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A Fork in the Road
It's one thing to say that we are fully surrendered to God, but it's quite another to actually follow through with it, don't you think?
That's what I've found to be true in my own life, anyways.
I say I'm with God. I say I'll follow His ways.
I say that His dreams are mine,
but what will I do when His path leads me one way
and plans for myself lead me another?
This has been my reality for the last two years now.
I wish it weren't so, but when it comes to my back pain, I've struggled with following His Path.
In fact, I've tried every way imaginable to straddle both paths at the same time. Alas, the space between them only grows wider and wider.
So, what do you do when God's plans differ from your own? I've discovered the answer, and it holds the power to change my life (& yours) for the better.
To explain it best, I need to backtrack 6 months. For it's there you'll find me planting my new seeds of hope:
Hope Found
I still remember how much hope I had when I first started going to my new chiropractor. A friend of mine, who also had back issues, had recommended this place, and the doctor had fixed her right up within 8 visits.
To say that I was excited is a severe understatement.
I remember asking the chiropractor how long it would take for me to be healed. Upon initial assessment, he gave it around 20 visits. True to who I am, I kept track of how many visits I had left until I too would be free from pain.
I passed that monumental number a couple months ago. Soon after, I stopped keeping count.
Still, I've remained hopeful.
Hope Lost
My last visit to the chiropractor's office was not my most favorite.
Have you ever had that experience where you sense that the doctor, once full of hope, no longer knows how to heal you? I sure have. Having gone through this with 8 doctors now, I'm quite well versed in this.
I knew I'd plateaued, and I was a little fearful that he had gone into "maintenance mode" with me, but I still clung to hope as I asked my doctor if the discomfort I had would ever really go away.
I clung to the hope of his assurance that must be coming. I clung to the hope that I was just being melodramatic.
I was devastated to learn that I actually was not.
Hearing that your doctor is "not super optimistic" is devastating. Over time, I've grown to recognize when a doctor is done with me. It's like this unspoken language doctors picked up somewhere along the way in medical school, but it's also a language that I've grown quite fluent in.
This doctor too, was done with me.
Done seeking out new methods. Done aggressively trying to heal my back.
I'd slipped into the maddening land of maintenance mode yet again, but you see, there's one problem with that.
I will always refuse to stay there.
I might become convinced that it's a helpless and slippery slope at first, but God has blessed me with an amazing team in my corner. They never let me stay there long.
This day was no different.
God's Plans Prevail
Driving home, I felt so discouraged, but my husband broke through my wet blanket of defeat: "This doctor is merely a man", he said. "It's not over until God says it's over", he reminded me.
He was completely right.
Over and over again, God is constantly reminding me of His plans for me.
He has only good in store for me,
even if I can't see what those plans are…
…even if I'm not able to do the things I've dreamed of doing.
He has an amazing future that He's preparing for me…I just need to wait until it's time.
I just need to trust Him.
Surrendering My Plans to God
I was recently convicted in a pretty hardcore way over the grief I carry for my physical limitations.
I know that I don't have it as badly as some, and I'm extremely grateful for what I can do. Still, this hasn't stopped me from mourning over those things I cannot.
I want to run. I want to play like I use to.
I want to rough-house with the kids.
I want to do the races and triathlons I always dreamed of
but never got a chance to do.
But you know, I can walk, and I do have my health and these insane relationships with both Christ and with my family…relationships that have only grown deeper and closer as a result of God's handiwork amid my pain.
My Life Through God's Eyes
God has helped me to see that grieving over what I've lost for the amount of time I have will only bring me to darker and darker places.
In contrast, surrendering to God's plan with complete abandon and trust
will only cast glorious light in all directions,
bringing with it hope, peace, strength, rest,
and even healing.
Too often, I've chosen to grieve. That time, for me, is over now.
I purpously choose not to take that path anymore.
My hands are open, and my plans I give to Him.
His plans I'll gather like gold instead.
I see now that whatever plans I had for myself would be such a letdown in comparison to God's. It is His plan that I really want. He is what I'm choosing for my life, no matter where it takes me.Looking back, I am well able to see that the only times I've been truly miserable are the times when I've insisted on holding onto the life I once had. Click To Tweet
Sure, it's okay to fight for healing and strength, but I must be willing to do so with my arms wide open to the plan of my Lord and Savior, Jesus Christ.
And that, my dear friends, is what I'm choosing to do.
Whether my back heals or not. Whether I get to run again or not. My best life is within the Wings of His glorious Life and Light that surround me.
When I walk in the Shadow of the Almighty's Protection and ever-loving grace,
it is there that I am in the brightest, most rewarding place of all.
What about you?
What are you holding onto with tight fists and white knuckles? What, in your own life, are you grieving over and cannot move on from?
Did you know that our Almighty God and Father has amazing plans for you too? Won't you open your hands to the love of our Almighty One?
He's there waiting for you to receive His plan, but you'll have to let go of your own first…
*Featured image by geralt via Pixabay


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Texas Man Dies from Vape Pen Explosion
E-cigarettes still operate in an unusual space in the U.S. Many of the devices and liquids consumers use aren't tightly regulated. Though there have been steps in the right direction over the last couple of years, these devices still pose a threat when something goes wrong, which is exactly what happened earlier this year in Fort Worth.
A man from north Fort Worth was at a vape shop in January 2019 when his vape pen exploded, and a piece of the device pierced a major artery. Twenty-four-year-old William Brown was pronounced dead at John Peter Smith Hospital two days after the explosion.
A Continuing Problem Among E-Cig Users in the U.S.
Between 2009 and 2016, 133 people have suffered acute injuries from e-cigarettes and related devices, according to the U.S. Fire Administration. These devices are potentially dangerous for different reasons, chief among them being the use of the lithium-ion battery, a component responsible for many fires, explosions, and recalls over recent years.
The lithium-ion battery has been a concern in laptops and cellphones, leading to high-profile TSA bans and smartphone recalls. Faulty lithium-ion batteries are especially dangerous in e-cigarettes, which users stick in their mouth to inhale vapor. More than half of the incidents reviewed by the U.S. Fire Administration occurred when vape pens were in users' pockets or actively being used when the device caught fire or exploded.
The U.S. Fire Administration notes that these devices are also dangerous when they explode, because of their shape. Vape pens "behave like 'flaming rockets' when a battery fails," according to their report.
Consumers Deserve Accountability by Manufacturers
William Brown's death was not the first caused by an e-cigarette. In 2018, a man in St. Petersburg, Florida, was killed when his vaping device exploded and sent a projectile into his head.
Other users have suffered serious burns. In 2016, a New York man's e-cigarette exploded while in his pocket, causing third-degree burns. In 2015, a man in Naples, Florida, suffered burns on his face, chest, hands, and lungs after his e-cigarette exploded.
More than one in 10 adults in the U.S. have tried an e-cigarette, according to the Centers for Disease Control and Prevention. Nearly 4% of adults use e-cigarettes daily or frequently, often to stop smoking tobacco cigarettes. But the use of e-cigarettes isn't limited to former smokers. About one-third of high school students have vaped, and research indicates that e-cigarettes have introduced young people to nicotine.
There is so much we don't know about e-cigarettes. We don't know how safe they are for long-term use. We don't know whether e-cigarette use might be a gateway to traditional cigarettes. However, we do know that more people are using these devices and that they deserve to get the safest e-cigarettes possible.
As these devices become increasingly popular, it's vital that we make sure they pose no immediate threat to consumers. Whether the answer is increased regulation, safer batteries, or greater public awareness remains to be seen. One thing is for sure: When a manufacturer sells a defective product, there should be consequences.
Product liability claims offer consumers a way to get compensation for injuries they've suffered. If you've been injured by an exploding e-cigarette or by another faulty product, you have the right to explore your legal options. Contact Terry Bryant Accident & Injury Law to schedule a free consultation with our team.


