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A while back I picked up an e.l.f. Lip Stain at Big Lots after spotting a few of the Studio Line there. I picked up Fashionista because I thought it would be a nice summer color, and seeing as the weather has been in the upper 70's-80's here, it's time to break into the corals and pinks!
This is a dual ended product - one side being the stain and the other side having the gloss. The stain itself is very light and smooth. It leaves a matte finish if worn on its own. The gloss is also quite light, not thick and gloppy like some "long lasting" products tend to be. Both applicators are a typical, small size, doe foot.
I spotted the Sally Hansen Salon Effects Limited Edition collection, which I believe is for spring/summer. There are 5 new shades/patterns: Antique Chic, Sweet Marble Floret, Twinkle Bell, Good Morning Glory, and Vine and Dine. I am very partial to Vine and Dine and Twinkle Bell - so springy!
BareMinerals Return to Radiance Collection: Swatches and Review **PIC HEAVY**8:17 AM
Who is it for: All skin types and complexions.
Why is it different: It's the ideal mix of makeup and skin care to perfect and pamper the complexion.
NEW bareMinerals READY Blush delivers skin-nourishing benefits for softer, smoother skin while enhancing cheeks with a gorgeous flush of lasting color.
NEW Prime Time Neutralizing Foundation Primer visibly calms skin, reduces appearance of redness, and primes skin for a flawless foundation application.
bareMinerals Original SPF 15 bareMinerals Foundation and SPF 20 Concealer provides flawless coverage without clumping, caking, or drying out skin.
Creamy, waterproof Nude Glow Primer Shadow delivers a soft champagne shimmer on the eyes, while Rock Star Marvelous Moxie Lip Gloss gives you full, luscious lips in a soft pink melon shimmer.
How do I use it:Apply one pump of Prime Time Neutralizing Foundation Primer into hands. Massage an even layer all over face, to visibly even skin tone.
Use the Swirl, Tap, Buff application to apply Original SPF 15 Foundation with the Full Flawless Face Brush for medium-to-full coverage.
Pat SPF 20 Concealer under the eye area, around the nose and lips, and on any areas of concern with the Maximum Coverage Concealer Brush.
Smooth Prime Time Primer Shadow in Nude Glow on the eyes from lid to crease for a sweep of champagne shimmer. Use your finger or a brush to apply.
Lightly buff bareMinerals READY Blush in The Natural High onto apples of cheeks with the Full Flawless Face Brush for a golden petal peach flush of color. You can also pat it into the crease of the eye as a contour color using the Maximum Coverage Concealer Brush.
Swipe Marvelous Moxie Lip Gloss in Rock Star onto the lips for a perfectly pillow, soft pink melon shimmer.
From bareMinerals.
1-fl-oz Prime Time Neutralizing Foundation Primer--NEW
0.21-oz bareMinerals READY Blush in The Natural High, a golden petal peach--NEW
0.10-fl-oz Prime Time Primer Shadow in Nude Glow, a champagne shimmer--NEW
0.15-fl-oz Marvelous Moxie Lip gloss in Rock Star, a pink peach shimmer--NEW
0.28-oz Original SPF 15 Foundation in choice of 12 shades--three-time Customer Choice Award Winner for Best Foundation
0.07-oz SPF 20 Bisque Concealer--2011 Customer Choice Award Winner for Best Concealer
Full Flawless Face Brush
Maximum Coverage Concealer Brush
Made in China/Canada/USA
Up next, the Marvelous Moxie lip glosses, which are the newest version of their famous lip gloss. I have always loved the BE lip glosses, from the original Buxom's to the Natural lip glosses they had a while back. After using these for a few weeks, I would actually consider these to be somewhat of a combo of the two glosses.
Marvelous Moxie are rich and luxurious, but actually have a nice sheer color to them. This particular color, Rock Star, is a peachy pink with golden/peach shimmer. When applied, it's just a nice hint of color, but not too opaque. The shimmer is slight enough on the lips to not be over-the-top. The consistency is thick, but it stays put and doesn't bleed. There is the slightest cooling/tingling sensation, but not as extreme as the Buxom's
The other two items I was anxious to try were the two Prime Time items. Below is the Prime Time Primer Shadow in Nude Glow. Similar to other primer shadows, this is versatile enough to be worn alone or under your eyeshadow to help intensify the color. The applicator is a squeeze tube - I actually squeeze it out onto my finger and apply to the lid. Nude Glow is a beautiful skintone color with a slight shimmer. It really brightens the lid, and I am really enjoying this as my "go to" on days I need basic and neutral look.
The other Prime Time product in this set is the neutralizing face primer. This is a foundation primer, and the "neutralizing" version is yellow in color, which helps reduce redness and prepare the skin for your foundation.
The consistency is quite liquid, which surprised me. I'm used to using the foundation primers like Smashbox Photo Ready primer or Laura Geller's Spackle. This Prime Time was even more thin than the Spackle, which took some getting used to. One pump does the whole face, so don't be deceived by the little bottle - it will last quite a while. Once dried, the skin feels smooth and even, and foundation application is very easy. Note: you do need to let this particular primer "dry" before you apply your foundation, unlike some others on the market.
I have to say, I was a little reluctant to try this with the yellow color, but it really does blend right into the skin and evened out any redness I was experiencing after washing my face. I tend to get blotchy, especially if I use a scrub, so this really helped hide any of those flaws prior to applying foundation. And don't get me wrong - this doesn't have "coverage", per say. Instead, this primes the skin and helps eliminate the look of flaws prior to application.
Below are the swatches of the Prime Time Primer Shadow (left), the Ready Blush in Natural High (middle) and Marvelous Moxie lipgloss in Rock Star (right).
- Reagan (ZP614) - deep cerise pink cream
- Lara (ZP615) - vivid cerise pink cream
- Shelby (ZP616) - soft pinky pink cream
- Arizona (ZP617) - soft coral orange cream
- Tracie (ZP618) - sea grass metallic
- Wednesday (ZP619) - soft aqua cream
- Rory (ZP620) - lotus pink foil metallic
- Carly (ZP621) - thalia purple foil metallic
- Kimber (ZP622) - magenta pink foil metallic
- Myrta (ZP623) - coral orange foil metallic
- Meg (ZP624) - mermaid green foil metallic
- Zuza (ZP625) - aquamarine foil metallic
What it is:
A revolutionary long-wearing eye liner that contains intensely rich mineral pigments in a 50% water concentration.
What it does:
This revolutionary EmphasEYES™ Aqua-Gel Eyeliner captures the high-pigment concentration and staying power of a gel pot in an effortless pencil, no brush required! Even more unique is the proprietary formula which suspends rich mineral pigments in a 50% water concentration. By a process of hydrous pigmentation, cooling and refreshing pure water absorbs into the skin to hydrate and replenish the delicate eye area, leaving behind an intense, long-wearing, and pigment-rich color. Fortified with vitamin E, cucumber, and aloe this soothing Aqua-Gel Eyeliner maintains moisture balance in the skin while treating with healing free-radical fighters.
What it is formulated WITHOUT:
- Parabens
- Sulfates
- Synthetic Fragrances
- Synthetic Dyes
- Petrochemicals
- Phthalates
What else you need to know:
EmphasEYES™ Aqua-Gel Eyeliner contains Skinvigorating™ ingredients like pure water that suspends mineral pigments while delivering and retaining moisture to replenish and hydrate skin, aloe leaf extract known for its soothing, healing, and antiseptic properties, which maintain moisture balance in the skin, vitamin E, which acts as an anti-inflammatory emollient and fights free radical damage, cucumber extract, which is rich in vitamins A &C and helps soothe skin, and mineral pigments, which have been known to soothe and soften the skin.
Due to the unique nature of this formula, do not over advance the tip. A little is all you need to achieve rich color intensity! Make sure to always securely replace the cap to prevent product from drying out.
"Hey you guys, I'm new to all this nail stuff and I'm getting the sentationail starter Kit with the LED light, and I was wondering if it's possible to use products such as Shellac or Gellish or OPI axxium gels with this light? Please let me know I'm really curious and love all the OPI colors!"
Over my lunch yesterday, I stopped by Walgreens to pick up some chocolate for the office. Yes, I am the official "Candy Queen" of my office, with a bowl of candy on my desk bringing people into my office to top and chat, and allowing me time away from my computer. After I filled my basket with Easter chocolates, I went by the cosmetics aisle to see if they had any of the new spring colors I've been reading about, especially the Sinful Castaway collection. If you haven't seen the display, stop on over to Nouveau Cheap and check it out here. If you want to see swatches, MakeupWithdrawal has some swatches of these beach beauties here.
Anyway, they did have a new display of the Cast Away Sinful colors, and as I was picking them up to choose a color, the cashier working the cosmetics department told me the Sinful's were only $0.49 a piece. Wait, what?? Only $0.49 a piece!! You better believe I purchased several, and just as proof I took a snapshot of my receipt below.


