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> Saint Teresa Institute Application
Saint Teresa Institute Application
Apply for admission to the institute
After your completed application is reveiwed, a personal or telephone interview will be set up. Students are admitted on a space-available basis; therefore, applicants are encouraged to apply early. Enrollment is limited to 20 students per class.
Enrollment in Saint Teresa Institute is open. Completion of an Application for Admission confirms your intention to enroll and provides preliminary information that assists with connecting you with members who have similar interests and experiences.
Previous or concurrent application to Saint Mary's University is required. If you have not done so already, please apply to SMU using the online or paper application.


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Human Skeletal System
Did you know there are over 200 bones in the human body? Learn more about the human skeletal system with this diagram and info sheet! Your child will learn the scientific names of the major bones in our body, and read a bit about the skeletal system.
To learn more about the body, see our series of Human Anatomy sheets.
Updated on Jul 11, 2012
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subset: commoncrawl


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*The information within the Questions and Answers section must be used in conjunction with the information in the Audi Owner's Manuals. Please refer to the Owner's manuals for all information and warnings. By using the site, you acknowledge that you are aware of the warnings and information that must be read within the Owners' Manuals and will use this information to augment that material.
3G MMI vehicles: To set the clock, press the 'Setup' function button. From here, press the 'Time' control button and set the hour and minutes by selecting and turning the control knob, then pressing again to set. You can also adjust the time format and the date in this menu.
A4, A5, Q5:The driver can determine the functions for the power locking in the radio or MMI. Press the 'Car' function button, Select 'Central Locking'. The menu appears and you can then change 'Unlocking Single Door' to on or off. Single door unlocking ON only unlocks the driver's door with a single press, with the setting to OFF all the doors unlock with one press of the remote (or using the touch sensor if Advance key equipped).
A6 and Q7: The driver can determine in the MMI which doors are unlocked through the central locking system. Select the 'Car' function button > 'Systems' > 'Central Locking'. You can then determine which doors should be unlocked when you unlock the vehicle with the remote control (e.g., passenger's door, rear doors, trunk/tailgate). There is also a side selective unlocking option available that can be set to fit your needs. You can continue to unlock all the doors and the rear lid as before. Press the opening button on the master key twice. Auto locking can also be switched on and off.
A3: Press the 'Unlock' button once to unlock the driver door. Press the 'Unlock' button twice to unlock all doors and the rear lid.
Use the appropriate AMI connector cable for your music player (e.g., USB cable for USB sticks, AMI iPod cable for iPods, or other compatible cables) to attach your device to the cable. Attach the other end of the AMI connector cable to the interface located in your vehicle's glovebox or center console (Q7). Also, be sure to select your AMI device from the source menu (press the CD function button to view the media sources).
"Passenger Side Airbag Off" will illuminate when there is no occupant in the passenger seat, if occupant is out of position, or a child seat has been installed.*
*Disclaimer: Airbags are supplemental restraints only and will not deploy under all crash circumstances. Always use safety belts and seat children only in the rear, using restraint systems appropriate for their size and age.
The trip computer gives you information on the current and average fuel mileage, speed, fuel range, and driving time. The trip computer is equipped with two fully automatic memories. The single-trip memory, Trip 1, stores the information from the time the ignition is turned on until it is turned off. If the trip is continued within 2 hours from the time the ignition was turned off, the new information will be included until the trip is interrupted for more than 2 hours. The Total-trip memory, Trip 2, is not reset automatically, and it allows the driver to evaluate the driving data for the entire period between manual resets. To toggle between readings, press the up and down switches on the end of the windshield wiper lever. Press the button on the bottom of the stalk to switch between Trip 1 and Trip 2. Also, to reset the values press and hold the 'Reset' button on the bottom of the wiper stalk.
Yes, tire pressure is affected by temperature changes and thus tire pressure monitoring systems can be affected by temperature changes.
The tire pressure indicator in the instrument cluster informs you if the tire pressure is too low or if there is a system malfunction. These characteristics can change and cause a tire pressure warning if the tire pressure in one or more tires is too low; the tire has structural damage; or the tire pressure was changed or the wheels rotated or replaced but the TPMS was not reset. An indirect tire pressure monitoring system (TPMS) compares the tire tread circumference and vibration characteristics of the individual tires. If the pressure decreases in one or more tires, this is indicated in the instrument cluster with a warning symbol.
Pressing the 'Mode' Button will toggle between Phone, Music/Radio/Sat Radio and Instrument Cluster computer view. Once the display is on the Instrument Cluster view, you can view the speed digitally. It may be necessary to press the 'Reset' button on the wiper stalk as well. If you have a route guidance active with Navigation, the speed will not be displayed in the Driver Display. It will be replaced with Navigation instructions. By pressing the 'Mode' Button, you will be able to change from Phone, to Radio/Media and to Nav instructions. If the Route Guidance is cancelled, the Digital display of the speed will become active again.
A5/S5 Cabriolet (MY10), A4 Cabriolet (MY09 and older), TT Roadster (MY10 and older): It is best to open and close the top with the engine running to conserve battery power. Switch the ignition on. Remove any objects that are stored in the power top compartment to prevent damage to the top and the rear window. Pull and hold the switch until the power top opens and the covers close completely. To close, press and hold the switch until the closing process is complete. Also, the A5/S5 climate control system will function in ECON mode when the top is opened. Note: Most vehicles must be stationary when operating the convertible top. Only the 2010 A5 Cabriolet and TT can be moving up to a limited speed; if the speed is too high the power top will be deactivated and an error message will appear. In this event, reduce the vehicle speed and operate the switch again to open or close the power top.
The cruise control makes it possible to drive at a constant speed starting at 20 mph. It is operated by a separate steering-column lever located on the left hand side of the steering wheel. To engage the cruise control, pull the lever towards you, to the on position, and accelerate to the desired speed. Press the 'Set' button located at the end of the cruise control lever to set the system to that speed. Look for the cruising speed and the CRUISE symbol to be displayed in the driver information system. Press the lever upwards or downwards to increase or decrease your cruising speed. Let go of the lever to save that speed. To deactivate the system press the brake pedal or push the cruise lever away to the 'cancel' or 'off' position. Note: the cruise control lever will allow you to change speed in increments of 1 mph by lightly pressing the lever. If you keep the lever pressed down, you will alter your speed in 5 mph increments.
A5/S5 Cabriolet (MY10), A4 Cabriolet (MY09 and older), TT Roadster (MY10 and older): The remote cannot control the convertible top. The remote key can be used in the lock cylinder to operate the convertible top. To do so, insert the key into the driver's door lock cylinder as noted in the owner's manuals. To operate the convenience opening with the key in the driver door lock, press the 'Unlock' button on the remote master key to unlock the vehicle. Turn the key once in the driver door lock to the opening position. Turn the key to the opening position again within two seconds and hold it there until the power top opens completely. Convenience closing with the driver door lock is possible by turning the key once in the driver door lock to the closing position. Turn the key to the closing position again within two seconds and hold it there. Please view the images in your owner's manual for further assistance.
A6 and Q7: Press the glove compartment button, located to the right of the MMI system. Once pressed, the lid opens automatically. Push the glove compartment lid up until the lock engages to close the glove compartment.
Homelink® is a three-button system to control garage doors, gates, and lights in your home. It can learn up to three radio frequency codes for most current transmitters. Turn the ignition on - do not start the engine! Press and hold outside two buttons until LED flashes, then press and hold whichever button you would like to program until the LED flashes slowly. Exit the vehicle and point remote control at your radiator grille (A5/S5) or front driver side bumper of your vehicle, hold at a distance up to 12 inches from bumper. When it has successfully completed setup, the emergency flashers will flash approximately 15 to 60 seconds later. Please view the Homelink® tutorial for more information. Note: Many garage doors now use rolling codes! In order to program the Homelink® transmitter for devices utilizing rolling code, a second person on a ladder who can safely reach the garage door opener motor is recommended. It is also necessary to locate the 'Learn' button on your garage door opener motor. Refer to the operating instructions for the opener, as the location and color of this button may vary by manufacturer.