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notify me when available
Please enter your email so we can alert you when the WOMEN'S ULTRA FASTPACK III GTX® in is back in stock. We promise not to spam you. You will only be notified once.
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Now offering free online returns on all orders shipped to Canada.
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Assistant Teacher
Multiple positions available in Bethlehem, PA and Easton, PA
Full-time available, Monday-Friday
Job Description
The Assistant Teacher is responsible for children in a child care program in a manner that contributes to their growth and development and is consistent with the goals and philosophy of Lehigh Valley Children's Centers, following program policies in accordance with Pennsylvania Department of Human Services child care regulations, and, where applicable, Keystone STARS regulations.
- A minimum of 6 credit hours from an accredited college or university in early childhood education OR
- CDA credentials AND 2500 hours (2 years) documented experience working with young children.
- A high school diploma/GED
Lehigh Valley Children's Centers prohibits discrimination on the basis of political or religious affliations, or because of race, color, national origin, sex, sexual orientation, physical disability, age or any nonmerit factor.


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Well, now that I officially have a cold. It isn't any fun. Sneezing, coughing, sinus pressure, the whole bit. So I stayed home today and didn't go out with the group. The goodnews is that I was able to up load about 150 new pictures to flickr. Lots of them! All of our adventure from the last week. I hope you enjoy looking at them. I think is about it for tonight. I have to be up and ready to go at 7:30am, so I think that I'll go to sleep now and hopefully sleep through the night. I've already used a whole roll of toilet paper, pray that I get better soon, I don't want to miss out on anymore of the good stuff going on.
until next time,


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Angola Tour 2020
Join us on a unique photographic journey through the south of Angola, a less visited part of southern Africa that is only now beginning to open up to tourism. This tour covers the remote south of the country, a land that the modern world has barely touched, of vast unspoiled wildernesses and tribal groups following time honoured traditions. Starting in the capital Luanda we have time to explore a little before flying south to the city of Lubango, our springboard for venturing into the interior. Lubango offers an intoxicating mix of old Portuguese architecture and the joyful chaos of contemporary Africa, and after time here we leave the modern world behind, heading first to the tribal region surrounding the remote town of Oncocua. This area is home to the hunter gatherer Mutua, the colourful Mucuwana and of course the Himba, one of the most iconic tribes of southern Africa, and here less modernised than their counterparts in Namibia.
From here we return north to meet the Muila people, whose hairstyles have to be seen to be believed, camping near one of their villages. Heading west we explore the beautiful landscapes and simple prehistoric rock art of Tchitundo Hulo, visit remote oases and travel into the lands of the Mucubal people. Few have heard of this fascinating ethnic group, and meeting them is a snapshot of the ancient ways – some of their most interesting traditions include teeth sharpening and incredibly elaborate headdresses. Accompanied by guides we travel sensitively through remote communities and settlements in an effort to understand the customs and ancient practices of the region's most traditional peoples, staunchly holding on to their way of life and for whom the outside world is only starting to impinge. Carefully designed and researched, this trip is one of a kind and offers intrepid photographers the chance to see a world which may not exist for much longer, and travel on paths that few have ever imagined, let alone trodden. Join us on the ultimate Angolan photo – adventure.


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Fully Licensed & Bonded
Ashlee HUB Hotel Patong is conveniently located in the heart of the popular tourist town of Patong, Phuket?s dramatic West coast, and overlooks the Andaman Sea. A gentle 5 minute stroll will lead you to the endless soft white sand and sparkling waters of Patong Beach whilst some of the most renowned shopping and entertainment experiences are within comfortable walking distance from the hotel. The hotel is well-connected to Phuket International Airport, accessible by a 40 minute drive, whilst travelling time to Phuket Town is approximately 25 minutes by car. Beautiful beaches and tourist attractions are also easily reached by road. Jung Ceylon Shopping and Entertainment Complex and the bustling Bangla Walking Street are a short 10 minute walk from the hotel. The hotel is just 20 minutes to Central Festival Shopping and Entertainment Complex, 10 minutes north to Kamala Beach, 10 minutes south to Karon Beach, 15 minutes south to Kata Beach, and 30 minutes south to the landmark Phrom Thep Cape (Laem Phrom Thep).Ashlee HUB Hotel Patong boasts 110 fully appointed rooms in a contemporary building. Perfectly suitable for guests of all ages, each contemporarily designed room delivers sheer comfort with a choice of king and twin bed and an additional full size sofa bed. All rooms feature total living space of up to 42 square meters, an extensive private furnished balcony, individually controlled air conditioning, private bathroom with bathtub, flat screen TV with international satellite TV channels, in room safe, tea and coffee making facilities, hairdryer, and high-speed inter access.All-day dining restaurant and bar serving succulent dishes inspired by Thai, Asian, and International melting-pot cuisines.Boutique Contemporary, colorful and simply styleThe lobby is small, it is just big enough for a group of approx.25 pax (with their luggage) to check in (standing in the lobby).Ashlee Hub Hotel Patong conveniently located on Phuket?s dramatic West coast and in the heart of the popular tourist town of Patong, this newly-built eight storey hotel overlooks the magnificent Andaman Sea. The hotel is ideally situated near great shopping, dining and entertainment areas of Patong and makes for a perfect base from where to access and explore other beaches and attractions on Phuket Island. Ashlee Hub Hotel Patong offers fresh, crisp and modern decor and one of the highlights is the rooftop swimming pool and lounge bar which truly is a perfect place to enjoy the sunset and kick-start your evening. The soft white sand and crystal clear waters of Patong Beach where guests can simply relax or enjoy a large array of water sport activities is a gentle 5 minute walk from the hotel.
Looking for something a bit different? Check out our selection of cultural & adventure holidays or if you're looking to go it alone then see our selection of solo holidays.