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Let it be known, there is nothing better than watching people play your game! I present these wonderful videos posted by some kick-ass fans!
It is also pretty awesome getting destroyed at your own game by someone who has mastered their moveset, as demonstrated right here:
Thank you everyone for playing AFO, and for posting great vids! Don't forget to rate it 5 stars ;)
Wednesday, September 28, 2011
Fan Videos
Posted by MrBrian at 9:11 AM
2 comments:
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subset: commoncrawl


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While we still have to wait until next year for hover boards, powered shoe laces, and all that radical fashion from Back to the Future II, there is one thing that is here today, video conferencing. Just like 'Marty McFly' you can dial up your mate, and have a chat face-to-face. So what, you might say, video conferencing has been around for years and you would be right, videophones were first developed in the 70s. But what has held the industry back has been quality, and certainly quality at a cost that is accessible.
Improve Customer Interactions
Video Conferencing has typically been a fixed solution, tied to a specific platform that was only available in the corporate office. With pervasive and high-speed fixed and mobile networks, businesses are starting to leave their desks, but still need rich interaction with colleagues, suppliers, and customers. Only when it doesn't matter what device, or network you're connected to, will video-conferencing adoption dramatically increase.
Emerging browser-based technology standards, such as WebRTC, started to make some inroads last year. Everything has a browser that can support HTML5, and without the need for dedicated or costly platforms, this should make adoption a lot more widespread. No need to download software or plugins, just hit an online portal, and begin to chat with good quality voice and video.
This opens up a whole range of uses for organisations in the customer service arenas. Being able to simply connect with the public, without the need for specific technology or skills will drive the demand for video in the workplace.
This transforms video collaboration beyond a tool used exclusively inside the business (like for Marty getting Fired by his boss), and opens up the ability to use video for improving customer engagement, and interactions.
Change in Corporate Culture
High-end, room based systems are declining in popularity. These were sold on the promise of better office communication, and reduced travel costs. But today, cloud and software based services are simplifying a historically complicated solution.
Organisations are leaning towards cloud-based services, as while offering an easy route to adoption (via software or the browser), they can also integrate with the existing investments made in costly room-based systems.
If you're new to video collaboration, the adoption of software and cloud based services reduces the upfront costs, and provides a solution, that can grow as corporate culture and use cases change within the business.
Find a Business Process
The adoption of video conferencing is not just about 'better communication', its about creating a platform to enhance the way your business operates. Lets face it, everyone loves their phone, it's easy to use, and you don't always have to look great. But voice only isn't always the best. Seeing someone at the other end dramatically improves engagement, as you can see and hear participant reactions.
Breaking the cultural habit of voice-only calls is not easy, and successful video collaboration requires integration into a key business application, or process. For healthcare this might mean video for diagnosis, or training. For the consumer sector, it might mean better customer service processes. Imagine having a face-to-face call with a technician or call centre person at the other end of the line, you can share what you're seeing, around you or on your screen, and feel like you're being more than just listened to.
So according to Back to the Future, we've got a year to make video the primary tool for communication. Whilst this is a pretty lofty ambition, we're close, the technology is available. Simplicity, performance, and service transformation are key to increase video collaboration adoption.


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This incredible collection builds into a retrospective of the best of the Warhammer 40,000 novels with supporting editorial content focusing on key storylines, characters and themes.
Each novel has a brand new introduction that explores the importance of the story and its place in the Warhammer 40,000 universe. Together, they build up into a fascinating collection that provides a unique insight into the 41st Millenium.
Stunning colour artwork from the grim 41st Millennium and its most epic battles.
Trace the history of mankind from the Horus Heresy to its darkest hours in the 13th Black Crusade, captured together in this collection, the perfect reference for any devotee of Warhammer 40,000.
All the essential information about a key character, faction or moment from the book, whether that's the Warmaster Horus, creatures such as Orks, or locations such as the forges of Mars.
Curator's introduction
Warhammer 40,000 Artwork
41st millenium timeline
features & Profiles


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Life Science » Clinical Applications » Neurology
New technologies delivered to your inbox Subscribe
Identification and Isolation of Neural Crest Stem Cells from the Enteric Nervous System
2322 – Multipotent adult human stem cells hold much promise for the development of new stem cell-based therapies. However, human stem cells are not present in all tissues and when available: (1) are only present in miniscule amounts and (2) need to undergo a rigorous process of purification and isolation prior to use. Researchers at the University of Michigan have harvested neural crest... Read More
Methods and Reagents for Activating Heat Shock Protein 70
3306 – Huntington's disease is an inherited progressive form of dementia that affects motility, personality and memory as the disease advances. Huntington's affects about 30,000 Americans with a prevalence of 1 in every 10,000 people. The prevalence of the disease is between 3-7 per 100,000 in populations of Western European decent. Huntington's is a genetic disease with an autosomal dominant... Read More
Disturbance in the Neuropathy Target Esterase Pathway Causes Degenerative Neurologic Disease
2611 – Motor neuron disorders include amyotrophic lateral sclerosis, autosomal recessive spastic paraplegia, hereditary spastic paraplegia, primary lateral sclerosis, progressive pseudobulbar palsy, progressive muscular atrophy, progressive bulbar palsy, and postpolio syndrome. Symptoms characteristic for a specific type of motor neuron disorder vary according to the part of the nervous system... Read More
Delivery System for Treatment of Brain (or other organs) Diseases/Disorders
2496 – One of the challenges in the administration of anticancer therapeutics is the targeted delivery of the therapeutic to the tumor cells in a specific and exclusive manner. As most anticancer agents strongly interfere with replication and other cellular functions, and are often cytotoxic, nonspecific delivery of these agents to noncancerous cells leads to serious toxic side effects. In... Read More
A Novel Gene and its Protein Product that when mutated Causes Myoclonus, Ataxia and Dystonia Syndromes, and Cayman Ataxia
2463 – Ataxia is a clinical sign of lack of muscle coordination, affecting a variety of voluntary movements such as walking, speech, and swallowing. It may also signify a group of degenerative diseases of the nervous system, which may be of sporadic or hereditary nature. Hereditary ataxia is a group of rare genetic neuromuscular disorders. It is often caused by a gene defect that produces... Read More
Melanocortin-3, Melanocortin-4, and Melanocortin-5 Receptors
0853 – Melanocortins, products of pro-opiomelanocortin (POMC) post-translational processing, are known to have a broad array of physiological actions. Nakanishi, S. et al., Nature 278:423-427 (1979). Aside from their well known effects on adrenal cortical functions (adrenocorticotropic hormone, ACTH) and on melanocytes (melanocyte stimulating hormone, MSH), melanocortins have been shown to... Read More


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The Inevitability Of Unacceptability
The President has consistently gone with conventional political wisdom' simplify, simplify, simplify; clean message, sound bites and applause lines. There is some significant body of evidence that argues that is the way to go in speaking to an American public with a serious attention span problem.
The President's conundrum is that all of that was based on a demonstrable falsehood, a lie; and the fact that we know he knew it was a lie. People who accepted the sound bite, the applause line, as the limit of their intellectual commitment are in reality demonstrating confidence and trust that all of the technicalities and machinations behind the sound bite do not require they're attention; that the President could be trusted to make a true representation of policy. That curtain has now been pulled away.
The President will continue to suffer the aftermath of his breach of trust, curiosity; curiosity that motivates questions in those who heretofore felt no need for such questions. There is also the tendency toward self flagellation by the disappointed; "what was I thinking?"
The President never met his uncle; wait, wait he did, he lived with him for a time. Why lie about that?? Lying about stuff you don't have to lie about creates yet more momentum for the questions. Could it be that the President is an inveterate liar, what else is false, how much is false?
ObamaCare lies, NSA lies, IRS lies, and Benghazi lies. The President's reliance on his personal likability is now proving that every sword has two edges. If the girl you dated twice throws you over, no big deal. If the love of your life throws you over it's quite another story. That is the dynamic now in place as the young and some minorities begin to say 'no mas' to the President. Women are beginning to reject him in increasing numbers.
The critical mass was reached when the combination of the ObamaCare web site failures met the realities of the ObamaCare policy analysis that did not get a lot of attention until the web site failure. The demonized opposition ended up being correct about the impact of ObamaCare; a bitter pill to swallow for many and they look to the President as the source of that bitter pill. "You mean those nut jobs on the Right wing were actually correct? Just shoot me now!"
Narcissism describes it, arrogance describes it; the intoxication of power describes it. But, 'it', regardless of the soup of human failings that may apply to the President, has to lead to that singular political place that the Big Lie always leads to; the inevitability of unacceptability.


