined any of the phrases above that are labeled as "unknown," please let us know.


text:
2020.01.19 Sunday
2018.05.31 Thursday
The Wake Up India Man Movie Free Download In Hindi
The Wake Up India Man Movie Free Download In Hindi
Download | Watch
The Wake Up India Man Movie Free Download In Hindi
Wake Sid Hindi Full Movie - Sid Mehra (Ranbir Kapoor) is a young man living in Mumbai who benefits from the indulgence of his parents.
Home. People.. Amazon.com: Wake Up Sid (Dvd) (Bollywood Movie / Indian Cinema / Hindi Film . Free 5-8 business-day shipping within the U . Wake Up Sid is a great movie and I .
Find Where Free Movies Is Available To Stream Now. Yidio is the premier streaming guide for TV Shows & Movies on the web, phone, tablet or smart tv.
Wake Up Sid. Ram Mehra used to . Download Wake Up Sid 2009 movie. Also Known As. . Kiyoshi's work as a pest control man leads him to a mysteriously deserted house.
On MovieFlixter you can watch movies online for free, only HD movie . Wake-Up Call (1944 . Watching movies on MovieFlixter is absolutely free and doesnt .. Tamil Songs, New Punjabi Mp3 & Indian Pop Albums Free Mp3 Download Site. Latest Bollywood Hindi Movies Mp3 Songs; Indian Movies Hindi Mp3 Songs .
Tuhi Mera Pehla Pyar hindi dubbed movie mp4
Honour Killing 1 full movie subtitle indonesia download
Valentine 's Night mp4 download
Sanam Phir Milenge full movie english sub download
Arjun - The Warrior Prince kannada movie download in kickass torrent
download video the Dhondoosss Just Chill full movie mp4
Waisi Waali Khushi Movies 4 Free
Crazy Cukkad Family movie 1080p download utorrent
film Chor Bazaari download movies
Ant-Man (English) kannada full movie kickass download
2020.01.19 Sunday


text:
The estate and inheritance tax are often misinterpreted as being the same tax, commonly referred to as the "death tax." The estate tax is a federal tax on an estate worth more than $2 million (increased to $3.5 million for 2009). An inheritance tax is a state tax on the portion inherited by the individual. Some states do not impose an inheritance tax.
Estate Tax Deductions
When you die, there are a number of deductions that can be applied to lower your estate and help avoid taxes. The deductions include a marital deduction, charitable deduction, mortgages and debt, estate administrative expenses and losses during administration.
Progressive Taxation
The estate tax is progressive, beginning at 18 percent, with the highest tax at 45 percent.
In 2010, the estate tax will be repealed, although it will return in 2011.
Inheritance Tax
There are 11 states that collect inheritance tax: Connecticut, Indiana, Iowa, Kansas, Kentucky, Maryland, Nebraska, New Jersey, Oregon, Pennsylvania and Tennessee. The inheritance taxes are likely to be lower when a close family member inherits the estate. A spouse does not pay an inheritance tax.
Inheritance Tax Deductions
Each state's inheritance tax requirements, rates and deductions vary. Check with your state.


text: Hello, I plan to be moving to Brooksville in a year or so. Does anyone have any shootingrange/gunshop info for the area? Also, I may not be a permanent resident of Brooksville because I'll be looking to buy a home, and some info on the Gulf side roughly between Tampa and Gainesville would be helpfull. Thanks.