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Guide: Christmas Tree Farms in Connecticut
Looking for the perfect tree this holiday season? Here is a list of Christmas tree farms across Connecticut
Before heading to the farm, you should know what type of Christmas tree you are looking for. There are a variety of trees including:
Blue Spruce – a distinctive blue-green color with short, pointy needles.
White Spruce – greener than a Blue Spruce and has short pointy needles.
Norway Spruce – bright green needles and softer compared to other Spruces.
Concolor Firs – known for their scent, this tree has long soft needles with a lighter color underneath.
Fraser Firs – typically not found on Long Island because of the weather. However, they are a dark green-blue color and the needles point upward.
Douglas Fir – one of the most popular Christmas trees, it is typically very full.
Balsam Fir – full and dark green coloring with a slim top, it is similar to the Fraser Firs.
Canaan Fir – Similar to Fraser and Balsam Firs with a dark green coloring, full and slim on top.
White Pine – strong branches and has a bushy look compared to Spruces and Firs.
*Firs typically last longer than Spruces and have a pine-like scent.
Fairfield County
Everett's Corner Tree Farm
(203) 268-2508
136 Sherwood Road
Types of Trees: White Spruce, Blue Spruce, and White Pine
Dates: Nov. 29 - Dec. 1; Dec. 7-8; Dec. 14-15 from 9 a.m. to dusk.
More Information: Saws provided; free baling; tree transport wagons; free twine to secure trees
Fairview Tree Farm
(203) 944-9090
2 Sawmill City Road
Open: Nov. 23-Dec. 23; Daily from 9 a.m. to 5 p.m.; Thursdays open until 7 p.m.
More Information: Santa makes appearances every weekend 12 p.m.-4 p.m.; hayrides on weekends 1 p.m.-3 p.m.
Smith Richardson Tree Farm
(203) 623-0646
1-19 Sasco Creek Road
Open: Nov. 30 through Dec. 23; Tuesdays through Friday from 12 p.m. to 4 p.m. and weekends from 10 a.m. to 4 p.m.; Closed Mondays
Jones Family Farms and Winery
(203) 929-8425
606 Walnut Tree Hill Road
Open: Nov. 23 through Dec. 24; Open daily from 9 a.m. to 5:30 p.m.
More Information: For harvest your own trees, arrive before 4 p.m.; Farm closes at 4 p.m. on Christmas Eve. and closed on Thanksgiving Day.
Maple Row Farm
(203) 261-9577
229 Stepney Road
Types of Trees: Balsam Fir, Canaan Fir, Concolor Fir, Douglas Fir, Frasier Fir, Blue Spruce, Norway Spruce, White Spruce and White Pine.
Open: Nov. 29 through Dec. 23 from 9 a.m. to 4:30 p.m.
More Information: Pre-cut trees discounted $6 on weekdays. Wreaths, Roping, Stands, and other holiday accessories
Paproski's Tree Farm
(203) 426-5487
40 Sugar Lane
Open: Nov. 29. from 12 p.m. to 5 p.m. and weekends from 9 a.m. to 5 p.m. Open weekdays and Christmas Eve by appointment only.
Sabia Tree Farm
(203) 650-4429
772 Morehouse Road
Types of Trees: Variety of fir and spruce trees ranging from five to fifteen feet tall.
Open: Nov. 29 from 10 a.m. to 5 p.m.; Weekends from 10 a.m. to 5 p.m. until Christmas.
Hartford County
Barbourtown Tree Farm
(860) 977-8024
225 Barbourtown Road
North Canton
Types of trees: Balsam Fir, White Fir, Concolor Fir and Spruce
Dates: Open weekends in December; Saturday from 9 a.m. to 4:30 p.m. and Sunday from 10 a.m. to 4:30 p.m.; Weekdays by appointment
Karabin Farms
(860) 620-0194
894 Andrews St.
Types of trees: Douglas Fir, Canaan Fir and Blue Spruce
Open: Nov. 29 and weekends until sold out
Murdock's Trees
(860) 675-3012
33 Main St.
Open: Weekends from 8 a.m. to 4 p.m.
Litchfield County
Angevine Farm
(860) 868-7226
40 Angevine Road
Types of trees: Blue Spruce, Meyers Spruce, Frasier Fir, Balsam Fir, Canaan Fir, Concolor Fir, and White Pine.
Open: Nov. 16 to Dec. 23 daily from 9 a.m. to 5 p.m.; Dec. 24 from 9 a.m. to 3 p.m.
Bees, Fleas and Trees
(610) 698-5058
551 South Plains
Types of Trees: Fraser Fir, Concolor Fir, Blue Spruce, White Spruce, Meyer Spruce and White Pine
Open: Weekends from 9 a.m. to 4:30 p.m. starting Nov. 30; Thursday through Friday from 1 p.m. to 4:30 p.m. Open until Dec. 22.
Busy Acres Tree Farm
(203) 695-4785
Quassapaug Road
Types of trees: Fraser Fir, White Pine, White Spruce, Blue Spruce, Norway Spruce, and Douglas Fir.
Open: Nov. 29 from 9 a.m. to 3:30 p.m.; Tuesdays through Fridays from 12 p.m. to 3:30 p.m.; weekends 9 a.m. to 3:30 p.m.
More Information: Cash or check only; No pets allowed.
Holiday Farm Christmas Trees
(860) 201-7476
25 Hayward Road
New Hartford
Open: Nov. 29; weekends from 9 a.m. to dusk. until sold out.
Homegrown Farms
(860) 379-8741
97 Old New Hartford Road
Open: Starting Nov. 29 open Fridays from 10 a.m. to 4 p.m.; Saturdays from 9 a.m. to 4 p.m. and Sundays from 10 a.m. to 4 p.m.
Lappala Tree Farm
(860) 354-3540 or (203) 297-1352
2 Upland Road
New Milford
Open: Nov. 29 through Dec. 22; Weekends from 9 a.m. to 3:30 p.m.; Weekdays by appointment only until Dec. 23
Lewis Christmas Tree Farm
(203) 263-4230
13 Old Town Farm Road
Open: Nov. 29 through Christmas; Everyday from 9 a.m. to 4:30 p.m.
Meadowview Tree Farm
(860) 309-5616
613 Maple St.
Open: Nov. 23-25; Dec. 1-2 , Dec. 8-9, Dec. 15-16 from 9 a.m. to 4:30 p.m.
Nibbling Brook Farm
(860) 283-4024
371 Carter Road
Open: Friday - Sundays from 10 a.m. to 4 p.m. starting Nov. 29.
Spruce Hill Farm
(860) 283-4222
374 High Street Ext.
Open: Weekends starting Nov. 29 from 8 a.m. to 4:30 p.m.
Willow Bank Farm
(860) 868-0809
170 Brick School Road
Open: Weekends from 10 a.m. to 4 p.m.
Windsweep Tree Farm
(860) 355-9907
12 Evergreen Lane
New Milford
Types of trees: Bracted Balsam Fir, Colorado Blue Spruce, Concolor Fir, Douglas Fir, Grand Fir, Serbian Spruce, Scotch Pine
Open: Nov. 29 at 9:30 a.m, Weekends at 9:30 a.m. and Fridays at 1 p.m.
Middlesex County
Connwood Foresters, Inc.
(860) 349-9910
39 Cherry Hill Road
Types of trees: Blue Spruce, White Spruce, Fraser Fir, White Pine, and Fir.
Open: Nov. 29; open Fridays-Sundays until Dec. 24 from 10 a.m. to 4:30 p.m.
Peaceful Hill Tree Farm
118 Clark Hill Road
East Hampton
Types of trees: Blue and White Spruce, Fraser Fir, Douglas Fir, Nordman Fir, Canaan Fir, Grand and Concolor Fir; Sheared White Pine available for a limited time
Dates: Nov. 29 through Dec. 24; Wednesday through Friday 12 p.m. to dark; weekends from 10 a.m. to dark
New Haven County
Joseph's Tree Farm
(203) 248-8955
208 Kirk Road
Types of trees: Douglas Fir, Frasier Fir, Canaan Fir, Balsam Fir, Concolor Fir, White Spruce, and Blue Spruce; Frasier Fir pre-cut trees are available
Dates: Opens Nov. 29 at 9 a.m.
More Information: Gifts, wreaths, garland and swags are available for purchase in the gift barn. Warm up by the wood burning stove and have a complimentary hot chocolate.
Ragland Farm
(203) 264-6732
1127 Main Street North
Open: Nov. 29 - Dec. 24; Weekends from 9 a.m. to 4:30 p.m.; Weekdays from 12:30 p.m. to 4:30 p.m.
Treat Farm
(203) 799-2453
361 Old Tavern Road
Open: Weekends starting Nov. 30 from 9 a.m. to 5 p.m.
New London County
Evergreen Acres Tree Farm and Nursery
(860) 463-4014
464 Windham Ave.
Types of trees: Blue Spruce and Fraser Fir
Open: Nov. 29 through Dec. 24; Thursdays through Sunday from 9 a.m. to 4:30 p.m.
Maple Lane Farms
(860) 887-8855
57 N.W. Corner Road
Types of trees: Balsam Fir, Fraser Fir, and Canaan Fir.
Open: Daily starting Nov. 29 from 9 a.m. to 4:30 p.m.
More Information: Offer a large variety of decorated wreaths, undecorated wreaths, kissing balls, garland, and tree stands. Complimentary hot chocolate and cookies are available on weekends.
Windham County
Laurel View Farm
(774) 280-1062
150 Brown Road
Types of trees: Fraser, Canaan, Korean, and Concolor fir along with Blue and White Spruce Christmas trees.
Open: Weekend before Thanksgiving from 9 a.m. to dusk; Monday, Thursday, Friday from 10 a.m. to dusk
More information: Hayrides will take place Saturday and Sunday.
Did we miss your favorite? Click here and let us know!