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reading in bed my pulse flickering the lightly held bookmark —Michael Dylan Welch
Hummingbird VII:2, Dec. 1996, p. 49
The Haiku Anthology. Cor van den Heuvel, ed. New York: W. W. Norton, 1999, p. 271.
Best of the Electronic Poetry Network. Carlos Colón, Barbara Verrett Moore, and Jeffrey L. Salter, eds. Shreveport, Louisiana: Shreveport Regional Arts Council Literary Panel, 2000, p. 41.
Pontoon #9, 2006, p. 69.
Has this happened to you? The length of the bookmark seemed to amplify the beat of my heart through my fingers. I wouldn't have imagined it possible for this to occur if I hadn't experienced it myself.


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Filter By:
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Sunday's Cornerstone Grips rock traditional styling, current branding, and come in at 150mm in length with plenty of color options. It's not a bad idea to keep an extra pair around.
The product designers at Sunday worked closely with Jake to nail down a grip that is perfect for him. Jake's grip comes in at 160mm and features a gradually increasing rib width. This grip can be run either way, depending on which side you prefer. The grip also features a tapered core for comfort.
Most of the Sunday team has been riding guard sprockets for a long time, so it was just a matter of time before they made their own. The Knox sprocket is made of 7075 aluminum and comes with a full guard on one side of the sprocket. It's designed to fit larger chains like half-link chains so it's compatible with any BMX drivetrain you have or want. It's made super strong and will help protect your chain from being hit when slipping off a rail or messing up on a crankslide. - Machined out of 7075 aluminum - Full guard on one side of the sprocket - Designed to fit larger chains like half-link chains - 6mm thick
The 10-4 Bar is the biggest bar Odyssey makes. It uses large radius bends, thicker walled, butted tubing, and a traditional 7/8-inch crossbar for superior strength and durability. These bars have a post-weld heat-treating which is guaranteed against manufacturer's defects. Features: - 1.8/1.3mm thick, multi-butted main tubing - Butted, traditional 7/8? crossbar for strength - Large radius bends for greater durability - Post-weld heat-treated Specs: - 10-inch rise - 30-inch width - 11-deg backsweep - 4-deg upsweep
In addition to updating Aaron's tire, Odyssey also wanted to update his signature grip. The updated "Boss" grip features a low profile block pattern which will match his tire, and comes in at 158mm. These will feel similar to his original grip, but improved and with all new styling.
As the name implies, this new version can be easily adjusted to cover 3 different lengths by utilizing the cable's unique straddle interface connection. This tool-free feature allows the Adjustable Quik Slic Kable to be a one-size-fits-all cable for virtually every braking configuration. FEATURES - Adjustable hanger slot allows upper cable to rotate for optimum alignment. - The integrated hanger and straddle cable creates direct routing to brake arms with no bends or twists to reduce flex. - Linear K-Shield mesh housing offers higher compression rate and lighter weight than standard steel mesh. - All Odyssey Linear cables are offered with the K-Shield housing. - Specially designed and machined Volcano ferrules prevent premature housing blowout. Velcro strap included. SPECS - Housing length: 995mm - Frame requirements: Slotted cable stop and guides. 245mm (+/-3) distance from center brake boss to the front of the cable stop is recommended. - Brake requirements: Open-ended U-brake arms. - Works with most brake levers. - Velcro strap included.
A classic knobby version of the Aitken signature tire. Traditionally a more dirt-specific tire but the tire's fast rolling center tread allows it to be used on all terrains. - 20 × 2.35 only Single ply casing
For the Bluebird chain, Odyssey took the proven and reliable KMC 510-HX chain and added a permanently attached, factory installed half-link to one end. When the chain is trimmed to size you can easily decide whether or not to use the half-link. Original factory assembled pin joints are radically stronger than workshop assembled ones, so this is a huge benefit.
Broc Raiford can bunnyhop over a house so it's only right that he has his own grips to hold on to. Broc's signature grip comes in at 160mm in length and features rope detailing on the ends to tie in with Broc's nautical theme.
- Sold in pairs. - Allen wrench included.
$64.99 - $74.99
Using Odyssey's popular TL48 stem as a springboard, Tom Dugan's signature DGN stem is a classic top load design. FEATURES - Six bolt clamping configuration - Headset pre-load bolt recess (32mm diameter) - 6061-T6 aluminum, CNC machined
- For 19mm crank spindles and threaded Euro bottom bracket frames. - High-quality four bearing design with aluminum cups.
Chase Gouin's signature tire. Predictable during tight turns and made to roll smooth at high speeds. Horizontal tread grooves provide shoe traction only when you need them to. This modern interpretation of one of the most popular tires ever made is used regularly by street riders too. Now available with a Special Compound tread durometer for polished indoor floors. 100 PSI, of course.
One of the most important goals that Odyssey had when they sat down to work on new braking designs was to make the whole system easier to install (and remove) without sacrificing performance. They also wanted to be sure that every component would be very affordable too. The Ghost Pad addresses the hassles of brake pad installation by eliminating the traditional dome shaped washers used for toe-in. The pad improves stiffness by building the toe-in into the pad shape and utilizing a solid extruded aluminum frame at its core. The Ghost Pad's assembly consists of simply lining it up with the rim and tightening down an M6 female bolt. Comes stock on the Springfield brake. SPECS Hardware: - In-bound bolt, 5mm Hex Key, M6x1.0 Thread - Pad Material: Black (standard) or Clear Rubber (Soft) - Weight: 1.0oz / 28g (pair)
The Grandstand pedal features a unique slim profile, a wide platform and a comfortable concave that feels exceptional as soon as you set foot on it. All of Odyssey's pro riders have been after them since the first samples came in. The pedal features a unique bearing configuration that allows a big spindle to be paired with a slim pedal body. The metal version includes 8 durable and replaceable steel pins per side. - 9/16" only
A total redesign of Odyssey's popular MDS sprocket. With a built-in full guard, this sprocket lives up to its name, helping to protect your chain from anything you can throw at it. Sprocket thickness increases towards the guard area for greater strength. Compatible with all chain widths. - 7075 Aluminum
This is Odyssey's top-of-the-line brake cable that ties together all of their most advanced braking technology. - Utilizes the original BMX Linear Slic Kable housing to prevent binding when the bars are rotated. - Factory installed ferrule ends with inner volcano shape to prevent housing blow out; a Linear Slic Kable standard since 2008. - Specially coated inner wire for ultra low friction, a proven feature resurrected from their once famous Brakeline cables. - Gyro lug included at one end of the inner wire for use with detanglers. - 60-65mm in length.
The Odyssey K-Shield Linear cable features a pre-stretched inner Slic Kable covered in a linear casing to prevent binding and an outer K-Shield mesh housing for less weight over a standard steel mesh housing. (2.9 oz)
Compatible cable for M2 Monolever.
The M2 lever works with a single cable or Odyssey's patented dual cable system. The M2 cable system improves braking power for GYRO users. - Right hand only (works flipped on the left) - M2 specific upper cable and single cable coupler included.
$18.99 - $24.99
- Made to fit crank spindles and press-fit Mid BB frames. - Simple and easy to install. - Includes an assortment of spacers to optimize chainline and crank clearance. - Odyssey 6061-T6 aluminum dust spacer included.
Mike Aitken's original signature seat size and shape.
The Monolever was an instant classic and has become a clear favorite with pro riders around the world because of its familiar feel, smooth edges and variety of handle options.
Odyssey's custom-designed Par Ends come standard with all of their grips. Its special plastic composite will not shatter like cheap bar ends do, and they're very lightweight. The Par End is a combination of the over-the-bar-style cap and the inside-the-bar-style to prevent the inner portion from blowing out like it does on ordinary press-fit bar ends. Comes stock on all of Odyssey's grips.
It's a traditional straight up pivotal design with a 200mm length.
Designed using high-quality sealed bearings and a precision tapered wedge to keep the headset tight at all times. FEATURES - High-quality sealed bearings. - Color matched spacers included. - 10mm, 3mm and 2mm (15mm total) - Laser etched Odyssey bearings. SPECS - Campagnolo standard spec. - 1-1/8 integrated headset. - 45º tapered bearings 41.8mm outer diameter (fits 42mm BMX head tubes).
New dust cap design, with Monogram laser etched logo, for a cleaner look to accommodate a taller riding set up with less spacers. Same quality as Odyssey's Pro Headset using high-quality sealed bearings and a precision tapered wedge to keep the headset tight at all times. FEATURES - High-quality sealed bearings. - Color matched spacers included. - 15mm dust cap. With 3mm, and 2mm spacers - Laser etched Odyssey bearings. SPECS - Campagnolo standard spec. - 1 1/8-inch integrated headset. - 45º tapered bearings - 41.8mm outer diameter (fits 42mm BMX head tubes).
This custom 7075-T6 aluminum pre-load bolt design is included with every Odyssey fork. - Fits both a 6mm and 8mm allen key. - Front brake cable thru-way hole for removal without disconnecting brake hardware. - Designed with an easy-cut thread groove if you cut your fork's steerer tube down.
Using Odyssey's popular TL48 stem as a springboard, Broc Raiford's signature RAFT stem is a classic top load design. FEATURES - Six bolt clamping configuration - Headset pre-load bolt recess (32mm diameter) - 6061-T6 aluminum, CNC machined
Odyssey took their proven Linear Slic Kable housing and replaced the steel linear wire with aluminum. Utilizing the aluminum wire in the housing saves you significant weight, roughly 30%. This cable also features their specially designed "volcano" ferrules that they've used since 2008 to prevent housing blowouts. This Kable also comes with color-coaded inner wires and ball ends to differentiate between their regular Linear's Race Linear Slic Kable.
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I have found that certain fonts don't appear to be supported by the Tectia Windows client : 22.214.171.124, when used the client defaults to the Terminal font at the same size of the (not rendered) font.
Attached please find the fon which does not render properly on this client, but is rendered fine in other tested applications.
has the file : lime.fon
asked Nov 16 '10 at 21:12