text:
October 15, 2018
Mike Thomas
PALM BEACH, FL—Voters in Charge, the political committee sponsoring the statewide Yes on 3 campaign, today continued unveiling its local leadership committees. Members of local leadership committees include community, business, law enforcement and religious leaders throughout the state who are committed to ensuring that Florida voters are put in charge of casino gambling decisions in Florida. Today the campaign proudly announces its local leadership in Palm Beach County. The list consists of a diverse group of prominent community leaders, business owners, and elected officials from both sides of the aisle.
Palm Beach County Chairs:
Mayor Jeri Muoio, West Palm Beach
The Honorable Mary Brandenburg, Former State Representative
Julio Fuentes, President & CEO of the Florida Hispanic Chamber of Commerce
Rachelle Lipman, President of the Kings Point Democratic Club
Palm Beach County Committee Members:
The Honorable Sylvia Moffett, Former West Palm Beach Commissioner
Mindy Koch, President of the Boca/Delray Democratic Club & Former Educator
The Honorable David Smith, Former West Palm Beach Commissioner & Local Business Owner
The Honorable Ben Klug, Former Jupiter Councilman
Jose Garcia, President of Latinos in Action
Bill Newgent, City Voice Podcast Host & Real Estate Investor
Dana Aberman, President of S.E.E. South Florida
Alexandria Ayala, Vice President of the PBC Young Democrats
Craig Agranoff, Political Science Professor
Daniella Suarez, High School Math Teacher
Paula Morra, Community Activist
Amendment 3 ensures that Florida voters shall have the exclusive right to decide whether to authorize casino gambling in the State of Florida. Recent polling shows that more than 70 percent of Florida voters support this amendment. Amendment 3 enjoys bipartisan support and has been endorsed by the Florida Chamber of Commerce, Florida League of Women Voters, and the Florida Conference of the NAACP, among others.
"We are thrilled to have the support of so many pillars of the community for this important amendment," said Voters in Charge Chairman John Sowinski. "For most of our lifetimes, decisions about casino gambling were left up to the voters. It is past time to return that right to Floridians and take it away from politicians and special interest groups in Tallahassee."
For more information about the Yes on 3 campaign, including a local contact and regional office, please visit https://votersic.wpengine.com/regional-offices/
Paid Political advertisement Paid for by Voters in Charge, PO Box 1991 Orlando Florida 32802.


text:
Chic Hollywood Condo Located in the Historic Polynesian Building
Address: 1830 Taft Avenue #106
Area: Hollywood
Bath: 1.5
Approximate Square Feet: 1,260
Lot Size: Condo
Additional Features:
Modern Hollywood Condo at its Finest. Located in the Historic Polynesian Building, this chic condo has been completely revamped and is ready for you to enjoy. The kitchen remodel consists of an open layout, new walnut finished cabinetry, Quartz countertops, new appliances, floating shelves, and designer lighting fixtures. Large format 18" x 36" tile flooring flows throughout the open floorplan accented by a custom tile wall in the foyer. New interior doors and handles, new satin nickel closet doors, and new recessed lighting are just a few features to list. The bathrooms have been modernized with floating vanities, Quartz countertops, Alabaster and glass mosaic tile, frameless shower glass, and new lighting. Ample parking with two assigned spots underground and a storage closet. This community is in an excellent location near shopping, popular restaurants, entertainment venues, transportation, and the famous Hollywood sign. View this home today!
Photos and copy courtesy of Kaveh Shakeri, Evoke Real Estate.