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As President Donald Trump and a Republican-controlled Congress work to dismantle and replace the Affordable Care Act, hospital officials nationwide are watching to see how that will affect their work to provide health care and what a replacement will mean to their bottom line.
Dr. Sheldon Retchin, CEO of Ohio State University's Wexner Medical Center, said the act's repeal would negatively affect the "safety net" for hospitals that care for the most vulnerable populations.
At the same time, emergency departments would see an increase in uninsured people seeking primary care, rural hospitals might be forced to close their doors, and larger hospitals might have to cut back on certain services, such as obstetrics, Retchin said.
He is hopeful that lawmakers will be deliberate and careful to improve on the the Affordable Care Act — also known as Obamacare — instead of throwing it on the trash heap, he said.
"I understand the fervor to repeal," Retchin said, referring to financial difficulties with the exchange marketplace where individuals can buy insurance. "But I would hope that our congressional delegation would take a deep breath."
About 20 million people nationwide have signed up for insurance through the Affordable Care Act. The deadline for enrolling in health insurance under the law for 2017 is Tuesday.
In Ohio, the state's expansion of the Medicaid health-insurance program for low-income people provided coverage to 713,521 additional residents, and approximately 212,000 Ohioans obtained private insurance coverage through the marketplace program, said Ohio Hospital Association spokesman John Palmer.
Among other things, the law requires businesses with more than 50 employees to provide health-care plans; allows children to stay on their parents' insurance plans until age 26; created the marketplace, which offers government subsidies based on income levels to help individuals pay premiums; and allows states to expand government-funded Medicaid to cover more people with low incomes.
"Thirty-one states and the District of Columbia have expanded Medicaid," Retchin said. "That has dramatically reduced the number of uninsured Americans. That's affected safety-net hospitals and made them financially secure."
He said he could not provide numbers to show cost savings at Ohio State, but he added: "It's hard to overemphasize the impact it's made."
Leaders at central Ohio's other health systems also want Congress to refine or replace the act rather than repeal it, as lawmakers working on changes have indicated they will do.
Any change should be made to improve the health care of all Americans, assuring that all who now have health insurance retain it, said Ed Lamb, president and chief executive officer at Mount Carmel Health System.
"Health coverage for all Americans should continue to be the goal," Lamb said in a statement. "Whatever our leaders do to revise this law should be done in a fiscally responsible manner, without dismantling the system currently in place."
Lamb cited ways that the law helped to reform the delivery of health care, saying that some changes help patients and reduce costs.
OhioHealth spokesman Mark Hopkins said in a statement that its officials "recommend that replacement of any facets of the ACA be done concurrently with a repeal."
"We specifically encourage Congress to maintain coverage for the expanded Medicaid population because, first and foremost, we want to ensure that our patients have access to affordable, high-quality health-care services," Hopkins said.
Nationwide Children's Hospital has not been significantly affected by the Affordable Care Act because the law is largely focused on adult coverage and care, said Heather Dahlberg, administrative director of external relations. Although 52 percent of children in Ohio are covered by Medicaid, that coverage predates the law, she noted.
Administrators will keep an eye on conversations about any changes to Medicaid and also monitor certain Affordable Care Act provisions that can affect pediatric patients, including the ability to stay on parents' insurance into young adulthood and the elimination of annual and lifetime caps on insurance benefits, Dahlberg said.
"Everybody is interested in kiddos and making sure kiddos are protected, and we have seen that largely as a bipartisan issue over the last 20 years," she said. "We would hope that wouldn't change in this political climate."
Administrators at some of central Ohio's independent community hospitals say they worry about the prospect of providing more care to more uninsured people without reimbursement.
Ohio has 55 independent facilities among its 176 general hospitals, including Fairfield Medical Center in Lancaster, Knox Community Hospital in Mount Vernon and Hocking Valley Community Hospital in Logan.
The other 121 general hospitals are affiliated with health systems.
A complete repeal of the law would create challenges for independent, community hospitals. An increase in uninsured patients who show up and don't pay for their treatment and services would financially burden the hospitals through unpaid charity care. Hospital officials could be forced to review the services they can afford to offer, and ask, for example, whether they can still afford a maternity unit, said the hospital association's Palmer.
The 99-bed Knox Community Hospital saw an improvement in insurance reimbursements after the law took effect because more patients were enrolled in Medicaid through the expansion or were covered by private insurance obtained through the marketplace, said spokesman Jeffrey Scott.
"When you're being reimbursed at a higher percentage," Scott said, "you have more resources to reinvest back in your facility and your community," including in new services and medical personnel and upgraded technology.
A spike in people who need care but lack insurance and can't pay would leave less money available for independent community hospitals to reinvest in those ways, Scott said.
Administrators at the 25-bed Hocking Valley Community Hospital, where as many as 75 percent of the poorer, rural patients are on Medicare or Medicaid, are waiting anxiously to see what Congress does, said Julie Grow, chief financial officer.
Medicaid expansion has helped the hospital's bottom line. "Our bad debt went down significantly" because formerly uninsured patients were able to enroll in Medicaid, Grow said. "And our new (government) reimbursement was $500,000 in 2016."
That was one-third of the hospital's net income last year, she said.
"A half-million dollars is a big amount that we can turn back into the community to offer services," Grow said. "My biggest concern is if Medicaid expansion goes away, we will have to look at the operations of the hospital and how we absorb the loss of a half-million dollars or more in income."
Officials at the 220-bed Fairfield Medical Center also don't want to see an increase in uninsured people.
"'Repeal' without 'replace' simply should not be an option," Fairfield Medical Center President and CEO John "Jack" Janoso Jr. said in a statement. "The Affordable Care Act has lessened the burden of uncompensated care, allowing Fairfield Medical Center to provide more services to patients in our community."
Rob Montagnese, president and CEO of Licking Memorial Health Systems in Newark, said the Medicaid expansion has been a great help to people seeking preventive care and tests, and to providers being reimbursed for their work.
At Ohio State, Retchin said the law has "dramatically strengthened the safety net" for people with low incomes.
One of the biggest advancements of the law, he said, has been the government coverage of low-income people who have no children. Many people without insurance coverage would in the past routinely go to emergency rooms for regular care; they now have access to primary-care physicians.
Repealing the Affordable Care Act with something that diminishes coverage would be injurious, Retchin said.
"One of our missions at the Wexner Medical Center is to take care of vulnerable populations, so we never close the door," he said. "It's costly and makes it difficult to fulfill our other missions of teaching and research. So this certainly helps a lot."
Retchin credited Gov. John Kasich for being among the governors who worked to expand Medicaid coverage.
"His actions not only helped people who were uninsured and uncovered, he saved lives," Retchin said. "He saved the lives of many Ohioans."