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Simon's story
Excluded, but now employed and studying...
I'm delighted to introduce you to a past Pegasus participant, Simon. Simon works in our sensory outdoor space, tending to the veggie patch and maintaining the garden. While his story has a happy ending, it wasn't always so. By becoming a Pegasus Pal you can help us support people like Simon.
Simon, like many people with a disability, has struggled. Born with a blood disorder, he contracted an infection through a blood transfusion. This, combined with side-effects from drugs used to treat the infection, led to permanent hearing loss and mild autism.
Simon's friends realised he was different. Sometimes this led to him being shunned and excluded from having that ordinary life which so many of us take for granted.
At Pegasus, we see lots of people with physical, intellectual and social disabilities. People who experience anxiety and low self-esteem because of their disability. People who have felt like less of a person, lacking the confidence to forge ahead in life. This was Simon and it is why, on this occasion, I'm asking you to consider making a regular monthly gift to Pegasus.
Simon's Mum, Louise, said, "There was always an element of 'I'm not as good as everyone else'. But horses don't care, they don't judge. They are the great equalizers!
"Horse-riding was a real boost to Simon's confidence. That sense of being able to control a really big animal. It meant he had to – and could – take charge".
Horses are great communicators – listening to you, reading your body language and feeling your emotions. When a participant learns to reward the horse with respect and dignity, the horse becomes a great friend: accepting, kind and calm.
Simon says his time riding at Pegasus was very special.
"Scout was my favourite horse. I learnt a lot and he gave me more confidence," says Simon.
Louise explained that the Pegasus program encouraged Simon, as a growing teenager, to become a volunteer.
"Volunteering boosted his confidence knowing he was as good as the next person, doing something worthwhile – making a difference – his contribution to the world," says Louise.
As the CEO, this is what makes me proud! Pegasus provides opportunities for people like Simon, whose biggest aspiration might be to simply have an ordinary life. But it is your support that has made Simon's journey seamless, from participant to volunteer to employee. It's you – your generosity and goodwill that gives Pegasus the tools to offer hope.
Louise has no doubt about the impact Pegasus has had on Simon.
"For Simon to have his own job and to be earning his own money – he is just so excited. He even wants to continue studying horticulture. As his mum, it's so gratifying to see how far he's come. He now knows that the future and its possible challenges are no longer insurmountable. And that's so reassuring for me. Pegasus helped Simon build his confidence and develop patience and his experiences have taught him how to plan," says Louise.
Simon says he really enjoys working at Pegasus.
"I love the peaceful environment – it's not so fast-paced. And the staff and volunteers are really nice too," says Simon.
Simon's story is a perfect example of the special place that Pegasus is. You can help give a person an 'ordinary life'. Converting your gift to a regular monthly donation provides us with a reliable income. It helps us plan for the future, just like Simon. Pegasus' vision is to build on our successes and fully utilise all of our assets to offer more programs to more people.
The new National Disability Insurance Scheme only provides a fraction of the government funding that we previously received. It was the only income that provided us with reliable and consistent funding. I am hoping you might help us fill this void.
Your regular monthly donation can help more people – like Simon – transition to the workforce. The Pegasus experience is about development, and in Simon's case it was his personal growth in a supportive and caring environment that made the difference.
Jane Thompson
Chief Executive Officer
P.S. For less than the cost of a cup of coffee a week, a monthly gift of $30 can change a life!


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Lorna Allinson represented Gainsborough and Morton Striders with aplomb this week, winning the Leeds and Liverpool Canter.
The Strider ventured up to Yorkshire to compete in the 10k race along the banks of the 18th century canal.
This turned out to be a very productive trip for her as she was the comfortable winner of the women's race in a time of just over 42 minutes.
As a result she returned to Lincolnshire with not only a trophy and a medal for her efforts, but also a goody bag laden with beer, satsumas, a chocolate orange, cakes and other sweets.
Four juniors made the trip to Boston to race in the third match of the Lincolnshire League cross country series, and all fared well against some of the best runners in the county.
Max Underwood-Frost finished eighth in the U15 boys race, over 4,500m, in a time of 21:27.
Lauren Staves' race was over the same distance and she completed it in 20:56 to take fourth place in the U17 women's race.
Lucy Allan is now coming to terms with her new age group and this was demonstrated by her 12th place in the 2,500m long U13 girls event.
Finally, Charlotte Ashton-Booth, in her debut season, ran the U11 girls course in 8:29.
The frosty morning on Saturday created good running conditions for those who woke up early enough for the parkrun.
James Croft was one who was pleased he did as his time of 19:11 was not only a personal best on the Gainsborough course but was also quick enough to make him the first finisher.
David Sweeting and Karen Ramsdale, two of the club's many improvers in 2016, also recorded PB times of 24:27 and 30:08 respectively.
The happiest runner on the day though was veteran David Allen who completed his 50th parkrun in 40:52.
For anyone wishing to join the club the regular weekly club training sessions continue with the Juniors on Tuesday at 5:30pm at the Gainsborough Academy.
The Thursday senior session starts at 6:30pm from Queen Elizabeth High School while the next Tuesday evening senior session will begin from DW Sports in Marshall's yard at 7:15pm, hi-visibility clothing required.