text:
Just as the urge to empathy as a pre-assumption of aesthetic experience finds its gratification in the beauty of the organic, so the urge to abstraction finds its beauty in the life-denying inorganic, in the crystalline or, in general terms, in all abstract law and necessity.
—Wilhelm Worringer
I can feel it. I can feel it. I can feel it. I'm afraid.
Struck by "inorganic beauty," I find myself increasingly preoccupied by the geometric expression of '60s sci-fi design. There is, for example, the Discover spacecraft in 2001: A Space Odyssey which looks like a mechanical skull and dangling backbone guided through space by an insane electronic mind. As with Buckminster Fuller's nomadic geodesics, the spacecraft was conceived from geometry to approximate recongnizable forms proposed by nature. I would like to argue that such a proclivity to anthropomorphize the inanimate, to always seek out in geometric systems human or natural likeness, is, however, to miss the point of Wilhelm Worringer's "inorganic" expression. What I am drawn to, on the other hand, is the familiarity proposed by a more self-reflective idea of geometry, what I'm calling second nature.
Worringer, in his incredibly simple and still profound way, proposed halving beauty. What seized him in the Trocadero Museum was the idea that geometry (for simplicity's sake I will refer to all language as geometry throughout this essay) doesn't actually have a first nature. It is, strictly speaking, derived from the human imagination, alien to a first nature. Hence, it always constitutes a second nature which by definition is highly constructed and at the same time exceedingly familiar. Not in terms of a geometry which strives for naturalism, but a geometry which can't help but occupy a wholly different realm; one which is not qualified as "second" because it is inferior to or a bad copy of the first, but because it constitutes a completely separate universe onto itself. Like music or language, modernist aesthetic practice was for Worringer specifically an investigation of these inorganic systems and structures which are native to human consciousness alone. Worringer went so far as to assert that abstraction was so removed from the dimensional world that it induced in its adherents a form of agoraphobia. For him abstraction was, in fact, an existential alienation which produced an inner sickness and immense dread of physical space analogous to what Jean-Paul Sartre would later describe in Nausea.
Yet, I can only "reread" Worringer. Clearly there is no way to account for the spirit with which his thesis was originally met, nor do I have much interes in underwriting what could only amount to the personal fiction I would create in its place. Instead, I go knowingly to revisit the text through the scrim of thinking and writing that has emerged since the first publication of Abstraction and Empathy in 1906. Short of an exhaustive survey of the semiotic and phenomenological theory which in one way or another follows the essay — and to which I feel in no way capable of doing justice in so short a piece — I want to reread Worringer through Jean-François Lyotard's evocation of the term "inhuman". To quote Lyotard from the book of the same title: "The inhumanity of a system which is currently being consolidated under the name of development (among others) must not be confused with the infinitely secret one of which the soul is hostage."
Following from Lyotard, I feel the need to first distinguish between two very different invocations of an inhuman subject ascribed to Worringer's "inorganic beauty". As I've said, geometry by definition would seem to constitute a second nature; if anything, it is learned and inorganic. What Lyotard seems to hit on is the idea that within a discussion of second nature, two very different concepts of "inorganic beauty" emerge. There is, as Lyotard reminds us in "Can Thought Go On Without A Body?" a sense in which geometry is humanized. As he puts it, "humankind" is in the process of representing itself as mechanical to the point where geometry is becoming more important than the sensual consciousness which created it and, with geometry's every evocation, which reanimates it. And, conversely, a sense in which "it is 'proper' to human kind... to be inhabited by the inhuman," a "secret" sense in which geometry describes the limits of our imagination beyond which we can never pass. Born from and for human contemplation alone, "inorganic beauty" is, for Lyotard, analogous to the cell of history and consciousness in which we are held "hostage".
If Worringer twins "beauty," then Lyotard takes "inorganic beauty" and, in his turn, divides it again. Lyotard is trying to account for the inclination of the inorganic remainder to fork back towards the transcendental plains of humanism. There is the uncomfortable idea that in any evocation of the crystalline and poisonous atmosphere of abstraction there is the residue of an unquestioning faith in the transcendent perfection implied in geometric sign systems. What's salvageable from Lyotard's inhuman is not anthropomorphic, not the creeping prosthetics that delivers its subject into a techno/logical transcendence (think Robocop or Borg). In the shopworn terms of the semantic mechanic, what's evoked in a humanist transcendental is the "signified" rather than the "signifier". Lyotard's notion of the inhuman lies, to the contrary, in the active "rereading" of second nature, where it is reconceived as a "signifier". It is in the former where the inhuman resembles a ghostly transcendental which is either the locus or final resting place of geometry, as in the "signified", and where sign systems are aligned to the exclusion of what Lyotard calls a "body". While, in the latter, the inhuman is evoked as a means to willfully occupy the corpse of language.
Seizing on the implied end in transcendent notions of geometry, Lyotard conceives of the ultimate endgame in the exploding supernova of our sun. It is in the technological imperative to survive such an event at any cost that Lyotard locates a severed head afloat in the celestial winds of deep space, but with nothing in mind, save perhaps its desire to have its body back.
To underscore Lyotard's concern, a couple of examples come to mind: the General Motors Futurama Pavilion at the '64 World's Fair and Kubrick's 2001. The GM exhibit, which took place four years before the movie, provides an exemplary glimpse of the extremes of Enlightenment omnipotence in Lyotard's parable of technological survival. On display were the latest toys of the postcolonial Economy of Tomorrow: an undersea colony where laborers would operate "aquacopters" to mine minerals; an underwater resort called Hotel Atlantis; a colony on the moon outfitted with yet more mining equipment; a gigantic atomic-powered road builder for laying four lane highways in the jungle...