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WEST ORANGE – The Seton Hall Prep varsity football team, seeded third, lost to sixth-seeded Bergen Catholic, 49-20, in the quarterfinal round of the state Non-Public Group 4 playoffs on Friday, Nov. 13, at West Orange High School's Joe Suriano Stadium on a cold and windy night.
The Pirates finished the season with a 6-3 record under first-year head coach Vito Campanile.
The game was billed as the Campanile Bowl in a matchup of opposing coaching brothers. Campanile's brother, Nunzio Campanile, is the head coach for Bergen Catholic.
BC opened up a 21-0 lead after the first quarter. After BC scored to make it 21-0, the Pirates took over on their 33-yard line and drove 67 yards in nine plays, capped by senior quarterback Zach Keller's 15-yard touchdown pass to senior tight end Rory Schlageter in the corner of the end zone. Senior kicker Edward Guiltinan kicked the extra point to cut it to 21-7 with 10:41 left in the second quarter.
The SHP defense stiffened as the Pirates took over on downs on the BC 30-yard line. On the first play, Keller hit Schlageter down the middle with a 30-yard TD pass to cut it to 21-13 with 9:04 left. The extra point fell short.
BC scored with 54 seconds left to take a 28-13 halftime lead. BC scored two touchdowns in the third quarter and one TD in the fourth for a 49-13 lead. After the BC fourth-quarter TD, SHP took over on its 29-yard line and drove 71 yards in five plays, capped by Keller's 22-yard TD pass to Schlageter. Guiltinan added the final point of the season with 3:53 left.
Vito Campanile was proud of his team for a great season.
"I could not ask for a better group of players, coaches, and administrators," he said after the game. "They really support how we are developing our football program."
NOTE: The Pirates' Super Essex Conference non-divisional home game against Caldwell on Nov. 25 has been cancelled. The game was originally scheduled for Oct. 2, but Caldwell requested a postponement to Nov. 25 due to injuries that caused a lack of players. But the game now has been called off.
SHP stats vs. BC
Passing: Keller, 14 of 28 for 179 yards, three TDs, one interception.
Rushing: Senior running back Dylan Badger, nine carries for 41 yards.
Receiving: Schlageter, seven catches for 109 yards, three TDs.
Defense: Senior linebacker Ben Mara, 18 tackles, 1/2 sack. Junior linebacker Paul Theobald, 12 tackles. Senior linebacker Cole Lumby, 10 tackles. Junior defensive end Robert Ramsthaler, seven tackles, 1 1/2 sacks.


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That wide eyed lecturing children expression that's permanently on your face is really annoying
Young u pervert
Looking to photograph a willing MILF in the New York area....[email protected]
Ее тело заводит и возбуждает. Пизденка красавица. Деваха с охуенными ляжками!!!! Такую драть и драть одно удовольствие! Класс!
RAG L.L.C. Museum of Science; was this video exam in a clinic or hospital. Dr. Doe as you are a clinical sex and head doc you are required be preform both places. d.o.d.
why in the fuck do you use the term wife when she has no wedding ring on


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Robert Sengstacke Abbott became the owner and publisher of the Chicago Defender, a very successful newspaper for the African American community.
His publishing began with Abbott's Monthly. This publication may have been an influence on John Johnson, who owned Ebony and Jet magazines. Reading the story of both men's lives, there are similarities. This includes circumstances, motivations, and success. Johnson wrote about his life in his autobiography, Succeeding against the Odds. Both men had role models who helped them. Johnson also had classmates who became successes in their own fields. Both men had business instincts. The Ebony Fashion Fair, run by Johnson's wife, was a most attractive business on its own.
Sengstacke-Abbott had a very interesting history. His parents were slaves. After the Civil War, when his father died, he moved with his mother to Georgia. His stepfather, whose last name was Abbott, saw that he was educated and learned a trade.
In Chicago, Sengstacke became an influential leader. He served on Commissions to improve race relations. His early venture in 'a magazine' was a precursor to ventures like Ebony.
Abbott's Monthly
Published five early stories by Chester Himes. After Sep-1933 it became Abbott's Monthly Illustrated News. The Union List of Serials describes this as a newspaper and no records are given for that. According to WorldCat the latter evolved into Abbott's Weekly and Illustrated News. Microfilms of all titles exist but there are gaps in the holdings.
Publishers: Robert S. Abbott, Chicago
Papers of the Sengstacke-Abbott families and their publishing history were given the Chicago Public Library Public
Who knew?
Chester Himes was a noted African American author. He wrote two novels, including If He Hollers Let Him Go.
Travelling to Chicago?
The downtown offices of the Johnson Publishing Company is located on Michigan Avenue facing Grant Park. It was quite an achievement for an African American company to purchase it. The decor includes an art collection of noted painters and sculptors.
The home of Sengstacke Abbott and the old Chicago Defender offices are still standing. The Chicago Defender archives may be at the Chicago Public Library.
Related articles
- Remembering Eunice Johnson, Fashion Fair Founder (bellasugar.com)
- 'Red Tails' Cast Cover EbONY Magazine (livelyindepthmusicent.com)
- Great American Leaders (borderbuster.blogspot.com)


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A meeting of the defense ministers of a Saudi-led anti-terrorism alliance of Muslim countries kicked off in Saudi capital Riyadh on Sunday.
Held under the theme "Allied Against Terrorism", the Islamic Military Counter Terrorism Coalition (IMCTC) meeting was opened by Saudi Crown Prince and Defense Minister Mohamed bin Salman.
The meeting "will send a strong message about the importance of coordination against terrorism," bin Salman told participants.
The defense ministers are expected to discuss means of fighting terrorism and drying up its finances.
The 40-member bloc was launched by Saudi Arabia in late 2015 with a view to fighting terrorism. It includes countries as Turkey, Pakistan, Malaysia and Egypt.
Sunday's meeting marks the "actual start" of the the military alliance and coordination against extremism and terrorism.
A declaration issued by a recent Arab-U.S.-Islamic summit in Riyadh in May unveiled that the alliance member states were ready to deploy 34,000 troops with a view to supporting operations against terrorist groups in Iraq and Syria.