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A list of the best BDSM movies ever made, ranked by movie fans with film trailers when available. This BDSM movie list is ordered by popularity, so only the greatest movies about BDSM are at the top of the list. If there are any great movies about BDSM you believe we missed, please feel free to add them to the list yourself. The films on this list are the most famous BDSM movies of all time, so use it to find some movies that you haven't seen already. Click on these BDSM movie titles for more information about the films.
List ranges from Fifty Shades of Grey to Secretary, plus many more movies about S&M and bondage. Featuring Hollywood movies and indie films, this list features the best BDSM cinema.
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text:
Wageningen University is to to head the development of a new food and agriculture research centre east of Beijing, the Financieele Dagblad said on Monday.
Wageningen's chancellor Arthur Mol, who was part of the recent Dutch trade mission to China, told the paper the university was not investing any money in the €1bn project, but it would supply a great deal of knowledge.
The research centre will house academic institutions and the business community who will work together to make Chinese agriculture more productive and to tackle environmental issues. The aim is to create China's leading R&D centre in the field of agriculture and food.
Mol said Dutch companies are also welcome to play a role in developments. The mayor of Beijing will come to Wageningen in October to discuss further details.
In January Groningen University dropped plans to open a campus in Yantai, China, citing a lack of support for the plan. Some staff and students were worried about the academic independence of the Chinese campus.
Wageningen has close ties with a number of Chinese institutions and already has an office in Beijing. The University is also involved in a joint venture with China to improve standards in the dairy industry.
Chinese students, both MSc and PhD, make up 10% of the Wageningen students population and the trend is set to continue, the university says on its website.
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A Non-Verbal Debate: Digital Collaborations by Matthew Ballou
"The collaborative online drawing is what I imagine it may be like for musicians to improvise together: sometimes taking solos, sometimes playing together, but each time different. The dimension of time makes it very interesting both from the point of view of a participant and a spectator."
– Carol Heft
Over the last few months (May-July 2016) a number of artists, following the lead of painter Chris Fletcher, have been working almost daily on a series of live collaborative digital artworks. These works, undertaken with a variety of interests and ends in the minds of the artists, are dramatic in their color, variety of mark, manner of approach, and level of execution. They also put humility and playful exploration on center stage. Overall, the effects have been transformative for those involved.
After working with Fletcher and a large cohort of serendipitous partners for a number of weeks, I decided to try to move the collaboration from the unspoken visual realm to a verbal one. I asked Fletcher and two of his collaborators – Carol Heft and Nick Ruth – a number of questions about their perspective on this fresh mode of interacting with other artists. My hope is that my brief remarks and this dynamic conversation will provide a point of access to other artists interested in similar activity. I encourage everyone to try their hand at this mode of work and share the results with us in the comments below.
Fletcher is an artist and teacher living in mid Missouri and working at State Fair Community College in MO. Heft teaches at St. Joseph's College and is based in Manhattan, NY. Nick Ruth is a professor at Hobart and William Smith Colleges in central upstate New York. I'm grateful to each of them for their thoughts.
Matt Ballou: "My primary experience with shared art making was in exquisite corpse projects in undergrad and in other collaborative efforts that were always turn-based. Since my kids started spending time with me in my studio I've often allowed them to play on surfaces to 'prepare' them for me. Seeing their totally free art making has generated a lot of inspiration for me. Also, I'm currently in the midst of a multi-year collaboration with Joel T. Dugan – a professor at Fort Hayes State University in Kansas – that we build separately by mailing the paintings back and forth. The idea of a number of people actively working on the same surface at the same time seems pretty unique and not often seen. How long have you been interested in live drawing collaborations?"
Chris Fletcher: "It's hard to pinpoint. In a drawing class at Kansas City Art Institute, Helen Bayley had us working in a big circle with the model in the center. Every five minutes or so, we were asked to move to the next person's easel so that the drawing stayed in the same location while each student rotated around the circle. That was sort of collaborative. Besides that, the first real one I did was with Benedict Cressy when we were graduate students at American University. We passed a small drawing back and forth fairly quickly. Sara (my wife) and I have worked on the same drawing at the same time now and then over the years since. I guess I started thinking about the possibility of live online collaborative drawing around the time I began using the computer regularly to draw with in 2010. I periodically looked around for potential platforms since then and finally got around to doing the first ones last October (2015).
When teaching or interacting with other artists, the thing that interests me most is the potential to discuss how compositions suggest movement. It's a way of looking and thinking about paintings that my teacher, Stanley Lewis, introduced me to. To this end, in late October of 2015, I started a Facebook page called 'After Masters'1 to provide a place specifically focused on sharing composition studies. The intention was to get closer to contemplating compositional dynamics.
Shortly after making that group page, I posted this to my Facebook friends: 'Howdy all. I'm interested in the possibility of a real-time online sketchbook where painters can share formal ideas – for example, analyzing a composition together or collaborating on a sketch.' So the idea came directly out of the After Masters thing. The first one was on Realtime Board, but it got chaotic fast because there was the option of zooming way in or out on a huge board and so you did not have a good sense of where others were working. Soon after that, I discovered A Web Whiteboard and collaborated on a couple of drawings with Demain Garnero where we were both in the same area drawing for a good period of time. I did some more but did not know who was dropping in to draw. This initial jag lasted for just a few days.
Then, early this June, I started posting invitations to draw again and also presented some other drawing platform options to try out like Google Drawings and Idroo. I started a blog2 to document the process. I've also been interested in projecting these things live. I've done it once so far and have plans in the works for future projections. Beyond just thinking that this collaboration thing is interesting and worth sharing, I think in some way my desire to project them in public is part of a personal effort to connect to my memories of the general creative ferment, both on campus and across the city, that was going on during my time as a student at KCAI. I want to contribute to keeping that kind of spirit going now however I can."
Carol Heft: "I have been interested in online collaborations for about a year, but more intensely, recently when Chris approached me about joining a collaboration board. The collaborative online drawing is what I imagine it may be like for musicians to improvise together: sometimes taking solos, sometimes playing together, but each time different. The dimension of time makes it very interesting both from the point of view of a participant and a spectator."
Nick Ruth: I've been interested in online drawing collaborations since I saw Chris doing it. I've been following him for some years now, and find his curiosity, risk taking, and inventiveness really compelling.
MB: What do you know about the history of artists working this way? I think I've seen information suggesting that some limited live collaboration was taking place in the '60s.3
CF: "Not much! PaintChat and OpenCanvas have been around since the turn of the century, but they were a place where those with a shared anime aesthetic could draw with the general expectation that no one should work on another person's drawing without their permission. From what I've seen, the resulting larger composition is therefore predominantly a collection of fragments. I have seen a rare few make efforts to do some harmonized transitions from one area to another. Anondraw is a good example of a site with this kind of activity. Outside of this kind of thing, there may very well be other artists collaborating in real time but I just am not aware of them yet.
There is a fascinating video of Phillip Pearlstein using digital drawing back in 19854. Though not collaborative, it's a predecessor of what we're doing.
MB: What first drew you to working this way?
CH: "Carl Heyward, a San Francisco based artist and founder of Global Artists Collaborative (GAP) has been working with Facebook artists around the world on collaborative collages for a few years. I respect and enjoy their work and wanted to participate. When Chris contacted me, I was excited because I like digital media and wanted to work with other artists whose work I respected. It's very exciting to think, to work out ideas quickly without the limitations of physical materials with artists from around the world. I am totally mesmerized by the range of textures, brush quality marks, form, color, and value configurations available in digital drawing. What is even more exciting, for me, is the opportunity to think along with other artists and tap in to their creative process. This not only generates innovative images, but also helps me understand my own way of visualizing and composing."
CF: "The elephant in the room here – the thing that I've taken for granted – is my interest in the process of on-the-spot improvisation. I used to play piano, and took lessons from Phil James. Three things he emphasized in that context seem like they have parallels in visual art: improvise, keep an active left (bass) hand going with the normally active right hand melodic line, and try to move through interesting chord changes. So there is an undeniable element of performance in this for me that I should not deny or let go by without mention. This improvisation aspect – like call and response in Jazz – is an important part of the collaborative project. Artists like Kandinsky have emphasized important parallels between visual art and music. Of course, this improvisation thing is also related in part to what Breton referred to as psychic automatism. The 'stream of consciousness' thing is crucial. Artists like Arp, Gorky, Guston, and (although he is not usually thought of this way) Rouault tapped into that and provided examples of the same kind of fundamental plastic rhythms that course through the work but are applied within a more abstract and/or semi-primitive figurative language."
NR: "What first drew me to working with other on online drawings was watching Chris work digitally. I also had a desire to be pushed. I've never found collaboration to be a comfortable thing, but I've often wondered why. I have thought that it was probably because I barely feel on top of what I am trying to do when working by myself, so how could I also try and deal with another, entirely different sensibility? Also, I have been reluctant to give up personal studio time to devote to something I'm unsure about. But watching Chris work, there is a sense of freedom rather than the restriction I predicted, and I found that attractive. So, it's really been about wanting to try something new, work with brave artists, and push myself to be braver. I don't know of anyone working this way, in a virtual space. But I assume they are out there. What seems unusual to me about this particular (very open) group is the spirit of experimentation, as if it needn't be guided by the end goal of resolution. I have some questions about this aspect, but not enough that it stops me from wanting to be a part of it."
MB: "Obviously, we've got some examples we could look to, but the idea of multiple artists working in one shared virtual space is fairly unique. Do you find any precedents in art history for this mode of working?"
CH: "Absolutely! The Cave painters worked over their images for generations, following outlines, modifying forms, using the cracks in the cave walls to suggest animals and movement. I think artists have collaborated throughout history. It was in the Renaissance that the idea of the artist as an individual genius became popular, but even then, the workshop model was all about collaboration. There was always one master who had to approve of everything, though; perhaps it wasn't collaboration so much as teamwork. Medieval illuminated manuscripts were done by specialists in the scriptorium – one scored the paper, on applied the gold leaf, another laid in the black ink outlines, etc. However, the finished product was predetermined, which is quite different from the kind of collaboration we have been doing online."
CF: "In the master/student/apprentice relationship we have examples like Rembrandt correcting/altering his students' drawings. That kind of experience – of having your teacher draw on your drawing or paint on your painting – is something I consider myself fortunate to have experienced with Wilbur Niewald as my teacher at KCAI. That kind of communication is so incredibly direct and effective, so much more potent than trying to verbalize or talk around certain things. I think my experiences as a student with Niewald continue to act as a central force in what I am doing today. It's not 'working from observation,' but his teaching emphasized constant rigorous revision; always trying to see things afresh. That immersion in his studio of generating these forms and accepting their constant destruction and re-arrangement remains a critical structural influence in my life.
Within a master/student/apprentice relationship the dual input takes place within the context of a clearly defined goal such as a study of the motif or a particular design for a large painting in the case of Rubens or a mural in the case of the Italian frescoes of the Renaissance. This kind of collaboration probably goes all the way back to ancient Egypt.
But again, in all those cases the goal is known in advance to some degree. The activity that interests me in these live online collaborative drawing projects is trying to be in the same kind of frame of mind that an old master might have been in while first conceiving the initial sketch or study. It's about allowing the goal itself to unfold and evolve."
MB: "Can you talk about the role of master artists of the past in your understanding of how to approach collaborative work?"
CF: "There are a lot of artists to look at, but mostly I would say that we should all try to find and carefully study as much of their preliminary work as we can get access to. Thankfully there are a lot of collection databases available online like the Met and the Louvre and all number of auction houses. These masters, to name just a few: Fra Bartolommeo, Da Vinci, Del Sarto, Da Cortona, Rubens, Rembrandt, Delacroix, Cezanne. They knew how to think plastically in terms of dynamic composition/configuration, and they all moved with a tremendous sense of forcefully flowing rhythm. I could mention many more particular artists and point to specific works but the short answer is: look at the studies made by the great ones and try to understand how they were forming in those studies vs. trying to jump ahead and aping the subtle, refined finishes of their final works. Try to get at the root of the force that has grown the thing."
NR: "The idea of Picasso and Braque in a kind of friendly competition during the development of analytic cubism has always appealed to the romantic part of my understanding of how artists work. I don't know much about the facts of the way they interacted–only have a sense that they traded studio visits frequently, and talked intensively about what they were doing–but it seems like they found a way to work parallel to one another while still making highly personal work. (Incidentally, there is some great quote, I think by Braque, from a movie that MOMA did about the Picasso/Braque show they did in 1989, I think. The quote is something along the lines of: 'Picasso and I said things to one another during those days that no one else could ever understand.'5 I think that is interesting, and suggests the depth of their shared undertaking). But in the case of this stuff with Chris, it is the simultaneity that is really unusual and distinctive."
MB: "One thing that strikes me when I work with other artists on a writhing, constantly-transforming piece is that there is a sublimation of authorship. In fact, I'm not even thinking about 'owning' the work we are co-creating. That's probably my biggest take away from the experience. What do you think has been the most important thing you've learned or experienced through your recent collaborative digital drawings?"
NR: "It's hard for me to say what I've learned, so I'm not sure about that. Watching Chris post his own work (digital, drawing, painting, stuff he makes for teaching purposes) and also work of other artists always has me wondering what he is thinking. But I rarely ask, so it is a kind of intellectual stimulation to think about painting ideas. Recently, we did have an exchange where he characterized one aspect of this project as being a 'non-verbal debate' and that really changed my preconceived notions about collaboration.
Maybe one thing I could say is that I am learning to just go for it, to draw in an environment (digital) and in a way that I am not necessarily comfortable with (i.e. MUCH faster than usual), to just see what happens. I am learning to try to react more quickly, to pick up and drop streams of thought, to let go of a sense of ownership of any particular thing, and to try to see form on a screen (when it is not a photo of something made some other way). I find that it takes a ton of concentration to draw this way, and I like that a lot. I feel like I am training: training my eyes, my hand, and my mind. I like that. Meanwhile, I am un-moored by the endlessness of it, and by trying to be in any way responsible for the whole thing at any given moment. For now, I am actively suspending any contradictions I feel, so that I can just be a part of something interesting and see what happens."
CF: "That's a tough question for me to answer very clearly. I have definitely learned that I am very fortunate to have been able to work with some very intelligent, energetic, curious, and tolerant artists on this. Beyond realizing how lucky I am for that opportunity, I'm not so clear on all the various aspects of what has been going on with these things and all the various forms they have taken on to the extent I can verbalize a very good answer right now.
However, one important thing that has become clearer to me as this has unfolded is that it's not just simply collaboration for its own sake. That isn't my goal here. The predominantly territorial/purely additive 'don't draw on my drawing without my permission' thing doesn't interest me much. I'm much more interested in exploring plastic form. By plastic, I mean capable of change, both in the process and in the final effect.
I'm also interested in the inherent conflict that exists between what the painter Jean Helion called the 'egg-way' and the 'space-way.'6 He was talking about more than just the relation of the element to the composition. He was describing the egg as a defined entity (itself also comprised of elements) with its own integrity – its own boundaries, and the ambition to integrate that within the total picture space of medium and largest configurations as Poussin did. It's totally traditional stuff, really. With the Live Online Collaborative Drawing Project, I'm just proposing that we discuss it in a more direct way by drawing/composing together in real-time and without the limits of geographic location."
CH: "It has been exhilarating watching other people draw simultaneously on a changeable surface. Thinking in tandem – or separately but on the same picture plane – is a great way to develop a broader understanding of composition. Each artist has a unique sense of design, and that interests me more than anything. Integrating the symbols, depictions, content, which is sometimes, but not always reflected in the compositional approach, is a challenge with a group of artists, especially if they are not familiar with each other's work. There is a compatibility factor too, almost like chemistry. It's been enlightening in many ways. How territorial am I? How aggressive? How do I feel when other artists make radical changes to something I have been working on? How do I feel about changing other people's work?
I think I have similar levels of ease or anxiety when making changes whether I am collaborating or working alone. I often bring a painting or drawing through many stages before making a decision to stop. The collaboration board, to me, is, like any other kind of art, a reflection of an experience. Working together simultaneously on one picture plane is a different kind of experience than working alone, but for me, they enhance each other."
Thanks again to Chris, Carol, and Nick for being a part of this discussion. Please check the links below for some of the places the drawings you see on in this piece were created.
Online Collaboration Boards
Realtime Board: https://realtimeboard.com/
Anondraw: http://www.anondraw.com/
A Web Whiteboard: https://awwapp.com/
Idroo: https://idroo.com/
Artists who worked on the various images included above:
Richard Alexander, Marie-Cécile Aptel, Matt Ballou, Jean Pierre Bourquin, Michael J. Buckley, Frank Ettenberg, Beatrice Fletcher, Bette Fletcher, Chris Fletcher, Sara Fletcher, Adrienne Foley, Nick Freestone, ShirleyAnn Gaines, Demian Garnero, Penelope Hampton, Danielle Hampton, Carol Heft, Zheela Ali Khan, Piza Lopes, Connie Luebbert, Michael McJilton, Tim Phelan, Nick Ruth, David Schell, Theo Slaats, Mike Sleadd, Frank Stack, Mauricio Toledo, Linda Warren, Jennifer Ann Wiggs, as well as many others who participated anonymously.
1 https://www.facebook.com/groups/1073425836001987/
2 http://locdraw.blogspot.com/
3 http://computer-arts-society.com/static/cas/computerartsthesis/index.html%3Fpage_id=128.html
4 https://www.youtube.com/watch?v=gl9DYVOIVwg&feature=youtu.be&t=16m29s
5 "At that time I was very friendly with Picasso. Our temperaments were very different, but we had the same idea. Later on it became clear, Picasso is Spanish and I am French; as everyone knows that means a lot of differences, but during those days the differences did not count… We were living in Montmartre, we used to meet every day, we used to talk… In those years Picasso and I said things to each other that nobody will ever say again, that nobody could say any more… It was rather like a pair of climbers roped together." – Braque's quote referring to the early starting years of Cubism in Paris with Picasso, ca. 1907 -1910. 'In conversation with Dora Vallier (1954).' Letters of the Great Artists – From Blake to Pollock (1963) by Richard Friedenthal, translation: Daphne Woodward. Page 264.
6 Helion, Jean. "Poussin, Seurat, and Double Rhythm." AXIS #6, Myfanwy Evans: London, 1936. Pages 9-18.