A3: Press the 'AC' button to switch the air conditioner on or off. When the air conditioner is switched off, the cooling system is switched off - the heating and ventilation system is regulated automatically.
A4/A5: Briefly press 'Off' or press 'Auto' to turn the climate control on. Press the 'Off' button for at least 2 seconds to turn the climate control off and to block the air supply from the outside. 'Off' appears in the display.
Q5: Press the 'Off' button to turn the climate control off and to block the air supply from the outside.
Q7, A6 (MY 2010): Press the 'On/Off' button to switch the air conditioning off and to block the air supply from the outside.
A6 (MY 2009 and older): Hold the 'ECON' button for two or more seconds to turn off the air conditioner.
A4, A5, A6, A8, Q5, Q7: By pressing and holding the regulator on the driver's side, the temperature setting on the driver's side can be switched to the passenger's side, and vice versa. The new temperature is shown in the display. To cancel, adjust the settings on the front passenger side. In the Q7, you can synchronize four-zone automatic comfort air conditioning. By pressing and holding the control knob on the driver's side, the temperature setting on the driver's side can be switched to the passenger's side and to the outer rear seats. The new temperature is shown in the display. By simultaneously pressing and holding the regulators on the driver's side and front passenger's side, the temperature setting on the driver's side can be switched to the front passenger's side. The new temperature is shown in the display.
A3: Press the 'Auto' button and hold it for several seconds.
A4, A5, A6 Q5, Q7: Yes. Press the 'Fan' button, and rotate the regulator knob to set the desired fan speed.
Note: When setting your fan speed, a small triangle on the numerical dial will appear to give you an option to move back into 'auto' fan speed. When you select this setting (with the triangle marker), your system will be placed in auto mode and will maintain constant temperatures in the interior and dehumidifies the air inside the vehicle.
Q5, A4, A5 (MY10 and MY09): Please view the "Audi advanced key" tutorial for information on the Audi Intelligent key and Audi advanced key functionality.
Note: when using the Audi Intelligent key in the dashboard, to stop the engine, press the key fob into the dash to stop the engine, wait 0.5 seconds and then withdraw the key. Small pins within the dashboard hold the key in place while driving, and it takes less than one second for the pins to release the key fob for removal. Pulling on the key before the pins are released will lock the key into the dash; and the vehicle engine or accessory mode must be re-started to unlock the key from the dashboard.
Q5, A4, A5, A6 (MY10 and MY09): Please view the 'Advanced Key tutorial' for information on the key functionality.
The safety belts and the airbag system can only provide maximum protection if the front seats are correctly adjusted.* Always move the front passenger seat into the rearmost position. The seat adjustment settings for two drivers can be stored using the memory buttons in the driver's door. In addition to setting for the driver's seat, the exterior rear view mirror setting can be stored and recalled through seat memory if the vehicle is properly equipped. Please watch the 'Seat Adjustment' tutorial for instructions on the adjustments and the memory seats.
A3: Tap the 'Open' switch briefly to move the roof to lift position. Tap a second time to move to the low wind noise comfort position. Press the 'Open' switch until the roof is fully opened to the desired position (note: in this position increased wind noise may occur). Press the 'Close' switch until the roof has reached the desired position or is completely closed. Note: if the roof is almost closed and you interrupt the operation, the roof opens automatically to a minimum setting; this is the smallest possible opening that can be set.
A4 (Avant): Press the switch inside the sunroof knob to tilt the sunroof, pull the switch to close it. To move the sunroof to the position for reduced wind noise, turn the switch to the first position until resistance can be felt. To open the sunroof completely, turn and hold the switch against the resistance in the remaining positions. To close the sunroof, return the knob to the starting position.
A4 (sedan): To tilt the sunroof, move the knob to the starting switch position, briefly press the switch to tilt it and briefly pull the switch to close it. To move the sunroof to the position for reduced wind noise, turn the switch to the first position until resistance can be felt. To open the sunroof completely, turn and hold the switch against the resistance in the remaining positions. To close the sunroof, return the knob to the starting position.
A5: To tilt the panoramic tilting sunroof, press the switch briefly. To close the panoramic tilting sunroof, pull the switch briefly. To set and intermediate position, press/pull the switch until the roof reaches the desired position.
A6: Please view your owner's manual to view images and instructions.
Q7: Please view your owner's manual to view images and instructions.
To open the windows, push the switch to the first stop and hold it there until the window has lowered to the desired position. Push the switch briefly to the second stop and the window will automatically open all the way. To close the windows, pull the switch to the first stop and hold it until the window reaches the desired position. Pull the switch briefly to the second stop to automatically close the window.
The wiper lever has five possible positions. By pressing the lever up once, the lever is in intermittent wiping mode and the switch is used to change the intervals. Move to the second upward position to be in the 'low' wiper speed, move to the third upward position for the 'high' wiper speed. Move the wiper downward when you want to wipe the windshield briefly. Pull the lever forward and hold for the automatic wiper/washer. Once the lever is released, the washer stops and the wipers keep going for about four seconds.
The intermittent wiper is based on sensor feeds, not on time and cannot be switched off. To reduce the sensitivity of the sensor, move switch down (A3) or to the left (A4/A5/Q5). To increase the sensitivity, move the switch up (A3) or move the switch to the right (A4/A5/Q5). The higher the sensitivity sensor is set, the earlier the windshield wipers react to moisture on the windshield.
A3, Q5, Q7: Use the wiper lever to operate the rear window wiper and the automatic wiper/washer. Push the wiper lever forward towards the dashboard to the first position where the wiper will wipe the window approximately every 4 seconds. To clean the rear window, push the wiper lever forward to the second stop position and hold it there for as long as you want the rear wiper/washer to operate. Once the lever is released, the washer stops and the wiper keeps going for approximately 4 seconds.
Note: it is important that the Valet mode is disabled and that the MMI system is correctly set to open the trunk.
A4, A5, A6: Press and hold the trunk release button for at least one second to open the trunk automatically; pull the release button in the driver's door; or press the handle on the rear lid.
Q5 and Q7: Press the middle button on the remote key for at least one second or press the unlock button on the driver's door, or press the handle on the rear lid. The opening process is stopped immediately if the middle button on the remote key is pressed again for at least one second or the unlock button in the driver's door is pressed again or the handle in the rear lid is pressed again.
Press the 'Close' button in the open rear lid. The trunk lid moves to the closed position by itself and soft close locks it automatically. To set the height of the trunk, bring the rear lid manually or automatically to the desired opening position and leave it in this position. Press the rear lid button for at least four seconds in order to save the desired opening position. The position can only be saved starting at a certain level.
Audi side assist helps when changing lanes. It uses radar sensors to help the driver check blind spots, and see what is happening in traffic behind the vehicle. The system works at speeds faster than 19 mph.
TT Coupe and TT Roadster: The rear spoiler improves vehicle handling and enhances driver control. Use the rear spoiler switch to set the spoiler operation to manual or automatic.
Automatic deployment: At a speed of about 75 mph, the rear spoiler deploys automatically. Automatic retraction: When the speed drops below about 50 mph, the rear spoiler retracts automatically.
Manual deployment: Tap briefly on the switch to deploy the rear spoiler. Manual retraction: At speeds up to about 10 mph, retract the rear spoiler by pressing and holding the switch. At speeds between 10 mph and 75 mph, retract the rear spoiler by tapping on the switch. After 15 cycles (deploy and retract), manual operation is suspended for up to 2.5 minutes. Above 75 mph, operation switches to automatic mode.
A3: The sun blind has two positions - completely open or completely closed. The sun blind is operated manually. Rear side windows: Pull the shade upward out of the door sill and engage the hooks located at the top of the door frame. Rear: take the sun blind out of the bracket, guide the blind upward so that it does not fly up. A5 (if equipped with sun shade): To extend/retract the rear window sun shade, press the sunshade button located below the shifter or above the climate control system (for vehicles with MMI). It can be set to retract automatically when driving in reverse. Select 'Car' function button > 'Window' > 'Rear Window Sun Shade' > 'On' to do this.