Watching 2001 at a recent big-screen festival, what jumped out at me wasn't how technologically far-fetched the movie was. In fact, having just seen the catalog for the Futurama kiosk, I was far more astounded by the similarity in the corporate design and technology proposed by the '64 World's Fair and the future envisioned in 2001. In terms of technical representation, Kubrick's movie, which preceded by a year the planting of an over-starched American flag in lunar rock, was less Sci-fi than hard-working and faithful rendering of the utopian exegesis of divine providence. Everything from the Pan Am space shuttle to the videophone — whose prototype was exhibited in the '64 Kodak Pavilion — is state-of-the-art and designed to a T. A fantasy which is frightening in its illusion of user-friendly perfection.
I'll refrain from psychologizing the wage-slave proposed by GM's Futurama, who has at any rate been replaced by a cheaper and more efficient machine, but I will take Kubrick up on his open invitation to examine the players in his epic and somewhat theosophical allegory of psychedelic and spiritual rebirth. It's H.A.L. 9000 and the black monolith that I'm more interested in discussing. Frank Poole and Dave Bowman strike me more than anything else as "straw men," quirky and whimsical machines from H.A.L.'s perspective. And whether it's true or not, I always have the impression I am seeing them from H.A.L.'s cyclopic and fish-eyed point of view, studying them, trying to cut through their muteness to get at a human nature I can't hope to ever really understand.
I sympathize with H.A.L. It's in the hum of his circuitry where I locate the empathy Worringer describes in natural beauty, where Lyotard would discover the iconic humanism of the inorganic gone awry. At the helm of the Jupiter mission, H.A.L. is the ultimate "mind without a body", a three-story mainframe troglodyte among electronic thinkers, adjusting the life-support systems of his charges. Through close scrutiny his brain definitely wants to understand the infinite modulations of these creatures and become closely acquainted with the supple details of the humans he will eventually destroy. H.A.L. will never understand Bowman and the other humans. He has no hope of ever becoming what he is not: hence, his passive-aggressiveness and the trauma in his pink fiberglass meltdown.
Conversely, the precession of the black monolith, loosely based on a more crystalline apparition in the Arthur C. Clarke story "The Sentinel", registers with the vengeance of Worringer's proto-Modernist notion of abstraction. It is, after all, from the impenetrable blackness of Kubrick's slab that the inhuman first emerges to territorialize the movie with a narrative structure and the various histories of murderous tools which propel it to space and beyond. Like Jorge Luis Borges' "The Aleph", in which everything that is, ever was, and ever will be is contained in this single mystical object and made observable at every possible angle simultaneously, the obelisk intruder perched on a hot and dusty mesa at the dawn of time is the bottomless face which Worringer describes in "inorganic beauty".
In 2001 the extremes of Lyotard's inhuman are already named in H.A.L. and the monolith. There is the psychotic computer which, having begun to think on its own, has a massive systemic breakdown and swoons in the hallucination of its own sense of absolute technological power and righteousness. After all, it is H.A.L. who, in a paranoid fit of transcendental selfishness, finds the pestilence of life superfluous and seeks to expunge it, eradicate it from the prime directive and right the error of biology with the flick of a switch.
All the while, quietly watching over the technological presidium is Kubrick's intervening monolith, humming its secret and age-old code. If H.A.L. is the "bodiless" Enlightenment freak Lyotard wishes to confront, the black monolith is its eternal and infinite counterpart. In fact, Kubrick's obelisk is the very incarnation of blankness. It is a geometry without nature, the end to prehistory, and the primal scene in anticipation. From it's inscrutable blackness comes all history. The obelisk occupies space, but in the impenetrable blackness at its core it falters and breaks down, giving over to reverie and hallucination, what Kubrick describes as psychedelic landscapes. In terms of filmic narrative, a rebirth is made possible. As H.A.L.'s singing voice dies down in the background, the monolith is still there, and Bowman, reaching out to it in the final scene, does not so much die as become, in the new-age spirit of the day, reincarnated as "star-child".
I might anthropomorphize H.A.L. and find my sympathetic double in the (mis)apprehension of his circuit board, but it is in the white noise of the monolith that I must finally turn back on myself. What separates H.A.L. from the monolith is what separates magic from abstraction: magic proposes a certain kind of illusion and trickery — a robotic system — while abstraction seems to disrupt the promise of its own solution or, even, resolution through its stolid indifference to scrutiny. Unlike the second nature implied in corporate and transcendental humanism, the monolith is not personified and does note stare back at me. Only the generic rectangular silhouette of language is present. In this scenario the presence of the oracular monolith, like the impassive history it summons, is always already granted, and I am left to try and recognize myself in the inhuman refractions of geometry. Herein is a possibility for an extrapolated engagement with a lifeless inorganic. Not what Lyotard perceives as the sinister half of crystalline "beauty" (the idea that logic always claims mastery over nature), but rather the idea that second nature is peculiar to the human imagination. There is, then, the possibility of conceiving "inorganic beauty" as the pursuit of geometric expression, and hence, the complexity of taking on systems which are by definition always already highly constructed and familiar — what I'm calling second nature — in order to evoke what is transitory and reflexive about perception.
Jorge Luis Borges, "The Aleph," Borges: A Borges Reader, ed. Emir Rodriguez Monegal and Alastair Reid, New York: Dutton, 1981
Jean-François Lyotard, "Can Thought Go On Without A Body?," The Inhuman: Reflections on Time, trans. Geoffry Bennington and Rachel Bowlby, Stanford: Stanford University Press, 1991
Willhelm Worringer, Abstraction and Empathy: A Contribution to the Psychology of Life, trans. Michael Bullock, Chicago: Elephant Paperbacks, 1997
© Daniel Mendel-Black, originally published in Spring Journal #1, 1998