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Green Development News #12
The latest Green Development News is now available , with news on policy and programming, dates for the next DEVCO Environment and Climate Change week, and a new-look layout. We hope you enjoy it, and are always happy to hear any feedback you may have. La version française est ici .
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How To Start Fish Hatchery Business In Nigeria: Step By Step Description
The aquaculture sector in Nigeria is really growing at a very exponential rate, making fish hatchery business a good investment. Lack of viable fingerlings and juveniles has been the major setback among others hurdles facing the fishing industry in Nigeria. In times past, fish farmers have depended on fingerlings and juveniles from the wild as ways of stocking their ponds. It is not enough to just set up a fish hatchery business, your fish hatchery management must be top notch
This can no longer be sustained because the demand for fish has risen exponentially. Given that most fishes are seasonal breeders causing the scarcity of stocking materials. Fish hatchery business is the only solution to this great hurdle in fish farming in Nigeria. The demand for fish has been on the rise both locally and internationally. This has made fish farmers to greatly depend on fish hatcheries in order to provide them with constant supply of stocking materials. In this article, you will also be getting other fish farming in Nigeria tips. Your fish hatchery design must be done in a way to be conducive the fingerlings.
Also See: Poultry farming in Nigeria
What Is Fish Hatchery?
Fish hatchery is a special establishment for fish breeding; egg fertilization, incubation, hatching as well as the rearing of fishes through the early stage of life into juveniles and fingerlings is carried out artificially. It provides a constant supply of pond stocking materials for fish farmers in Nigeria. There are different types of fish hatchery which you shall see in this article.
This fish hatchery business can be set up in an aquaculture farm for the purpose of providing fingerlings for your small scale fish farming in Nigeria. The fish hatchery business in Nigeria can also be established for the purpose of fingerlings production. The importance of fish hatchery cannot be overemphasized. Fish hatchery is very important to the development of fish farming business in Nigeria.
- Profitability of catfish farming in Nigeriaa
- how to start profitable fish farming business
- looking for how to start fish farming in Nigeria? below are the
- fish hatchery equipment and requirements
Requirement For Fish Hatchery Business In Nigeria
Whether the fish hatchery is to supply your farm or it is for commercial purposes, the requirement for fish hatchery is still the same. You will be amazed at the cost of Some of the major requirements for fish hatchery business include:
The importance of water for fish hatchery business cannot be overemphasized. The water used for the fish hatchery business must be constantly monitored continuously to check for negative changes.
The water used for fish hatchery business in Nigeria must have a constant neutral pH, well treated and aerated.
Feed Availability
Fingerlings and juveniles used in fish hatchery business must be constantly fed with to avoid them been malnourished. Young fish feed on planktons, though in a confined environment, the supply of planktons may be limited.
If you want to venture into fish hatchery business in Nigeria, you must find a way to encourage the growth and proliferation of planktons in your fish pond. You can also provide feed that will provide the needed nutrients required by your fingerlings or juveniles. You can purchase the feed from any aquaculture feed store within Nigeria.
Fish Breeding
In order to succeed in your fish hatchery business in Nigeria, breeding fish must be available in your farm. You must buy sexually matured male and female fish that have favorable traits to serve your fish hatchery business. The matured fishes must have good history of rapid growth rate.
Also Related: How to start snail farming in Nigeria
If you don't have a market to sell your products, then you are not in business. For your fish hatchery business to be successful, you should make sure that a good number of fish farmers know about your business and will be willing to patronize your business.
Availability Of Necessary Equipment
In order for your fish hatchery business to flourish, you need to have the needed equipment and supplies. The needed equipment for your fish hatchery business includes; ponds, buckets, chemicals, nets, aerators, filter, etc. It is advisable to use small tanks for better observation of the fishes. It is also very important to keep the male and female fishes in separate tanks. these fish hatchery equipment are very important for your fish hatchery business.
The Basic Methods You Can Adopt For Your Fish Hatchery Business
Fish hatchery business involves different methods that include egg release, fertilization, incubation, hatching, and growth. If you are asking the question, "how does fish hatchery work?", the answers to your question is listed below. You must be able to mimic to the best of your ability, the processes above for the success of your fish hatchery business. Your fish hatchery design must be done in ways that accommodate the following methods below:
Egg Release
The release of eggs can be induced or natural. For your fish hatchery business, egg release should be induced by injecting hormones like Ovaprim or Suprefact that causes the female fiches to release eggs at an average of 3 months.
In fish hatchery business, you can enhance egg release by gently applying pressure to the abdomen of the fish in a downward manner. This causes the release of the eggs through their genital opening. These released eggs are contained in a container while awaiting the sperm from the male fish.
During fertilization, the sperm is obtained from the male fish by killing the fish and extracting the testes. The testis is sliced into two or more quadrants and each of them placed in a clean, thin cloth material and squeezed to extract the container into a container.
The obtained sperm from the male fish is introduced into the container containing the eggs and mixed very well to fertilize the eggs. Sperm from one male fish can be used to fertilize an average of 14 female fishes.
Incubation And Hatching
After the fertilization has been carried out, the containers holding the eggs are covered with water and aerators placed in them to promote aeration. The container is placed in a very conducive environment that is usually 30 degrees centigrade for incubation to occur.
This incubation and hatching must be carried out properly in order to succeed in your fish hatching business.
You must allow fish to grow to a certain size before you remove them from the container. Because fishes grow at different rate, you must pay attention to this stage in order to prevent some of the fishes from preying on others. This must be done in order to enhance your chances of having a successful fish hatchery business.
I know that you have really gained great knowledge on how you can start your fish hatchery business in Nigeria.
For any business to survive there must be a well-detailed business plan to help you run your business properly. At Entrepreneur Platform, we offer professional business plan services that will help in the running of your fish hatchery business.
We can make your fish farming business plan ready within 2 weeks of your order. You can contact us on +2347037281050


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Another link to the OccupyCFS blog by Ms. Spotila.
This time her post is full of interesting information about who nominated CFSAC members.
The composition of the committee is likely to be indicative of what they focus on and their degree of responsiveness to the ME/CFS community.
We urge you to read the post, think about it and share your thoughts, comments, ideas.
And where are the CFSAC bylaws?


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Be part of hundreds of thousands of PTAs across the country and in U.S colleges overseas during National Arts in Schooling Week—September eleven-17, 2016, to rejoice pupil achievement, advocate for extra arts and participate in creative actions.
Household is essential to Carmen, and perhaps that's the reason she will be able to relate with most of her sufferers, each younger and outdated. Having the ability to breathe is such a rudimentary part of life that you simply take with no consideration till you can't breathe nicely. That's when it impairs each part of your life. Even getting the air knocked out of you for a short time is scary, and that is not something you forget easily. Carmen's job is to assist sufferers with long-time period breathing issues really feel extra comfy and to protect the health of other organs of their our bodies by making sure they're inhaling an ample quantity of oxygen.
Finally, after reading through this text and the feedback I understand that the $199 won't get me anything that will be helpful to me. For me it's going to cost much more than $199 because I'll miss three days of labor. Additionally, as someone talked about above, a number of how-to-get-wealthy books say to remain out of the stock market. Kiyosaki himself says so. Yet he sells us schooling to do it? Hmm.
This lens is superb…it will be glorious for all students to learn. I will ship the website to Audrey but I am additionally sending it to my husband. Bill loves historical past, is a 25 year retiree of the USAF and now works on web site beneath contract out of Patrick AFB as a Chief Air Traffic Controller. He will certainly take pleasure in your lens. Thank you for the effort and time you put into this informative lens!!
Now we have recently learnt that there's a big number of children who had been taken to China, educated there, and brought back to our land. There are children that are educated nd militarily trianed in the United States, Britain, France, Germany and so forth. We also have our children who miseducated in the poor colleges inside our Townships, and are faring far worse than many of them. some few Charter schools are progressing, some are getting closed becasue of corruption and and never teaching our youngsters. Then wwe have children who're doing correpsonds with all sorts of entities which can be robbing our folks blind-fleecing families to demise.


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South West Coast Path Photographer of the Year 2019 - open now!
Read more and enter here - good luck!
Paws on the Path Competition 2018-19
Paws on the Path 18-19 competition is now closed. Thank you to everyone that entered, we have loved seeing photos of your gorgeous doggies enjoying the Trail. Huge congratulations to the very fabulous Poppy the Cockapoo and her owner Cara for being chosen as the winners by our judge Adam Henson of Countryfile!
Coast Path Pledge 2019
The #CoastPathPledge competition is now closed. A whopping 2,300 of you made a #CoastPathPledge to use The South West Coast Path in 2019 and make a positive change for mind, body or environment. The pledges were so thoughtful and inspiring - thank you to everyone who entered! Our favourite pledge was made by Sarah. She walked the whole Path in 2017, and it quite simply transformed her life. Now she is pledging to share the healing qualities of the trail with her friends that need it most. Lucky Sarah has won an amazing stay with Beach Retreats in Cornwall to help make her pledge a reality!