Q7: The two segments of the Panoramic sliding sunroof are each equipped with a sunshade for protection against the sun's rays. The front shade is power operated; the rear shade is opened and closed manually. To help reduce interior temperatures you should close both sunshades when you park your vehicle in the sun. Opening and closing front sunshade, tap the rear of the rocker switch or the rocker switch for rear-seat passengers briefly to open the sunshade fully. Tap the front of the rocker switch briefly to close the sunshade fully. To set an intermediate position manually, press the front or rear of the rocker switch (depending on the position of the shade) until the desired position is reached. Opening and closing rear sunshade: Hold the sunshade by the grip and push it to the desired position.


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Local Artists to Participate in the Dow Live Earth Run for Water Bali
Click here to read this post in Indonesian
In 2010, for the very first time Indonesia is participating in a global movement created by Live Earth. Concentrating on water crisis problem, this activity is using the power of entertainment to raise people's awareness. Dow Live Earth Run For Water Bali is given full support not only from social institutions, but also from the Indonesian top artists.
This is truly remarkable that a line of famous names in the entertainment (Slank, Dwiki Dharmawan, Nugie, Sherina, DJ Anton, Nadine Chandrawinata, God Bless, Glenn Fredley, Dik Doank, Pandji, Changcuters, Marshanda, Superman is Dead, Farhan, and many more) are willing to give the total contribution in helping the movement to overcome the water crisis in this country.
In fact, some of these artists, that is Slank, Dwiki Dharmawan, Nugie, Sherina, DJ Anton and Nadine Chandrawinata have joined together to sing a theme song created by Slank titled 'Water Crisis', and this result of the RBT will be donated to the villages with water crisis. "This song was specially made for the environment," said SLANK in an interview with www.postkota.co.id.
Not only national artists, local Balinese bands like Superman Is Dead, Navicula, The Hydrant, Scared of Bums, Discotion Pill, and others will also be performing. In addition, the activity that is going to be held at the Garuda Wisnu Kencana will also show a performance from Balinese Dance and Merauke Dance. The 6k run/walk course will take participants around Indonesia. The run/walk is due to start on 6:00 a.m. and the music concert will begin after the 6K run/walk is finished. You must register at www.runforwaterbali.com to participate in the run/walk and gain access to the live performance.
Join Dow Live Earth Run For Water Bali NOW!! And be a part of a world movement!


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'The Graco Evo is suitable from birth and has a reversible seat providing that all important face to face...'
Kiddicare Staff Expert - Peterborough
'When I first brought this pram I did not know what to expect really but soon realised from the very first...'
Busy mum of four - Lancashire
'Not only is the product great but the service was excellent.'
Razz - London
'The pushchair is great and so was the service from kiddicare!'
Kul - Nottingham
©Kiddicare 2013


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Lot 16
An aquamarine snuff bottle Probably Imperial, 17601840
Sold for HK$ 216,000 (US$ 27,858) inc. premium
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Auction Details
Bloch Collection; Wine and Whisky; Chinese Ceramics, Works of Art & Paintings; Jewellery, Jadeite and Wristwatches and Writing Instruments
Hong Kong
23 Nov 2010 10:00 CST
Auction 18592
Lot Details
An aquamarine snuff bottle
Probably Imperial, 17601840
6.22cm high.
Treasury 3, no. 408
The Supreme Aquamarine
Aquamarine; well but not extensively hollowed, with a flat lip and recessed flat foot surrounded by a protruding broad, flat footrim
Probably imperial, 17601840
Height: 6.22 cm
Mouth/lip: 0.55/2.00 cm
Stopper: tourmaline
Condition: Some icy flaws to the inner wall; one side of the footrim polished back; a miniscule chip to the other side of the footrim; nothing too obtrusive
Christie's, London, 12 October 1987, lot 312
Kleiner 1995, no. 303
Treasury 3, no. 408
British Museum, London, JuneOctober 1995
Israel Museum, Jerusalem, JulyNovember 1997
This stunning aquamarine is the most impressive of a small group of similarly shaped bottles where a rounded rectangular form is left with relatively thick walls to retain the maximum depth of colour. They are all flawed to some extent, but this is the least flawed of all and of lovely colour that would not be unimpressive as jewellery. It is quite simply sumptuous.
For another very similar bottle, also of brilliant colour and the same shape which must have been from the same workshop, see Stevens 1976, no. 643. That bottle was in the collection of Hugh Moss until he traded it with Bob Stevens for a trip to Las Vegas while staying with him in 1963. Others are illustrated in Perry 1960, no. 94, and Hamilton 1977, p. 49, no. S2. One also finds these plain, rounded rectangular forms in green beryl, which differs only in colour from aquamarine, although they are usually slimmer. It is a characteristic feature of the aquamarines of this group that they are thicker-walled and more substantial, not only in this additional wall-thickness but in their size and depth as well, allowing for more intense colour, of course, but also greater presence. Perhaps the lovely pale blue of aquamarine was valued above the greener gem-like qualities of its sister stone, green beryl. For an example, see Hall 1991, no. 18, which in turn relates to lot 51 in the present auction and probably comes from the same workshop, although one is carved and one plain.
An aquamarine of similar form but carved with a highly imperial, palace design, now considered to be a work of the latter Qianlong period but catalogued at the time as being later than that, was exhibited at the Hong Kong Museum of Art in 1978 (Snuff Bottles of the Ch'ing Dynasty, no. 129). Re-dated to the late Qianlong period, this bottle is obviously the aquamarine equivalent of the imperial tourmalines cited under Treasury 3, no. 407. A plain aquamarine, but of an ovoid form with a flared neck, is in Ford 1982, no. 54.
Although all of the aquamarine bottles of this form have thick walls, the hollowing in the inner shoulders does not match the outer profile, leaving a fan-shaped area at the top. It is neatly done, but is probably a sign of declining standards in hollowing and may indicate a nineteenth-century rather than a late eighteenth-century date.
One can see the enormous appeal of precious gemstones with this bottle and regret that so few have survived from the snuff-bottle period, although they must have been made in larger quantities than the extant numbers suggest. It is possible, although unlikely, that many were cut up and re-made into other items.
The problem with early aquamarine bottles is that they tended to be confused with later production, although there is a larger number of aquamarine bottles that can be attributed to the mid-Qing period, and this collection is particularly rich in them. This form in nephrite, for instance, was apparently an imperial type of the Qianlong period, even if not exclusively, and there is no reason why its aquamarine equivalent should not be as well, although its form alone would be insufficient for more than a very tentative possible attribution. However, there is another, better reason to assume a higher probability here. Regardless of other sources, beryl, and its blue variety, aquamarine, were mined in the same region as nephrite, Turkestan, which was brought under Qing military control in 1759. Thereafter large quantities of stone suddenly became available and much was sent as tribute to the court. We can assume that the best specimens would have been retained for court use, and this is one of the finest known.
The appeal of the gemstone is equally found in the addition, so common with beryl and aquamarine, of a tourmaline stopper. The two stones are an ideal match for each other, and it is difficult to imagine a better stopper for this bottle, although it is perhaps strange that the compliment never seems to be returned by putting an aquamarine stopper on a tourmaline bottle.
大概為御製品, 1760~1840年
高﹕ 6.22 厘米
口經/唇經: 0.55/2.00 厘米
蓋﹕ 碧璽
佳士得, 倫敦,1987年10月12日,拍賣品號 312
Kleiner 1995, 編號 303
Treasury 3, 編號 408
大英博物館, 倫敦, 1995年6月~10月
Israel Museum, 耶路撒冷, 1997年7月~11月
海藍寶石煙壺其他例子和詳細論述,請參閱本壺的英文說明。 所有圓角長方形的海藍寶石都具有厚壁,但本壺的內壁在上部不相稱外壁的形式; 掏膛整齊是整齊,但這種不相稱的現象可能意味著十九世紀掏膛水準的下降。不過,這形式在乾隆時期的閃玉等材料的御製煙壺是很普遍的,再考慮綠柱石和海藍寶石,跟閃玉一樣,是1759年清朝平定了天山南麓的大和卓波羅尼都、小和卓霍集占叛亂以後大量地運入中原的,那麼,本壺也可能是乾隆年代的作品。
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10 Fresh Outfit Ideas to Try ASAP
From eveningwear mules to bright white accessories, Miranda Kerr, Selena Gomez, and more give us food for thought in the wardrobe department.