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A report from a group that promoted a new school funding formula said the formula worked as advertised the first year by directing the most new school money to districts most in need.
The Center for Tax and Budget Accountability said that more than 89 percent of the new education money in last year's state budget went to districts designated at Tier 1 schools – those that were furthest away from their adequacy targets.
Another nearly 10 percent went to districts designated as Tier 2, which are considered slightly better off financially and slightly closer to meeting adequacy targets. The CTBA report said only about .10 percent of the new money included in the 2018 fiscal year budget went to the state's wealthiest districts.
"In other words, in its first year, the (new formula) has begun to reverse Illinois' ignoble tradition of inequitably funding public education," the report said. "However, there is much work to be done."
The report said that 83 percent of the state's 707 school districts remain below their adequacy levels, something the new formula is intended to eventually eliminate.
In last year's state budget, an additional $366 million that was to be distributed under the new formula was added to funding for K-12 schools. Under the agreement reached to implement the new formula, no school district got less money than it did before the new formula took effect.
The Illinois Association of School Administrators said the report mirrors what it has been hearing from school district leaders.
"We just had our annual conference and the mood in the room was palpably different from previous years, and a lot of that had really had to do because of school funding," said IASA spokesman Jason Nevel. "Districts are no longer in cost cutting modes. The funding formula is absolutely making a difference."
Nevel said the association is hearing of districts lowering classroom sizes, hiring interventionists to provide more classroom support and starting STEM labs in schools.
The association is posting stories from superintendents on its web site that discuss the effect the new formula has had on their districts. Nokomis Superintendent Scott Doerr said the district had to make $450,000 in cuts and operate on modest budgets, but has been able to start reversing that with money from the new formula. The district has been able to hire an elementary guidance counselor and teacher, buy new textbooks and Google Chromebooks.
Staunton Superintendent Dan Cox said the district has been able to hire an interventionist to help students who need extra help in language and math. The district was also able to reduce class sizes and hire a part-time counselor.
CBTA executive director Ralph Martire, who lobbied for the new formula, acknowledged reaching the goal of adequate funding for all schools is still years away. When the formula was adopted, it was estimated the state would have to increase funding for K-12 education by $7.7 billion over a number of years to reach the goal of the new formula. Between last year's budget and this year's, about $660 million has been allocated.
"We're a long way away," Martire said. "Dealing with the state's long-term structural fiscal problems is crucial if Illinois is going to be serious about fully funding (the new formula)."
Moreover, Martire said that it can take several years for schools to show better results from the additional spending, something that might not play well with impatient voters and politicians.
"You can't overcome years of neglect with one year's worth of a little bit of the money towards what you actually need," Martire said.
At the same time, the formula is written into state law, Martire said, which should given parents and voters something by which to judge the fiscal responsibility of their schools.
"Now we have in statute what the best practices are," Martire said. "Voters can hold districts accountable to school districts. It creates a whole new level of transparency."
Contact Doug Finke: email@example.com, 788-1527, twitter.com/dougfinkesjr