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Fair Pay, Fair Fight: Will the Circle Be Unbroken for Artist Airplay Royalties?
The Music Modernization Act brought fairness to pre-72 artists who waited 20 years for the government to confirm what everyone knew—that non interactive digital music services like Pandora and Sirius should be paying them performance royalties like everyone else. Not that they didn't try–Liberty Media's lobbyists tried to administer an 11th hour beat down of old guys and dead cats in the Senate in the waning hours of the Music Modernization Act in an unholy alliance with Big Tech in that very special DC room of mirrors led by Oregon Senator Ron Wyden.
So what makes anyone think that we'll get fairness without a fight after the merger of Sirius and Pandora announced this week, since parent corporation Liberty Media has now managed to consolidate its hold on 34% of LiveNation "…creates what the companies call the world's largest audio entertainment company…Policy experts also say the merger empowers a company that's aggressively fought to suppress royalty payments for artists and copyright holders."
Now that the CLASSICS Act, as inserted in the omnibus MMA, confirmed that those pre-72 artists are entitled to their non interactive royalties, we can recognize that treating pre-72 artists fairly was just another fake concession dreamed up by digital services starting with Sirius and Pandora (and their lobbying group, the Digital Media Association) for something that should have never happened in the first place. Now we can all turn back to the real test of fundamental fairness—terrestrial performance royalties.
Why wasn't this fundamental right included in the MMA? In the run-up to the initial version of the MMA (before CLASSICS and AMP were added to create the omnibus bill that passed), we were all told by the bill's sales team to forget ever getting a terrestrial royalty. It was something that was simply never going to happen because the lobbying power of the MIC Coalition was simply too strong.
If you've never heard of the MIC Coalition, it is a lobbying group that was assembled in 2015 for the purpose of stopping the Fair Play Fair Pay legislation introduced in the House of Representatives by now House Judiciary Chairman Jerry Nadler. Google, of course, is a founding member of the MIC Coalition alongside Amazon, NPR, iHeart Media, Pandora, Salem Media Group, Cox Media Group, the NRB Music Licensing Committee, the American Hotel & Lodging Association, the National Association of Broadcasters, the National Restaurant Association, the National Retail Federation, the Educational Media Foundation, the Computer and Communications Industry Association, the Consumer Electronics Association (now Consumer Technology Association) and of course the Digital Media Association.
Shortly after the MIC Coalition was founded, Amazon and NPR resigned from the organization and the Radio Music License Committee, the Brewers Association, and Wine America joined. Then individual companies removed their logos and the public facing membership became only the trade associations.
It must be said, of course, that the MIC Coalition is a Goliath-like array of lobbying muscle. But that's kind of the point. Even so, you'd be a fool not to take it very seriously. Now for some of the Washington folk, this may seem like time to run up the white flag before Longshanks. But I'm happy to say that the neither the I Respect Music campaign nor the MusicFirst Coalition have flinched, and I'm just Texan enough to call that a fair fight. I fully expect that now-Chairman Nadler will want to revisit his Fair Play Fair Pay legislation in the coming days of the new Congress. We're behind him 110%. I for one am ready for the fight and craving the fray.
This new battle was joined with A2IM CEO Richard James Burgess in an op-ed last November that summed up the status quo:
The musicFIRST coalition (A2IM, AFM, Recording Academy, Sag-AFTRA,
SoundExchange, RIAA), has been in negotiations with the NAB (National Association of Broadcasters) under House Judiciary Committee Chairman Goodlatte's guidance. The objective was a consensus agreement, which the Chairman would enshrine in legislation. Legislation is essential to ensure that artists, musicians, singers, producers, and labels are not only paid for U.S. airplay but also from spins in the rest of the world. It is estimated that these U.S. creators and the U.S. economy are losing hundreds of millions of foreign-trade dollars each year because the NAB has so effectively blocked this legislation. If such a law should pass, the U.S. would no longer be aligned with countries like North Korea, China, and Iran in suffering a radio industry that doesn't compensate creators.
Sadly, NAB CEO, Gordon Smith, telegraphed radio's true intentions on April 9 when he cited "Five Big Wins," with number three being, "We again fought back attempts by the record labels to tax radio stations simply for promoting and playing the music listeners love to hear." In the same speech he boasted, "And, most recently, broadcasters were instrumental in securing $1 billion in legislation passed by Congress to reimburse radio and television stations for their costs during the spectrum repacking process, ensuring viewers and listeners don't lose access to their stations."
I find it fascinating that Smith has the gall to refer to a small royalty for the use of our music as a tax (a tax is paid to the government, not to property owners, for the use of their property). Then, in the next breath, he bragged about extracting a billion dollars from our government for the radio industry.
Music on the radio has enriched listeners' lives and built empires for some radio station owners. We call on Congress to ensure that U.S. music artists and their funders are finally paid their fair share. Let us not enter a second "Century of Shame."
And SoundExchange CEO Mike Huppe's Billboard op-ed last December was another call to arms for fair treatment:
Efforts by the music industry to find a common ground of "fairness" with the broadcasters have thus far failed. That is why we need to heed Frank Sinatra's call to organize and demand that Congress pass legislation to give creators royalties when their music is played on terrestrial radio.
Like the MMA, the terrestrial radio royalty will be a heavy lift in Washington, no joke–particularly after the consolidation of Sirius and Pandora. And like the MMA, I suspect it will take everyone's efforts to make it happen. Unlike the MMA, it's not an omnibus bill that cuts across our industry with something for almost everyone. The only reason the MMA didn't contain the terrestrial royalty is because the consensus view—not mine, but I went along with it—was that terrestrial was a bridge too far. Now that everyone else got theirs with MMA, the question is who will remember that deal and who will forget their obligations.
We, of course, will be where we always are. That's not the question, though. The question is what is the rest of the MMA coalition prepared to do? I, for one, certainly know what my expectation of them is going to be, no flinching and no excuses. We will be watching to see if the circle remains unbroken the next time we are called to stand up and be counted.
And if they don't we'll go it alone.
(A version of this post first appeared in MusicTechPolicy Monthly newsletter.)
@mikehuppe: Broadcast Radio Makes an Ironic Plea for Fairness — Artist Rights Watch
SoundExchange's CEO says it's time radio starts paying all music creators fairly for their work.
On Monday, a group of radio broadcasters penned a letter in support of the National Association of Broadcasters' (NAB) push for deregulation of the $14 billion radio industry. Their letter was based on the NAB's petition to the FCC this past June, in which the NAB sought to allow expanded broadcaster ownership of radio stations (i.e., increased consolidation) throughout the country. The NAB's justification: broadcasters must adjust their business model to the realities of the new streaming world.
As a representative of the many creative parties who help craft music, we are frequently on the opposite side of issues from the NAB. And while I can't comment on NAB's specific requests, I was delighted to find so much common ground in their FCC filing in June….
I agree with the NAB that the law should "finally adopt rules reflecting competitive reality in today's audio marketplace" and should "level the playing field" for all entities in the music economy.
If radio truly wants to modernize, it can start by taking a giant leap into the 21st century and paying all music creators fairly for their work. Stop treating artists like 17th century indentured servants, just so radio can reap bigger profits. If radio wants to have rules that reflect the music industry of today, then that should apply across the board.
We should resolve this gaping unfairness to artists before we begin talking about allowing radio to consolidate even further.
@mikehuppe: "We are Making Major Progress on Music Licensing Reform – Together" #irespectmusic — Artist Rights Watch
While several pieces of music legislation have been introduced in the Senate, there is not a single comprehensive package yet. We are encouraging our Senate allies to bring these many issues together into a single, comprehensive Music Modernization Act, like the bill passed in the House.