It's that time of the month again. (No not that one, thankfully). Rather, it's time to serve up another piping hot round of outfit ideas. Bon appetit.
- Photo credit: Maciel-Twist/X17online.com
Tip: Contrast A Bright Dress And Jewelry With White Pieces
Alessandra Ambrosio wore head-to-toe Isabel Marant to the designer's boutique party in Los Angles earlier this month.
MSGM Short Sleeve Ruffle Dress ($399) in Pink
Y.A.S. Lein Biker Jacket ($320) in White Leather
Gianvito Rossi Leather Pumps ($645) in White - Photo credit: Monica Schipper/Getty Images
Tip: Reinvent Your Black Pants With A Striped Shirt And Camel Coat
Annabelle Dexter-Jones looked like an off-duty New Wave film star in a sumptuous vintage Philippe Venet coat, a vintage striped turtle neck, Kitsune pants, and JM Weston loafers at the "Take Home a Nude" art auction and party in New York earlier this month.
Tory Burch Eden Top ($135)
ASOS Knee Length Over Coat ($151) - Photo credit: David M. Benett/Getty Images for Chloe
Tip: Add Edge To A Conservative Fabric With Exaggerated Proportions
Stylist (and former Wonderland fashion editor) Julia Sarr Jamois turned up at a London cocktail party celebrating the launch of the book, Chloe Attitudes, in a pair of Prada Bi-Color Python Mary Jane Boots ($1,080) and a charcoal tweed coat/skirt combo.
Robert Rodriguez Tweed Car Coat ($795)
Kaelen Flecked Wool Wrap Skirt ($408)
- Photo credit: Neil Rasmus/BFANYC.com
Tip: Not Every Night Calls For A Strappy High Heel. Try A Mule Instead
Vanessa Traina Snow made an unexpected (but utterly on point) footwear choice with a pair sleek mules which she paired with an oversized gray sweater and skirt at the launch party for David Yurman Meteorite earlier this month.
T by Alexander Wang Distressed Knitted Sweater ($275)
Alexander Wang Dina Nubuck Mules ($637) - Photo credit: Neil Rasmus/BFAnyc.com
Tip: A Bold Print Dress Calls For Quirky Accessories. Think: Doorknocker Earrings And Socks With Sandals
Natalie Joos wore a Jonathan Simkhai Pixel Sweater Dress ($365), Balenciaga bag, Dolce & Gabbana shoes, a Marni clutch, and vintage earrings the VANS S/S 14 Presentation in New York last week.
Free People Bella Coachella Intarsia Dress ($88)
ASOS Doorknocker Earrings in Deco Design ($7)
Tommy Bahama Three-Pack Ankle Socks ($20) in White - Photo credit: Teach/FAMEFLYNET PICTURES
Tip: Don't Be Afraid To Play The Freestyle Mix Master
Rita Ora was snapped in New York last week looking fresh and fanciful in a Devon Halfnight LeFlufy Selena Los Angeles T-Shirt ($200), Dolce & Gabbana Belucci Velvet Pumps ($509), a Girl by Comme Des Garcon Floral Embroidered Tulle Skirt ($415), a Fendi B Baguette Minis Shearling Bag ($1,750), and Ray-Ban Original Aviator Sunglasses ($155) in Orange.
Urban Outfitters Signorelli Skeleton Key Tee ($44)
Alice + Olivia Justina Tulle Princess Skirt ($348)
Annabel Ingall Jojo Crossbody Bag ($320) in Tangerine - Photo credit: INFphoto.com
Tip: Wear Bold Jewel Tones At Night
Kate Moss made emerald wide-leg trousers the new must-have when she paired them with a gray tank, black blazer, and Stella McCartney Falabella Fold-Over Boucle Clutch Bag ($436) at the London hotspot, LouLou's, earlier this month.
3.1 Phillip Lim Pleated Wide Leg Pants ($475) in Dark Petrol
Gap Circle-Hem T ($25) in Heather Gray
Banana Republic Monogram Tuxedo Blazer ($150) - Photo credit: Wolff/INFphoto.com
Tip: Mix Three Shades Of One Color For A Chic Statement
Miranda Kerr was spotted out with her son in New York recently in a pair of Hermes boots, an Equipment Asher V-Neck Cashmere Sweater ($288), Marc by Marc Jacobs 56 MM Cat's Eye Sunglasses ($98), a Stella McCartney Double-Breasted Boucle Coat ($2,965), and a Chanel bag.
J.Crew Stadium-Cloth Captain Coat ($378) in Heather Graphite
Zara Angora Sweater ($80) in Mid-Gray
Zara Studio Box Pleat Skirt ($100) - Photo credit: REX USA/MediaPunch Inc
Tip: When Daring To Bare, Choose Peekaboo Pieces
Selena Gomez shone in a skirt and crop top from the Versus Versace J.W. Anderson F/W 13 Collection and Giuseppe Zanotti Suede Pumps ($695) at the Late Show With David Letterman last week.
American Apparel Long Sleeve Crop Top ($44.50)
L'Agence High Slit Skirt ($275) - Photo credit: Splash News
Tip: Elevate Your Sneakers With A Luxe Scarf And Hardware Details
Walking her Maltese, Mr. Butler, in New York earlier this month, Olivia Palermo worked a sporty chic look with a Fay puffer jacket, Paige Denim Edgemont Skinny Jeans ($165), high tops, a Fendi Peekaboo Bag ($2,900), and a bright blue scarf.
Weekend by MaxMara Bard Scarf ($186)
MICHAEL Michael Kors Diamond Quilted Down Jacket ($150)
J Brand Wax Coated Super Skinny ($229) -
Continue to next slideshow:
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The Los Angeles 48 Hour Film Project
What Happened During Your Weekend?
The Los Angeles filmmakers share stories from their wild weekend of filmmaking. (Blogging ended shortly after the filmmaking weekend.)
This Wonderful Crazy Project (cont)
apparently there is a space limit....
I was the first to give in to this urge when it appeared to me that there wasn\\\'t enough being done to prepare for the weekend, so I inquired and it turns out I was right. So, I began to find out exactly what we had and what we needed and started my mission to get prepared. I started with paying attention to the troubles from last year, that I perceived and later confirmed was a major component of completing the project besides the making of the film. Paperwork! This is a bear to say the least. No one will ever understand until they are up to their necks in it and time is running out. I read all of the required forms and got overwhelmed. I am not an experienced production person. So, I decided to start gathering cast and crew so I could get a head count and forms in order before the kickoff. I got a writer, a professional, who never quite bought the grab and go idea of the project, but buckled up and got us a script, which was altered by necessity, not for lack of quality, a lead editor, post Supervisor, and titler. I started getting cast members, then one of the actors I brought on board, kindly took over as casting director. Awesome! We had a very talented camera operator/DP, with a great camera (Canon C300) and a trick tripod, the likes of which I didn\\\'t know existed. We got external audio and a boom mic and lavs, we got lighting and gels, we had location, 60 miles out of town, drivers, food, a gaffer/slater/scripty all-in-one plus sanity preserver, an amazing cook, an all-around, highly effective crew member who was able to see things that were lacking and step in to help. The cast and background actors sat in the desert all day and into the night without a peep until they were needed, then stunned the stage with their talent. I know it sounds perfect, but there were expected conflicts of opinion and grapplings as to who was in charge here-and-there, and some of our equipment was secured at the last minute making for much pre-production anxiety, but that is understandable. I heard the complaints of all and understood them and supported them. I can safely say that no one suffered more than any other if not in comfort or power, then in opinion and in pocketbook. But it was ok, no one bailed and we made a movie. Our musicians/composers did their magical thing too.