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But let us look a little deeper.
Today I would still suggest that the 3 platter, Samsung HD103UJ 1TB drive is the best buy. This drive was the original 3 platter 1TB drive.
In order to get to 1.5TB, Seagate have improved things slightly. The Seagate
Barracuda ST31000333AS 1TB drive packs an average Areal density of 228Gbits/square inch over 3 platters and 6 surfaces.
The ST31500341AS, 1.5TB drive packs an average Areal density of 277Gbits/square inch over 4 platters and 8 surfaces.
So my advice is currently: Take advantage of numerous retailers "dumping" their stocks of 1TB drives, now retailing for 80GBP or less. Wait for the 1.5TB to arrive, price settle and perhaps migrate to 1.5TB drives but not before 2009.
Seagate Barracuda 7200.11 1.5TB ST31500341AS Drive Announcement LetterSeagate Barracuda 7200.11 User Manual including 1.5 TB
Toms Hardware 1.5TB drive reviewBuy this 1.5TB drive today from Scan Computers


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The first thing you need to do is open a Twitter account. Don't worry, it isn't brain surgery! Just go to twitter.com and follow the instructions. Make sure you chose a username that resonates with your brand.
Here's a tip: if the username you want has been chosen, it's become common practice to create a new one by simply putting an underscore before your desired username. For example, the username for my blog's Twitter account is _flyingcarpet. Your full username has an "at" sign before it. Thus my Twitter username is @_flyingcarpet.
Now you're ready to start Tweeting! Here's a simple plan to follow your first month:
1) Learn the basics: Always remember that the goal of any Tweet is to provide relevant content. The tricky part is you only get 140 characters (including spaces) to do it, and everything is in real time. Since Twitter feeds don't recycle past Tweets (like Linkedin and Facebook), this means that you will need to repeat your Tweet a couple times. But don't keep Tweeting the same thing over and over, or you risk annoying your existing followers. I try and Tweet every item at least twice for each time zone I wish to cover. If it's really great content, I'll Tweet the same thing a couple times per day, with slightly different content. For example, if I've had a particularly good blog published, I will Tweet the same link with different photos attached. Which leads to: don't forgot the photos! Attaching eye catching photos is a sure way to get your Tweet to stand out.
Retweeting: Look closely at a Tweet. Below the text you will see a number of little symbols: an arrow, two arrows in a rectangular shape, a star, and three dots. The arrow means "Reply-" it's like making a comment on Facebook or Linkedin. More about this below (item 4). The star means "Favorite-" it's the equivalent to hitting the "Like" button on Facebook or Linkedin. Three dots means "More-" I'll save discussing this for my next post, targeted at more advanced Twitter users.
The two arrows are arguably the important in Twitterland- they mean "Retweet (RT)." This is like hitting "Share" on Facebook or Linkedin. Retweeting happens a lot in Twitter. It's an excellent way of providing your followers with content, while engaging key influencers. Every time content is Retweeted, the originator receives a "Notification." Showing up in someone's notification means you've hit their radar screen. This is the first step to effective networking on Twitter.
Hash Tags: This is how Twitter and many other social media sites (Instagram, Pinterest) group content of similar topics and subjects. Including hash tags in your Tweets helps people in your target market see your posts. I recommend identifying five to ten hashtags that are highly relevant to your product or targeted demographic. To do this, go to the free site hashtagify.me. Type your subject into the tool bar on the upper right hand corner of the site, and it will generate the top ten related hashtags. Enter these in Twitter, find ones that generate content you find relevant, and start using them at the end of your posts. People who employ the scatter shot approach to gaining followers (see my earlier post for more about this: Twitter Basics for Business Owners: Part 1-Why Tweet) include many hashtags. I rarely use more than one because I think people's eyes start to glaze over after reading too many non-alpha characters, and multiple tags can make your Tweet look "spammy."
2) Open a Hootsuite Account: This is a free account that will help you manage your Tweets. You can create one for free at hootsuite.com – I find it easiest to login through Twitter. As you get more advanced, Hootsuite will be helpful for participating in and hosting Twitter chats. For now, you can use it to schedule Tweets in the future (helpful if you don't want to sit in front of the computer all day), or shrink links. Remember: most good Tweets require links to external content. The shrinking application prevents you from using all 140 of your characters just to display link text.
3) Make a schedule: To use Twitter effectively, you need to be disciplined. The best way to do this is to create a daily schedule for Tweets, Retweets and Follows. I recommend targeting four original Tweets per day and four Retweets. The original Tweets can be written and scheduled every morning in Hootsuite. I like to have my original Tweets focused on brand specific content, and the Retweets on related topics. In the beginning, you need to be very active at following people. This is because following others is one of the best ways to gain new followers: you follow someone and odds are they will follow you back. These don't have to be key influencers- just people you know, or people you find that are interested in topics related to your brand. In the beginning, I recommend adding 5-10 per day.
4) Identify Key Influencers: This is the piece of Twitter I never understood until it was explained to me by a colleague, and is arguably the most important. To put it simply, you need to strategically choose who you follow on Twitter. They should be people in your industry/target demographic that others listen to. You can find them by going to the free sites klout.com and buzzsomo.com. Enter your information, and search for people that you think would be interested in your product. To start, I recommend finding influencers in your space that have between 5k and 10k Twitter followers. I don't recommend targeting people that have too many followers- they won't care about you. I learned this the hard way. I spent months borderline cyberstalking Gwyneth Paltrow with absolutely no success. When I switched to smaller influencers, such as bloggers and chat hosts, I secured immediate results.
5) Interact with Key Influencers: Once you identify 10-15 influencers, you want to start interacting with them. Your immediate goal is to get on their radar screens. To do this, start following them. Next, you want them to follow you. It probably won't happen immediately, so you need to be pro-active. Try and favorite a couple of their Tweets, or Retweet some of the content. Once they know who you are, you can send them a Direct Tweet (DT)- that's a Tweet only the two of you see. It can be something you think they'd find useful or funny, or a response to something they said in a chat room. You do this by typing "@" in your Tweet line, followed directly by their username, then your Tweet. Another technique is to find one of their Tweets, and reply to it directly (use the little arrow below the Tweet).
Once you have established a relationship, they should start to follow you. Now you can start working together to promote both your brands.
What are you waiting for?
If you haven't done so already, go to twitter.com, open your account and create your profile. This article contains enough content to get you up and running. Like anything, it takes a little practice. Next month, I'll post Part 3 of this series: How to Participate in a Twitter Chat. In the meantime, if you need help feel free to post a response to this article, message me or send me an Inmail. Have fun!


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Revolution Lounge
Revolution Lounge is located inside the Mirage Hotel and Casino. Inspired by the Beatles, this hip lounge has a true psychedelic sensory environment. This ultra lounge mixes hip-hop and house to 70, 80 & 90's mash ups. Check out the Beatle's themed shadows that dance along the wall by the bar.