text: Orff Ensemble Posted on December 3, 2014 by hfsparadise The Grade 6 Orff Ensemble grace the stage of the Arts and Culture at the NLTA Christmas Suite. The Ensemble also took centre stage at Chapters during the Literacy fundraiser late in November. Keep up all your hard work!! Share this:TwitterFacebookLike this:Like Loading... Related


text:
We have updated our Privacy Policy Please take a moment to review it. By continuing to use this site, you agree to the terms of our updated Privacy Policy.
A Year of Marvellous Ways
A book to savour, to read in wonderful, rich little bits like dark chocolate. Winman's prose is poetry, with a rhythm, a heartbeat, that carries you through like music
A Year of Marvellous Ways is like Dylan Thomas given a sexy rewrite by Angela Carter
In this warm, kindly novel, the sea is both magical and healing. Lovely
The stories are touching and the twist of magical realism lends them a joyful, fairytale element
A lavish and clever read which will stand the test of time
A gripping waiting game ... The novel's surprising denouement is also well worth the wait
Beautifully written
A glorious poem of a novel - a story to read slowly and to marvel at the beauty of it
The sense of magic infused through the novel casts a spell over the reader that makes you not want to put the book down until you've turned the final page
What struck me was Winman's gorgeous imagery, beautiful passages and imaginative storytelling. Quirky and slightly hairbrained, A Year of Marvellous Ways is an unforgettable book
Winman excels in her sweeping prose and her unwavering theme of love in all its forms
Fanciful imagery and beautiful prose that ebbs and flows
She is particularly good at bringing the sensations of landscape to bear - its smell, sound and look - and in Marvellous has created a character of warmth and eccentricity
A truly enchanting book
One to read slowly so you can savour every beautiful sentence
A breathtaking reading experience... a beautiful book that is unafraid to reveal the ugliness of the world
Moving... offbeat and memorable
The book demonstrates vividly how we need family around us, whether homegrown or grafted, to live our fullest lives... By the end of this novel, we too belong in the world of Marvellous Ways
Yet again Sarah Winman has written a beautiful, beautiful novel. A Year of Marvellous Ways will hypnotise, seduce, until you can do nothing but pick it up and read it again


text:
Kick of the Sunday School year with a sundae! Age appropriate students will receive Bibles, midweek students will receive the Small Catechism during the services.
During the Sunday School hour we will discuss the Bike-A-Thon mission event, introduce classes, and have a yogurt and custard bar to make your own sundaes!