The best part, the wrap party and pre-screening. Everyone had the best attitude and supportive words to say to everyone involved and the odds of that happening, with a group of strangers part professional and part amateur coming together in the name of fun and teamwork, are not always good. The talent that was left out still had a great time and...We made a film and it\\\'s pretty good. I can\\\'t wait to do it again next year. Goosebumps. I am grateful to everyone and especially the 48 hour film project for giving this to us.
- Kimberly Watkins, TromsoBlue
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This Wonderful Crazy Project
L.A. is a unique city to hold this project. While there are people in the industry at all levels everywhere you look, there is still a lot of work to do assembling a team. Our team originated as an off-shoot from last years team, which was quite large, and is a modest size of about half. The director, and team TromsoBlue leader, Julian Oros, wanted a chance to direct, so he got his own slot in the project. That\\\'s the beauty of this project.
Julian had a handful of people to cover most departments and lots of eager standbys in case we needed them. I had missed the preliminary meetings of the group from last year and was invited to join TromsoBlue in any capacity, though I am exclusively an editor and have observation-only experience in the production scheme of filmmaking. To me, as I understand it, this project is a great way to explore the areas of filmmaking that one always thought about, but didn\\\'t have a way of getting real experience any time soon. Plus, as anyone knows, you can\\\'t make a film in 48 hours. So, my next idea that I formed about this quest was that this is also a good chance to see what we can do, collectively, to cut away from the traditional protocol and make due in the ways that resulted in the best film possible under the circumstances. This steered the attitude away from making the greatest film ever to seeing who cut the right corners to make a good film. Everyone in the theater would know exactly what we were up against, because we all had the same criteria. I know some teams were better connected and equipped than others, but they knew they were, so they still would be able to view all movies with set-backs in mind thus allowing them to enjoy the movies and be entertained rather than subject them to the criticism that other films face. Afterall, entertainment value is 45% of the score. Fun! Right? Well, the first thing I discovered was, no matter how much you try to instill this attitude in your crew, you just can\\\'t stop the overpowering urge to jump in and take over when it appears team mates are not pulling their weight. This works against the team. It makes for many added-as-we-go crew members and cast to get a different impression of what we are doing and how we are able to do it and why we are doing it. That is understandable, at least by me. I was the first \\
- Kimberly Watkins, TromsoBlue
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The Collaborative Process
Our group, the Collaborative Group Ensemble Troupe Collective, has been meeting for more than a year, experimenting with collaborative storytelling and film-making.
Leading up to the 48HFP, we started practicing brainstorming techniques we might use the night of. We really liked something called Story Symphony, where people take turns making up a story. One person conducts the story by pointing at people. If you're being pointed at, you're telling the story, but as soon as the conductor points elsewhere, you stop, even if it's mid-word. The next person has to pick up exactly where the previous person left off.
We played around with Story Symphony at our weekly meetings, trying to set ourselves up as if it really were the night of the 48HFP by picking a genre, a character, a line and a prop.
So the evening of the 48HFP rolls around and we are eagerly awaiting a text from our producer with the details so we can jump into Story Symphony. We get the info and we go. And everyone realizes that we're kind of sick of Story Symphony. We'd used up the novelty of it in our practice sessions.
Ultimately our story idea came about through good old-fashioned brainstorming.
"Ooh, how about someone goes to their car and in its place, there's a present?"
"Yeah, and then . . ."
A could happen, or B could happen, or what if we go all crazy and jump to Z?
We brainstorm up until about 9pm, then I go off and write the first draft. I come back to the group a couple hours later and we don't like the ending, so we brainstorm again and come up with a new ending. Then we all go home so the rest of the group (which comprised of our director and actors) can squeeze in some sleep while I finish writing.
I write up until about 3:30am, then call it good, email it out, and crash. About an hour and a half later I get a phone call from our director, who's now working on the shot list with our DP and 1st AD. They think it's too short. Over the phone, we brainstorm some ways to increase the tension (we drew Crime/Gangster) and lengthen it. I get back to work and send out the final draft around 5:45am.
48HFP is really all about collaboration, so it felt like the perfect opportunity for our group to put our skills to the test. Ultimately it didn't matter if we used Story Symphony the night of, because the technique had already benefited us as a group. We were ready to jump in with ideas and to build off one another's ideas. I wrote the story, but we built it together.
- Stina Pederson, Collaborative Group Ensemble Troupe Collective
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The Collaborative Process
Our group, the Collaborative Group Ensemble Troupe Collective, has been meeting for more than a year, experimenting with collaborative storytelling and film-making.
Leading up to the 48HFP, we started practicing brainstorming techniques we might use the night of. We really liked something called Story Symphony, where people take turns making up a story. One person conducts the story by pointing at people. If you\\\'re being pointed at, you\\\'re telling the story, but as soon as the conductor points elsewhere, you stop, even if it\\\'s mid-word. The next person has to pick up exactly where the previous person left off.
We played around with Story Symphony at our weekly meetings, trying to set ourselves up as if it really were the night of the 48HFP by picking a genre, a character, a line and a prop.
So the evening of the 48HFP rolls around and we are eagerly awaiting a text from our producer with the details so we can jump into Story Symphony. We get the info and we go. And everyone realizes that we\\\'re kind of sick of Story Symphony. We\\\'d used up the novelty of it in our practice sessions.
Ultimately our story idea came about through good old-fashioned brainstorming.
- Stina Pederson, Collaborative Group Ensemble Troupe Collective
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Musical... what?
"Anything but the 'Western or Musical' category and we'll be okay," we said to ourselves. We had our team, we had our actors, we had our location and our equipment, we were ready to go. And then... it happened. It so, totally, happened.
"No westerns! We're doing a musical," shouted Jared, our lovely director. Well, can't argue with the director. Makes for an awkward time.
We get our writer on the phone (who's in Texas) and begin to formulate a plan. He has a story, but how do we turn it into a musical?! We're scrambling here. We're tired. We go back to the drawing board again and again. We call our composer at 1 am and have him rush over. Hours go by... we finally have something.
We spend 24 hours filming on Saturday from sun up to sun down, to sun up again. Coffee. Red Bull. More coffee. Red Bull Red Bull coffee Red Bull sugar. Our composer and choreographer and lyricist spend the first half of the day coming up with songs and dances while the rest of us begin to film the scenes without music. Once the songs are done, Joanna scrambles to teach our extras the dance moves in between bites of food.
Let's not forget to mention that we borrowed Grandma's house for the day, taking over her beautiful home with a crew of 20 and lights and cameras everywhere. By the time we got to shooting the singing and dancing, it must have been 3 in the morning, with poor grandma trying to sleep in the next room. What a trooper!
Cut. Wrap. Pack up. Time to go finish editing and fill out paperwork. It's now Sunday morning. We've been awake for 30? 32? 40 hours now? The details were blurry. But... coffee. Red Bull.
Andy was editing on the fly, but there's still more to be done now that we're wrapped. Liz and I are delirious, filling out paperwork, giving useless tips to Andy about stuff we have no say in. Scattered among the editing quarters are tons and tons of papers, occasionally being stepped on by Itchy the beagle. We're halfway between awake and sheep-counting status and things were getting pretty hazy.
"Did anybody else just see that giant unicorn leap across the living room?" I asked in all seriousness.
"I think so."
"Totally saw it."
"Looked like a dinosaur to me."
Things got weird.
Fast forward to 5pm. We're done. Now we just need to drive to downtown and turn the thing in. Oh lord... who is alert enough to drive?
I won't go into detail, but we finally made it. I can't say I even remember being there, but I'm pretty sure I was.
All in all, we had a great time singing and dancing together and we can't wait to hopefully not get musical next year.
- Dani Renee, Happy Candle
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The crew decided that the word of the day was "gross" for reasons that I didn't really have time to understand while directing. So I heard "grooooossss!!" whenever we were moving camera for one reason or another about 20 times on Saturday. They tried to explain it later but I just didn't get it. Team leader..... always the odd man out.