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Here is one of Patek Philippe's most important and treasured watches: the minute repeating perpetual calendar reference 3974. Even for watch dealers, the occasion to see and admire such an exceptional horological object as the reference 3974 is rare. As far as minute repeaters are concerned – Patek Philippe is the most hallowed… As far as models are concerned – the 3974 is the most coveted. Automatic…perpetual…and minute repeating–all housed in a massive Calatrava case. Patek produced the 3974 between 1989 and 1997, and marked Patek's 150th Anniversary. Production was low, and remarkably, this is the 30th 3974 made, which equates to 1989 production. It is said that each 3974 took four years of development and assembly. The 3974 is THE Holy Grail wristwatch. Case is 18k gold with dimensions of 36mm diameter by 12mm thick. Sapphire crystal in front and solid 18k back. Condition is like new, with crisp steps on the lugs. The case was made by John Pierre Hagman, Patek Philippe's and Geneva's most celebrated and revered case maker. Mr. Hagman is so important and highly regarded he has his own hallmark used on the cases that he makes. Importantly, Mr. Hagman did not make all 3974 cases, only a handful of them. The reference 3974 is the last minute repeater watch with Hagman cases. Dial is solid gold, silvered, and with applied gold hour markers, embossed golden minutes chapter, and golden dauphine hands. The subdial at 3 o'clock displays month and leap year cycle. Subdial at 6 o'clock displays date and moonphase. Subdial at 9 o'clock displays day and 24 hour (am/pm) time and is shaded to represent night time between '18' and '6' The font used on this early watch/dial is different from the font used on later (and the vast majority of) production. Movement is the automatic winding Patek Philippe Caliber R 27 Q. Movement also features 39 jewels, self-compensating free-sprung balance adjusted to heat, cold, isochronism and in 5 positions, and stamped with the Geneva Seal. The caliber also features a 22k micro rotor with hand guilloche. The minute repeater's hammer and gongs can be seen through the display back crystal. Movement is constructed from 467 individual parts. Watch is mint condition and includes the certificate of origin,wallet,box and setting pin.
- timeless
- forever
- passion
Patek Philippe 3974 Yellow Gold Automatic Minute Repeater Perpetual Calendar
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Elegant and cozy apartment in the "chic area of Barcelona".
It is close to the Turo Park and to plaza Francesc Macia; with shops, market, coffee shops, restaurants, fancy gym: Dir Diagonal with amenities and large swimming pool (daily passes available). Guests can feel like a real citizen of Barcelona enjoying the best area of the city. From there you can walk to Paseo de Gracia, Plaza Cataluña, Ramblas, Borne; it is close to all public transportation: Muntaner station, buses in Diagonal, tram and tourist bus stop in Francesc Macia.Ideal for families (maximum 5/6 in total)The apartment has 100 meters squares with large windows and a lot of natural light. Large lounge and dining room open to the lovely terrace faces the well-known Calvet street. Three double bedrooms, two bathrooms and comfortable kitchen full equipped: microwave, dishwasher, oven, washing machine and all the necessary to cook. TV, WIFI, air-conditioning in the living room. Also maid service, if it is required.
Check in time is from 14:30 hours to 20.00 hours. Late check in fee: 30 € after 20.00 hours, 40 € after 22.00 hours, 50 € after 00.00 hours.
Tourist taxes are 2,5 € per person per night maximum 7 nights, for guests over 16 years old, payable during check in.
In accordance with the rules established by the community of owners, guests under the age of 25 are completely welcome, up to a maximum of 2 people under 25 years per group. The rest of the group members must exceed the age quoted. It will be a pleasure to stay, Welcome!
més informació


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Marriage Repair Center
We've got the tools
Stop Your Divorce
Survive An Affair
Life After Divorce
Re-Igniting The Spark
About Us
Customer Feedback
Copyright (C) 2008 www.marriagerepaircenter.com
Why Relationships End
Spot a Cheating Spouse
You guys are AMAZING!
My husband walked out with his new girlfriend and told me he wanted a divorce. And the Dog.
And the House.
but not the kids.
I cried, I yelled, I guilt tripped him about the kids.
Then I read your book.
Then suddenly...She started to get jealous of me. NAG, nag, nag, at him all the time. I did everything you told me to do.
He moved back in August 2007. We are very happy and very much in love.
Thank You.
*~Mary R.~*
Aptos, California
I just wanted to drop an e-mail and let you know - my wife moved back 2 weeks after I started your book. I won't say I did everything right, but I caught myself and trained myself. I found that - it wasn't just my wife's fault. It was mine too. When I fix myself - she wanted to know what I was doing. So I shared. You know this, you've talked to me many midnight hours...
lol... I can't tell you how much I appreciate what you did for us.
Many Thanks,
Dane F.
Thank You.
Everything you suggested I fought, but you stayed with me. You never gave up on me. I blew it over and over and over again. My husband finally came back, but I'm in love with somebody else now. I'm a better person since I've met you. He noticed. Oh well, it's his loss isn't it? I like who I am. I love who I'm with. Our divorce went smoothly. Without lawyers who would have taken all our money. We were able to divide the house and the kids are happy that we still get along. All because of you. I wish I'd found your site earlier, but then I would never have met my current husband and I am blissfully happy. The things you teach work for every person in my life.
God Bless You.
Sylvia M.
Auburn, Washington
Appreciate what you did. All the hours that you did it.


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These were taken at the following locations:
Luneta Park
Fort Santiago
All three are within walking distance from each other. But then, there are also several walking tours that you can take, for your convenience and education. Here are a couple of the more popular ones:
Old Manila Walks
Takes you through the old, walled city of Intramuros; Binondo (Chinatown); the Malacañang Palace; the Chinese Cemetary; and Corregidor Island.
Walk This Way, by Celdran Tours
Imagine having a clown for a tour guide. And I don't mean that in a derogatory sense; Carlos Celdran is a theater actor-cum-Manila tour guide. His signature brand of tour guiding — the entire thing is a performance — makes it easy to pay attention, actually retain something, and form an opinion. If you're walking in the Manila heat, you're going to want to at least be entertained! And that is exactly what he'll give you.


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Market View: 2-6 JAN 2017
|Market View: 2-6 JAN 2017
|Last week the markets closed at 8185.80 registering a gain of 2.5% over previous week. The whole of last year especially the last quarter, the markets have been volatile and dancing to the tune of lot of surprising events. However, they have maintained the support levels of 7950-8000 which gives us confidence that they have absorbed the negativity and have created space for an upward movement. A good rally could be seen once the resistance of 8600 is taken off which will happen gradually. For this to happen, the NIFTY would also need the support of the banking index. Given the fact that post-demonetisation approximately 15 lakh crore has come into the banking system, we would definitely start seeing the benefits of it this year. We have already seen a small flash of it when the government announced sops for agriculture and housing sectors which was followed by SBI(other banks will follow) cutting lending rates. This will surely boost the economy. The only missing link we've seen last quarter was the sell-offs from FII's. This could be attributed to Donald Trump winning the elections and a strong dollar. However considering the phase Indian is in today, the FII's cannot shy away for a long time and will have to come back. The big events to watch for this quarter would be the budget and quarter earnings. Quarter earnings will be poor (seems the markets has already factored in for it) and should not take us by surprise. A lot of economical boosts are expected from the budget and we could see a pre-budget rally soon. This year overall is likely to be good for the Indian markets. The demonetisation pain is over and we should be in the hunt for opportunities. This week the markets are likely to continue with the consolidation with resistance coming in at 8300. 7900-8000 will be a strong support. All the best!


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Going Bananas Over The Bread
(I'm at the self-checkout, and I can hear a woman yelling about her own self-checkout order to the cashier.)
Customer: "I can't believe you would just let someone bag their own groceries! How was I supposed to know bananas would flatten my bread? I want a new loaf of bread, and I want it free!"
Supervisor: "Ma'am, we can't just give you free groceries for your own errors. As we told you last week, putting heavy things on top of light things will cause problems. We've suggested you take your items to a cashier to be bagged properly, and—"
Customer: "I don't care what you said last week! There is no sign here telling me the bananas will squish my bread! I want it free!"
Supervisor: "No. I told you, you can't get any more free groceries."
(At this point, I decide to intervene.)
Me: "Ma'am, can I help you with something? Do you need money?"
Customer: "What the h*** do you mean by that? Do you even work here?"
Me: "No, ma'am, I don't work here. I just thought given the fuss you were making over a two dollar loaf of bread, you probably needed the money. Let me write you a check; how much do you need?"
Customer: "I don't need anything! It's the principle of the thing!"
Me: "And what principle is that?"
Customer: "Well… I… These people need to learn their place!"
Me:"They make minimum wage, and I'm sure many of them have second jobs. I'm sure many of them know 'their place' in YOUR version of society. So you mean to tell me you're just being mean to make others feel inferior?"
Customer: "Well… I…"
Me: "In that case, I'll buy you a free loaf of bread just to get these poor employees some peace!"
Customer: "Well, I never met someone so rude!" *storms out of the store with her squished bread*