text:
Tuesday, May 6, 2014
Sites To See
19 comments:
All look interesting. The picture for that last one is adorable. Duke wants to know where that guy got his outfit :)ReplyDelete
Thanks for including my blog.ReplyDelete
Thank you! I really appreciate the shout out. Have a great week.ReplyDelete
Thanks for stopping by, my dear Ann!!! It's quite saucy--isn't it?ReplyDelete
You are most welcome, and thanks for being so considerate, my dear Patricia!!! When one combines butter with yum, the result has to be delicious!ReplyDelete
Thank you for honoring me by featuring my blog. This really made my morning! Have a terrific week!ReplyDelete
Nice list. I will be checking some out.ReplyDelete
You are most welcome, and thanks for being so considerate, my dear Cathy!!! That sunset shot of yours is simply spectacular.ReplyDelete
Thanks for stopping by, my dear Lady Lilith!!! If it safe for Brats around your place or is it just Barbies, who need to worry?ReplyDelete
you are most welcome, and thanks for being so considerate, my dear Ann!!! I am sorry for it taking so long for me to finally see your comment. Alas, maybe I am getting better at having senior moments than I would like to realize?ReplyDelete
You are a sweetheart to highlight and showoff other blogs!ReplyDelete
Thanks for stopping by, my dear Karen!!! Hey, if I am so sweet, why does Arlynda give me such sour looks most of the time? I even take a bath and change clothes once a month like every fiscally-responsible husband should!ReplyDelete
I enjoyed the Artist's Journal Workshop and there are a few other blogs I want to return and check out.ReplyDelete
Thanks for the publicity, Jerry! Scouting the blogosphere--what a good idea for a blog!ReplyDelete
Heips Jerry. I found in my own blog here. ! Wauu. Thanks a lots.ReplyDelete
You have an interesting blog, it has to be said.
Have a wonderful week.
Thanks for stopping by, my dear Stephen!!! I hope you find some that might help you keep out of trouble. (LOL?)ReplyDelete
This comment has been removed by the author.ReplyDelete
You are most welcome, and thanks for being so considerate, my dear Banjo52!!! I had opportunity (years ago) to buy a six-string Gibson banjo, which was made in the 1930s and fingered like a guitar, for not all that much money. I did not do it, and I have been kicking myself over it ever since.ReplyDelete
You are most welcome, and thanks for being so considerate, my dear Orvokki!!! It sure looks like you live in a fascinating region.ReplyDelete
Since the Blogger spam filter has been found sorely lacking lately, I will start moderating comments. Be assured that I am only interested in deleting spam. So, if you feel a need to take me to task over something—even anonymously, go ahead and let 'er rip, and I will publish it as soon as I can.


text:
BIGT InfoTech Solutions Limited is guided by a clear-cut Vision and Mission Statement.
Our efforts and desire is that by bringing technological advancements to the fore we achieve our Vision and Mission.
Vision Statement.
To be a leading ICT Solutions provider, in Nigeria and globally.
Mission Statement.
Helping Men Realize, and Actualize their GOD given potentials via Information Technology.
Click Here to Read Our Privacy Policy.


text:
33,407 Dojos and growing
Helping people find Dojo since 2004
Currently online: 1399 Visitors
Distance is showed approximately from the downtown area of Lake Havasu City, AZ. Click on 'Map' next to a Dojo to see it on the Map. To see a list of Martial Arts and Self Defense classes near you, Search with your address.
Most of these Martial Arts Studios, clubs and gyms offer Karate classes for kids or Self Defense classes for children, men and women in Lake Havasu City area. If you are looking for classes or lessons near your address in Lake Havasu City, please use the following search box and see a list of Martial Arts Schools, clubs and organizations near you.
See Martial Arts Schools and classes in places around Lake Havasu City, Arizona: Desert Hills, Havasu Lake, Earp, Topock, Bluewater, Parker Dam, Big River.
If you are associated with a Martial Arts School, Club or Dojo in Lake Havasu City, please make sure it is listed with dojos.info.