We had a no-show in our camera department. That's 3 years in a row now. I'm beginning to think that a 48HFP is not the full experience without one no-show.
- Michael Maggiano, Damn that television!
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Have fun. Remember to learn.
This year was my second 48 HFP and like last year our team was able to accomplish the goal of creating something in 48 hours.
That is always what I consider the best part of being a part of the 48 HFP. It gives you an opportunity to create and really test your skills.
Some keys that I find important to succeed at completing a project is to simplify your ideas, trust your team, be patient, take criticism well (thick skin), make decisions and move to the next step in the process. Don\\\'t over think it. Take the work seriously, but don\\\'t be so serious.
The goal is to tell a story that can entertain. Not every movie is going to be great, but you get to be a part of a group of creative thinkers that are doing their best to become better.
I appreciate the 48 HFP because it gives me an opportunity to work on my craft as a creator. I\\\'m looking forward to trying new roles in the years to come.
Enjoy the screening guys!
- Lenny Lenox, Heisenberg\\\'s Heroes
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Cue sound: "AAAAAAAAAGGGGHHH!!!"
So, our regular DP/cameraman got a well-paying gig for the middle of Saturday. Fortunately, we found out well ahead of time, so we could start figuring out what to do. One of our actors knew someone from her acting class with a plethora of filming gear, who agreed (on Friday!) to step in. Crisis averted. Barely.
The only filmmaking Viki and I have ever done has been with 48HFP. Our first two years, we used on-board sound from camcorders; last year, we drew silent film. So this year, filming with a Canon 5D Mk II and Mk III, was the first time we used a separate soundtrack.
You can guess how that went.
I'm essentially a one-man post-production team, with Viki beside me helping make creative decisions. FinalCut 6 (yes, 6) doesn't sync sound automatically like 7 and X do, and we don't have PluralEyes or anything. So I spent four hours manually syncing sound -- four hours that we would normally have for editing, sound levels, and color. We really could have used those four hours!
The rough cut was 21 seconds too long! We started trimming what we could -- 13 seconds too long, 8 seconds ... We ultimately had to cut a portion out of the climactic scene to make it fit, and it was a really rushed and jumpy edit. And now we had enough time left to either clean up the edits, OR fix the color, OR adjust the sound levels, OR add music -- but only one of those was going to happen. So we opted to add the music, since fixing any one of the technical problems would still leave two others unpolished AND there would be no music. This way, at least the emotional storytelling would be there.
We were so tight on time, we didn't even get to watch the final film before copying to USB, or even check the USB to make sure it worked. Copy, grab, GO! And we made it with just a couple minutes to spare.
That's 48HFP for you. It's never perfect -- but we ended up with a sweet story that we hope the audience will enjoy, which is our main goal (in addition to having fun).
Plus, once again, we learned a lot that we can apply to next year's event -- and to other projects we have in mind between now and then. We just keep getting better, and enjoying it more and more.
And there's a whole lot of equipment we want to get our hands on now.
Sean (& Viki) Hilferty
Mandi Eats a Muffin (and Other Adventures)
- Sean (& Viki) Hilferty, Mandi Eats a Muffin (and Other Adventures)
1New In Town? Make a 48-Hour Film!
Whenever I tell people I'm doing the 48-Hour Film Project, they usually have one of two reactions:
1. "What's that?" or
2. "Oh, I've ALWAYS wanted to do that! But... I want it to be GOOD."
To the second of which, I scoff. Because if you're only looking to associate yourself with established greatness, you are missing the point. Creativity is an adventure, and exploration. You can't guarantee any of it is going to be amazing.
Which should put a healthy fear mixed with passion and excitement in our hearts as team leaders. It's a real rush.
Being new to LA, and eager to dive into the local creative space, I gamely signed up for the 2013 Los Angeles 48-Hour Film Project. With no assurance that I would meet – let alone successfully entice – any quality filmmakers to come along and join me, I put on my Producer Hat (the one with the feathers) and went out on a limb.
I went from zero to twelve in less than a month. Twelve talented, enthusiastic and dedicated people threw in their lot with this wide-eyed newcomer and made a short film.
And we got it done. Barely.
First off, I had a mad week coordinating details with my team. 12 people is a wonderful number of helpers, but it's also a lot of lives to revolve plans around. I was up to my eyeballs in email and to-do lists. It was awesome.
Friday night came with much anticipation, and my co-writer, Sue, and I eagerly awaited our fates. First we drew a genre: Dark Comedy. Yippee! I love Dark Comedy. But wait – that's because it's really smart and ironic and brilliant. Can we do brilliant in 2 days?
Maybe that's why our official team name is The Brilliance. Oh yes.
After some feverish brainstorming and a solid six hours of writing (in which we changed everything – twice) we had a script we felt pretty good about. We grabbed a few precious hours of sleep and at 6:30 I was up with the chickens to make breakfast for my production team. And yes, we had eggs.
The next 24 hours were a whirl of excitement, intense effort, fun, juggling priorities, strokes of creative genius, disappointment, and hilarity. Everything you experience in the creative process, we experienced. Over and over again, on and on, from sunup to sundown and sun coming up again. Sustainable for a short time, but definitely not a lifestyle.
Luckily we escaped with our lives AND our relationships intact. Despite Avid's very best efforts to break us (Avid? Or Diva? I don't care. You decide), our post-production team remained positive all through the weary night and late into our final day of editing, color correction, and sound design.
Exporting files and burning discs in the car, we made it to the dropoff rendezvous just 10 minutes shy of the 7:30 pm deadline. Wiped out, but proud of the final product we delivered.
To anyone considering a 48 endeavor, I highly recommend it. It is a phenomenal kickstart to your creative tendencies, and creates a defined goal around which you and your compatriots can rally. Plus you are together for two long days, which will either make you fast friends or mortal enemies depending on what kind of snacks you serve.
Lessons learned from this wild ride:
1. Next time, I must find a director so I can focus on writing and making food and encouraging my sweet team of expert guerrilla filmmakers.
2. I'm definitely a producing writer. I love producing, but I wouldn't want to produce just anything – the most fun for me is nurturing a story from beginning to end. This is really a helpful eureka moment, because I keep second-guessing that feathered hat.
3. I'd rather have a dedicated, professional, and enthusiastic team than all the time in the world.
Most of all, I garnered an even deeper respect for all the professional creators who steward hundreds and thousands and millions of dollars to create something worth watching. This stuff takes guts, you guys.
Creating is an adventure. Don't sit back and wait to see if someone's work will be good – get up and help them make it good. Pioneer that territory, blaze that trail. Give your critical tendencies a vacation and just go play.
It may not be brilliant, but it will be worthwhile. Promise.
Thanks again 48HFP for the opportunity to throw caution to the wind and just make something. You can read this full post at my blog, http://travelingscreenwriter.com
- Cortney Matz, The Brilliance
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Going Ambitious...
This year, I went ambitious. This is the first year I actually struck out on my own and hired a crew that was primarily associates or people I didn't know or work with previously. We had an ambitious location with horses and -- because of a gracious donation from my mom and other supporters to "Roe's Film making Fund" -- we got a small sound stage to do some of our film.
At noon on Friday, our DP sends a confusing email saying, "Sorry, I don't think I can make it." He wouldn't answer any phone calls and we started going coo coo for what we could do. Our director was contemplating pulling double duty while I was frantically calling all the resources I could find. I ended up speaking to A-List camera ops and DP's by complete accident -- which was pretty cool to say I spoke to the camera ops of Hurt Locker who mentioned he'd do it if he wasn't in Washington. I even spoke to an agency who represents camera ops people and they assisted in helping us. Still, no luck came through until 6:20pm; we got a call back from a message I had left and we had a cinematographer on board. Thank goodness!