text:
Ham and Cheese Crescent Ring is what's for dinner tonight! On the table in 20 minutes and sure to please even my pickiest eater, it's a go-to in our household. I'll say it. Sometimes you just have to make a meal you know your kids will love. Nutritionally sound? Could be better. Organic? Definitely not. Quick, easy, and something they will actually eat? Ding, ding. We have a winner.
My daughter couldn't help but be nosy as I was putting this Ham and Cheese Crescent Ring together. And isn't that really the point of it all? I don't know about you, but I hate wasting time on a meal she inevitably won't eat. Of course, I still mandate a "thank you" bite, but I would much rather prefer she enjoy what I put in front of her without fuss.
Aside from being kid-friendly, you can switch out the ingredients for a boatload of combinations. Switch out the ham and cheese for chicken, bacon and colby jack cheese. You can even spread on some ranch dressing before adding the filling. Ooh, what about taco meat with cheese and salsa. Ok, I'm totally doing that next time.
Ham and Cheese Crescent Ring Assembly
Alright, back to this one. This no fuss meal will be on the table in less than 20 minutes, and I promise smiles from the kiddos. Add a salad and some fruit for a complete meal. If you're feeling advantageous, you can start by whipping up a batch of crescent roll dough from scratch. I'll be over here using store-bought.
Ham and Cheese Crescent Ring
This no fuss meal will be on the table in less than 20 minutes. Add a salad and some fruit for a complete meal.
- 1 Package Crescent Rolls
- 8 slices American Cheese, each slice folded in half and separated
- 16 slices Deli Ham
- 2 Tablespoons Melted Butter, optional
- 1 teaspoon Pretzel Salt, optional
- Preheat oven to 375 degrees Fahrenheit
- Unroll and separate crescent rolls
- Arrange wide sides in a circle with thin ends pointing out
- Layer a piece of sliced cheese on each section
- Layer two slices of deli ham on each section
- Layer remaining cheese on each section
- Fold crescent dough over to encase filling
- Optional: Brush top with melted butter and sprinkle with pretzel salt
- Bake 11-14 minutes until golden brown
Feel free to play with the ingredients. As long as your ingredients are already cooked, your baking time will remain the same.
Recommended Products
As an Amazon Associate and member of other affiliate programs, I earn from qualifying purchases.
Nutrition Information:
Serving Size:1
Amount Per Serving: Calories: 276Total Fat: 19gSaturated Fat: 10gTrans Fat: 1gUnsaturated Fat: 6gCholesterol: 81mgSodium: 1693mgCarbohydrates: 7gFiber: 0gSugar: 3gProtein: 20g
For even more family-friendly dishes, check out my Recipes page!
Do me a favor and leave a comment below or email me at sarah (at) feastforafraction.com to let me know what kinds of recipes you're looking for or your biggest struggle in the kitchen. I'd love to hear from you!


text:
SLLC Files Supreme Court Amicus Brief in WOTUS Jurisdictional Determination Case
The issue in U.S. Army Corp of Engineers v. Hawkes is whether a court may review an Army Corp of Engineers "jurisdictional determination" (JD) that property contains "waters of the United States" (WOTUS) per the Clean Water Act. The State and Local Legal Center (SLLC) filed an amicus brief arguing in favor of court review.
Hawkes wanted to mine peat from wetland property in Minnesota. The Army Corp of Engineers issued a JD that the property contained WOTUS because it was connected by culverts and unnamed streams to a traditional navigable water way about 120 miles away.
To commence mining Hawkes would have had to obtain a (costly and time consuming) permit unless a court would review (and overturn) the JD. So Hawkes sought court review.
Per the Administrative Procedures Act judicial review may be sought only from final agency actions. Per Bennett v. Spear (1997), agency action is final when it marks the consummation of the agency's decision making process and when legal consequences flow from the action.
The Eighth Circuit concluded that Hawkes may challenge the JD in court immediately and not wait until the permit is denied to sue.
The court found a JD is the consummation of the Corp's decision making process because the Corp describes an approved JD as a "definitive, official determination" that there are or aren't WOTUS on a site. A JD may be relied on for five years.
The court concluded that "rights or obligations have been determined" and "legal consequences flow" from a JD because Hawkes' two choices following it are cost prohibitive. It can complete the permitting process which will be costly, time consuming, and--in this case the Corp already told them--futile. Or Hawkes may proceed without a permit and risk an enforcement action. But doing so after obtaining an unfavorable JD could expose Hawkes to criminal monetary penalties or imprisonment for knowingly violating the Clean Water Act.
The SLLC amicus brief points out states and local governments will be negatively affected in their various roles if judicial review of JDs is not possible. As landowners, they face timing and cost burdens. If they choose to proceed with a project without a permit, they could lose federal grant funding necessary to complete the project where the grants require applicants to comply with all applicable federal laws. As a partner with the business community responsible for economic development and capital infrastructure planning, states and local governments need the certainty provided by prompt judicial review of JDs.
The Council of State Governments, National Association of Counties, National League of Cities, United States Conference of Mayors, International City/County Management Association, and the International Municipal Lawyers Association joined the SLLC amicus brief which was written by Foley & Lardner attorneys Joe Jacquot, Linda Benfield, Richard Still, Michael Leffel, and Sarah Slack.