The writing went as smoothly as possible with creative differences being involved. We eventually finished writing the script at 5:30AM, as people were driving to our first location. We get to the first location and about 3 hours in, we're told we have to leave because we only received permission from the lessee's, not the owners of the land. And scrambling to find another horse ranch is not an easy thing. Luckily, the actor providing us this initial location miraculously found us another horse ranch a few miles away. Lesson Learned: Always confirm who owns the land, not just the area.
After we lost about 2 hours because of driving and making sure everybody could find the new location (it didn't have a street name since it was just off the side of the highway), we finally got it together. Everything started clicking and things were looking up!
We wrapped at the horse ranch and headed to the sound stage. And from there, everything just kept gliding perfectly. After we handed everything to our editor, I finally got my first hour of sleep in 36 hours.
The owner of the sound stage was very flexible and allowed us to stay past our allotted time to finish editing and get the film turned in. All in all, I'm proud of what we did with what obstacles we had occur. We're in a condensed amount of time. The only reason why all this seems so absurd is because it isn't spread out over time.
Next time, will I go as ambitious? Maybe. But with a little more concreteness in every aspect of our team.
See you next year!
- Roe MOore, PiePie Productions
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Rendering on the Drive to the Theater
Turning our 48hour Film Festival submission in, at the Regal LA Live Theater! Hey, FIFTEEN minutes before the deadline. Yup.
Funny story - we were in the car driving downtown, with the high-performance Mac laptop copying the 4GB file to the USB drive for our submission. So the USB copy finishes around the southbound 170 at Sherman Way. Out comes the chip. Plug chip back in. Then Play the 1080p movie that's on the chip.
Plays great! We all watch in the car. Well, I was driving so I only sort of watched. Get to the end - we're all laughing - except it is FORTY SECONDS missing! Including the entire concluding line, which is the ONE LINE of dialogue that HAD to be in the movie!
I know exactly what's wrong. When we did the Export from Premiere, we left that piece off. Pull the car over! Now it's Lankershim. Switch drivers!
I took the laptop, Shelley got back on the freeway, and I set it to re-export. Uh-oh. That does take ten minutes. Right. But it's only 6:45. We're OK. And I'm laughing, and filming the screen showing it counting down as we're moving on the freeway. Nine minutes. Eight. Down it goes!
Then it finishes! Stick the USB drive back in and download. That we now know is another eight minutes. Clock's counting down. I'm still laughing. Courtney Bell and Shelley Haber Bell say "Quit laughing!" And I say, "Hey, I know why it failed the first time. And I know what it's doing now."
And we test it again. The ENDING IS THERE! Yes it is. And we're strolling into the theater. Oh, and I should add: we got one of the very few CURB PARKING FREE SPOTS anywhere in the area. (This was dependent on a very close RTFS. (Read the Friendly Sign.))
That's my luck.
My greater luck? Having such an AMAZING FAMILY! Wonderful, talented, and I might add, very professional. From such, life's stories are made.
- Mark Bell, LightningBell Productions
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- Campus Guide
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Deerfield is fortunate to have outstanding athletic facilities, both on and off campus, that include over 95 acres of athletic fields.
The Deerfield crew, golf, and ski teams all practice and compete at off-campus locations even when "home."
The Hammerschlag Family Boathouse, located on the Connecticut River, is a 5,900 square foot facility housing 20 rowing shells ranging from singles to eights. Two team rooms are equipped with ergs, free weights, and exercise and video equipment. (Directions to the boathouse are available.)
Deerfield's golf teams play at the Crumpin-Fox, just 13 miles from campus. You can find detailed directions and contact information at the Crumpin-Fox website.
Located just 25 miles from Deerfield at 66 South River Road, Charlemont, MA. Berkshire East is "home court" for our ski teams. More information about directions and accommodations can be found at the Berkshire East website.
Deerfield students enjoy the cheers and support of their peers–and that support is all the more welcome at "away" games. If you wish to attend athletic events off campus, directions from our campus to our athletic competitors are available.
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Welcome to CowboysZone! Join us! Come on! You know you want to!
You cannot post in the chat room because you have not posted enough in the forums!
ESPND: Flacco highest paid in NFL history
Discussion in 'NFL Zone' started by Sean50Lee, Mar 1, 2013.
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Vertical Garden Wall Planter
Decorative Way to Grow Fresh Herbs and Plants Indoors Year-Round
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About This Deal
Don't let harsh temperatures keep you from enjoying your favorite plants and herbs. With the help of today's Moolala deal, you can harvest fresh herbs all year long and keep the gourmet recipes coming: for $15, receive a 4-pocket wall-mounted planter, great for indoor use (a $40 value).
The 4 planting cells give you plenty of space for a variety of plants, while the ability to mount it to the wall means you're not taking up valuable table or shelf space. Plus, hanging this planter inside means harsh temperatures - hot or cold - won't affect your precious plants, so you can keep your garden green all year long! The polyester material distributes water evenly through the 4 planting cells, which means your plants never go hungry, as long as you remember to water. The foldable design makes it easy to store when not in use.
The Cool Stuff
- Unique, decorative and space-saving way to grow plants in your home
- 4 planting cells mounted to the wall
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- Polyester material ensures even distribution of water throughout cells with no leaks
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- Foldable and recyclable design for easy storage and long lifespan
Details & Fine Print
Redeem by Oct 19, 2013
- Shipping and Handling: $4.99 flat rate shipping fee per item not included, collected on merchant's website. Please allow 7-14 business days from redemption for delivery of your product.
- Refunds and Returns: Click here for our refunds and returns policy.
- Other Details: Unlimited vouchers per customer. Unlimited vouchers as gifts.
- Expiration: Promotional value expires 10/19/2013. Paid value expires 08/19/2018.
- Redemption: Redemption required on merchant's website. Only one voucher code per transaction.
View rules for all deals


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I'm a coder so I still do everything by hand: find a web hosting company, write the HTML by hand, layout in CSS, graphics in photoshop and/or stock photos, hack it all together, get the email forms working, etc.
But I figure it's 2011, and there's got to be easier ways to do this stuff.
What's the easiest way to get a small business website online? Any thoughts or opinions are greatly appreciated!


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Washington, DC Friday, December 7, 2012
Award-winning singer, songwriter and guitarist James Taylor delivers a National Press Club Luncheon address Friday on "Election Reform," and his involvement in politics.
After the U.S. Supreme Court of Bush v. Gore decided the 2000 presidential election, several groups have tried to reform the country's electoral system. Taylor discusses how Congress and the country could change the way Americans choose their President.
Following his remarks, Taylor responded to questions submitted by members of the audience.
Updated: Tuesday, December 18, 2012 at 3:33pm (ET)
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Find great deals on quality hotels & resorts in Brac Croatia, or indulge at one of our luxury resorts. Take advantage of the many amenities that can be included with your stay such as in-room internet access, wifi, room service, fitness center, pool, hot tub, steam room, and shuttle services to and from the airport. Browse our hotels and resorts in Brac Croatia and plan your Brac Croatia vacation today!
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Hotels & Resorts Brac, Croatia - Villa Adriatica is set on the northern side of the Island Brac, only 100 meters away from the beach perfect for snorkeling and all water sports. In a quiet residential
Hotels & Resorts Split, Croatia - In the very center of Split, 1700 years old, you can find the House-Hotel SIMONI that offers its guests a unique atmosphere in the newly refurbished rooms and apartments. SIMONI has built its family tradition since 2004.
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Hotels & Resorts Makarska, Croatia - Renovated in 2010, This Family-Run, Bright Aparthotel is Fully Air-Conditioned and Welcomes Guests in a Lobby With Hotel Safe and Lift Access. Additional


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Governors State University uses University Accounting Services to administer student loan accounts.
You may visit the University Accounting Services Web site at http://www.uaservice.com/ to:
Governors State University refers the collection of delinquent student loan accounts to Enterprise Recovery Systems, Inc. Please contact them directly regarding payment on your account.
Enterprise Recovery Systems, Inc.2400 S. Wolf Road, Suite 200Westchester, Illinois 60154Phone: 800.377.1904Fax: 630.574.0110
To make a payment or view your account online with ERS: www.helpupay.com
Arlendale Hobbs, Collection Specialist IVROOM C-1339Phone: 708.235.7403Fax: 708.235.2173dhobbs@govst,edu


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25 Oct 2012 - 02:21Rose, when you want to reply you must go to my site otherwise I won't see the reply. My sister lives in PMB and we visit about once a year. Please come and visit me while on holiday. I would love to see you. Did you get my e-mail address? To go to my site, just click on my name. Have a great day. -
Rose Douglas
23 Oct 2012 - 09:54Hi Belle,
Unfortunately I am in Kloof KZN... but.... will be in CT from the 23/12 to the 4/01 on holiday with my family. we are going to staying 30km south of Caledon on a farm called "Glen Oakes". it will be great to meet up for some coffee??? -
23 Oct 2012 - 09:38Hi Rose, where do you live in SA. I hope close to Cape Town. I'm in Brackenfell in the Northen Suburbs of Cape Town. Hope to hear from you soon. -
Sara Arell
23 Oct 2012 - 04:09Here you go, Rose - a link to Belle's profile! She'd love to hear from you! http://scrapgirls.net/forum/user/19386-belle/ -
Sara Arell
23 Oct 2012 - 04:05Hi Rose! Welcome to Scrap Girls! I'll come back with a link to Belle's profile - she's in South Africa too! I know you're going to love it here! Scrap Girls is such a friendly place!
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Gold analysts are the most bullish in three weeks after the Federal Reserve's surprise decision not to taper stimulus increased demand for bullion as a hedge against accelerating inflation and currency debasement.
Sixteen analysts surveyed by Bloomberg expect prices to rise next week, five were bearish and five neutral. Gold jumped 4.1% (COMEX:GCZ13) on Sept. 18, the most in 15 months, after the U.S. central bank said it wants more evidence of an economic recovery before slowing its $85 billion-a-month of bond buying.
Gold is set for the first annual drop in 13 years as some investors lose faith in the metal as a store of value amid signs economies are strengthening. Fed Chairman Ben S. Bernanke surprised analysts who predicted a $5 billion cut, saying he was concerned that market interest rates, driven higher by his own suggestion he would scale back stimulus, would curb growth. As gold surged, the dollar slumped to a seven-month low.
"The Fed has realized that any attempt to reduce or eliminate quantitative easing will lead to a surge in interest rates," said Jeff Sica, who helps oversee more than $1 billion as the president of Sica Wealth Management in Morristown, New Jersey. "There will be ongoing currency devaluation both in the U.S. and around the world. I anticipate significant fundamental strength in the price of gold in the near term."
Gold Rebounds
The metal fell 19% to $1,353.45 an ounce in London this year after slipping into a bear market in April. Prices rebounded as much as 6.5% since reaching a five-week low on Sept. 18. The Standard & Poor's GSCI gauge of 24 commodities fell 0.7% this year and the MSCI All-Country World Index of equities gained 15%. The Bloomberg U.S. Treasury Bond Index lost 3%.
Bullion rose 70% from December 2008 to June 2011 as the U.S. central bank pumped more than $2 trillion into the financial system by buying debt, increasing concern about currency debasement. Bernanke said there is no fixed schedule for tapering and a statement from the Fed signaled interest rates will stay near zero as long as unemployment remains above 6.5% and inflation forecasts don't exceed 2.5%.
The Bloomberg U.S. Dollar Index, which tracks the greenback against 10 major currencies, dropped 2.5% in the past two weeks, reaching the lowest since Feb. 19. Gold moved in opposite directions to the dollar in 11 of the previous 12 quarters. Global equities reached the highest in five years yesterday.
Consumer Prices
Expectations for gains in U.S. consumer prices, as measured by the break-even rate for 10-year Treasury Inflation Protected Securities, jumped to a five-week high. Gold slid 29% from its September 2011 record of $1,921.15 partly as stimulus failed to stoke inflation.
The latest Fed decision and a debate among U.S. lawmakers about whether to raise the nation's $16.7 trillion debt ceiling means gold could gain further in the near term, Goldman Sachs Group Inc. wrote in a Sept. 18 report. The bank restated its prediction that prices will resume a drop into 2014 as U.S. economic growth gains and monetary policy is tightened. It forecasts $1,050 at the end of next year.
This week's rally is an opportunity to sell, Societe Generale SA said in a report yesterday. The metal will average $1,125 next year, the bank says. Credit Suisse Group AG expects an average of $1,180. U.S. economic expansion will accelerate to 2.65% next year and 3% in 2015, from 1.6% this year, according to as many as 81 economist estimates compiled by Bloomberg.
ETP Holdings
Investors sold 696.8 metric tons through gold-backed exchange-traded products this year, erasing $57.6 billion from the funds' value and pushing holdings to the lowest in more than three years, data compiled by Bloomberg show. John Paulson, the billionaire hedge fund manager and biggest investor in the SPDR Gold Trust, the largest gold ETP, cut his stake in the product by 53% last quarter, a government filing showed.
Gold advanced as much as 21% from a 34-month low in June through late August as lower prices boosted demand for jewelry, bars and coins. Sales during the main festival season from August to November in India, last year's biggest buyer, will be less than a year earlier as slowing economic growth and a shortage caused by government curbs on bullion imports hurts demand, said C. Vinod Hayagriv, managing director of C. Krishniah Chetty & Sons Pvt., a Bangalore-based retailer.
Mint Sales
Physical demand is slowing elsewhere, with the U.S. Mint selling 11,500 ounces of American Eagle gold coins in August, the least in six years and down from as much as 209,500 ounces in April. Sales totaled 9,000 ounces so far this month, data on its website show. Sales of coins and bars from Australia's Perth Mint dropped 46% in August from July.
While hedge funds and other large speculators cut their net-long position by 16% to 84,929 futures and options in the week through Sept. 10, wagers on gains more than doubled since the end of June, U.S. Commodity Futures Trading Commission data show. The position slumped 67% since August 2011.
Eight of 15 people surveyed expect raw sugar to drop next week and six were bullish. The commodity slid 9% to 17.76 cents a pound on ICE Futures U.S. in New York this year.
Twelve of 28 surveyed anticipate higher corn prices and 11 said the grain will fall, while 16 of 29 said soybeans will rise and nine expect lower prices. Eleven predicted gains in wheat and eight were bearish. Corn fell 35% to $4.535 a bushel this year in Chicago. Soybeans dropped 6.5% to $13.1725 a bushel, as wheat slumped 16% to $6.5125 a bushel.
Copper's Decline
Ten traders and analysts surveyed expect copper to climb next week, eight were bearish and eight neutral. The metal for delivery in three months, the London Metal Exchange's benchmark contract, dropped 7.8% to $7,313.50 a ton this year.
The S&P gauge of raw materials rebounded 1.4% since reaching a five-week low on Sept. 17. The Fed's decision to hold stimulus came at a time when economic data from China to Brazil shows signs of improvement and helps countries most dependent on foreign financing such as Brazil and India, according to Denise Simon, an emerging-market fixed income manager in New York at Lazard Asset Management, which oversees $147 billion of assets.
"Continued stimulus in the U.S. means support to U.S. growth, with rippling effects in terms of general demand for goods," said Bjarne Schieldrop, the chief commodity analyst in Oslo at SEB AB. "The Fed decision is positive for continued capital flows to emerging markets. More capital to emerging markets means better growth prospects and means stronger commodity demand."
Gold survey results: Bullish: 16 Bearish: 5 Hold: 5
Copper survey results: Bullish: 10 Bearish: 8 Hold: 8
Corn survey results: Bullish: 12 Bearish: 11 Hold: 5
Soybean survey results: Bullish: 16 Bearish: 9 Hold: 4
Wheat survey results: Bullish: 11 Bearish: 8 Hold: 7
Raw sugar survey results: Bullish: 6 Bearish: 8 Hold: 1
White sugar survey results: Bullish: 5 Bearish: 8 Hold: 2
White sugar premium results: Widen: 6 Narrow: 5 Neutral: 4