via @mikehuppe: "We are Making Major Progress on Music Licensing Reform – Together" #irespectmusic — Artist Rights Watch
SoundExchange Reaches Out to Help Texas Flood Victims
Press Release
For SoundExchange members based in Houston and throughout the Gulf Coast, SoundExchange wants to make sure you receive your royalties in this time of tragedy.
SoundExchange's Senior Director of Artist and Industry Relations Linda Bloss-Baum sent the Texas Music Office a statement today that reads:
"Our next royalty distribution will be made in late September. If you currently receive your SoundExchange royalties via physical checks, you can update your account so we can send you your royalties via Direct Deposit. We hope this makes it easier for you to access your royalties at this difficult time. To update your account, please complete our Direct Deposit form.
"We will also need either a voided check OR a bank authorization letter. If you use a bank authorization letter, the bank authorization letter should be on bank letterhead with your account information (routing number and account number). It should indicate the name on the account, and be signed by a bank official.
"We have a dedicated member of our industry relations team standing by to expedite getting our artists and rights holders set up to receive their royalties via direct deposit. Please send the form and support document to firstname.lastname@example.com and we will rush to get it processed for you."
#irespectmusic The New Improved Performance Rights Act: Because You Believed
Congressman Jerry Nadler and Marsha Blackburn, John Conyers and Ted Deutch will introduce legislation on Monday that responds to all of you who supported artist pay for radio play. The thousands and thousands of you who signed the #irespectmusic petition, the hundreds of you who attended #irespectmusic events, the hundreds of you who responded to the Copyright Office's request for comments on the Music Licensing Study and the "NABtweets" campaign on Grammy night, and who supported the Turtles fight against Pandora and SiriusXM. All the bands who have hosted #irespectmusic shows around the country, all the fans who wore the "#irespectmusic AND I VOTE!" button at election time.
Janita, Rep. Marsha Blackburn, Blake Morgan and Tommy Merrill
Tommy Merrill, Rep. Jerry Nadler, Blake Morgan and Janita
Janita, Rep. Ted Deutch, Blake Morgan and Tommy Merrill
Some of you joined this movement recently, some of you were around for the last effort at a performance rights act, some of you have been in it since we all started fighting Pandora's end run around fair treatment for artists with the Internet Radio Fairness Act in 2012. All of you know in your hearts that we all have to stand up to the multinational mass media corporations like Clear Channel and Google, the fast buck artists like Pandora and Spotify, and the underhanded data merchants like YouTube.
But the one thing that we could do right now to put fair compensation directly into the pockets of artists is to achieve the idea that #irespectmusic has been fighting for–pass the Fair Play Fair Pay Act.
Some of you were there last October at New York's Bitter End at the historic first #irespectmusicandIVOTE! event and heard Congressman Nadler's stirring speech foreshadowing the Fair Play Fair Pay Act 2015.
You were there to let the government know that you expect fair treatment for artists and songwriters. You were there when Zoë Keating stood up to YouTube, when Jann Arden stood up against Big Radio, when Blake Morgan stood up against Spotify, when David Lowery rewrote the narrative that Big Tech imposes on the world and when Gloria Steinem said artist rights are human rights.
We have to thank Reps. Jerry Nadler, Marsha Blackburn, John Conyers and Ted Deutch who have been dedicated to this issue for years, and of course to SoundExchange who has also carried the flag for all of us to help get this bill introduced.
We all know that getting a performance royalty on terrestrial radio is a very old story–90 years old. The music industry establishment has been fighting the broadcasting establishment over this issue for a very long time. And face it–the broadcasters have been winning this fight for a very long time.
Not only are we fighting the broadcasters this time, we are also fighting Pandora, Google, Apple, the Consumer Electronics Association–everyone who wants to deny artists fair pay for radio play. These companies have many tentacles into our music industry establishment and many pressure points they can bring to bear.
So why should we believe that this time it will be different than it has been for the last 90 years? The biggest reason is that this time it's not just the establishment–this time it includes you. You said here am I, send me. It includes you every time you get a friend to sign a petition, every time you use the #irespectmusic hashtag. Every time you pick up the phone and ask your representative what they are doing for artist rights to save our culture. Every time you support a local artist at an #irespectmusic show.
Because here's the reality–if past is prologue, the historical record shows conclusively that the establishment can't get it done alone. We all have to pull together and as long as all artists are treated fairly, that is exactly what we should do.
But today, my friends, is your day. Your fearless rejection of technodeterminism and fast buckery and your vocal respect for culture and creativity has helped these representatives be effective.
Your unequivocal and unflagging support for the human rights of artists is what makes this day possible. It's why I write this blog, it's why we fight. We all have this in common.
True, we have a long way to go to make this bill a reality. But I'm looking at the Fair Play Fair Pay Act and it looks pretty damn real to me.
And for today, that's good enough.
Tonight lift a glass to Satchmo, Count, Duke and Ella, Buddy Rich, Billie Holiday, Joe Cocker, Charlie Parker, Ian McLagan, John Coltrane and all the others who didn't make it this far. And to all those who did like our inspiration Aretha Franklin, and for all those yet to arrive.
And give yourselves a hand.
Tomorrow we fight, but tonight we celebrate. Because you believed.
Because we all did.
RESPECT Act: SoundExchange Takes Steps to Protect Artists from Sirius XM and Pandora
We've seen quite a bit of "new boss" activity this week: Google screwing indie labels, Amazon screwing authors and now yet another missed opportunity for Sirius and Pandora to demonstrate that they care about the artists who deliver them riches. Yes, it's that old and unimproved digital radio, now with even more exploitation. Meet the new boss, worse than the old boss.
This time, however, Sirius and Pandora are behaving so badly that it requires passing new legislation just to get their noses up to the fair compensation line. SoundExchange is taking steps to protect "legacy" artists from the most recent attack on artist royalties from Sirius XM and Pandora. Why? Because Pandora and Sirius want to use recordings from pre-1972 without respecting the artists enough to pay them royalties, not to mention getting a license.
And pre-72 recordings are…well, how to say it? The entire legacy of contemporary music perhaps? Yes, that about sums it up.
Here's a screen capture I took today from Pandora of The Beatles, pre-72 (Let It Be was released May 8, 1970):
And a pie chart for Sirius showing the uses of Beatles music by channel, again from today:
And here's Janis Joplin:
Jimi Hendrix:
Charlie Parker
Louis Armstrong
And Roy Orbison
So you can see that Sirius (and I am confident that searches for Pandora channels would deliver similar results) wants to use the music but doesn't respect the artists. (Pie charts are available from Dog Star Radio's invaluable searchable database of Sirius playlists available at http://www.dogstarradio.com/search_playlist.php)
Somewhere around December 2013, both Sirius and Pandora decided to stop paying royalties on ALL pre-72 recordings. These litigious companies had to know that nobody would take this lying down. Particularly since you can see from these examples that both services are using the music and not paying for it.
Why is 1972 the date at issue?
One of the quirks of U.S. copyright law is that sound recordings did not get federal copyright protection until February 15, 1972. It's not that the recordings didn't have any protection before 1972, they did, but that protection was provided by state law. This is the center of the Turtles case against Sirius filed in 2013 in California, New York, and Florida.
Congress established the compulsory license and royalty for sound recordings online in the 1990s and the pre-72 issue was not addressed. The gist of the argument that Sirius and Pandora make is that because the compulsory license each service relies on is in the federal Copyright Act and because pre-72 recordings are not protected by federal copyright law, no royalty payment is required for pre-72 recordings under the federal Copyright Act's compulsory licenses administered by SoundExchange.
SoundExchange is now essentially being forced to deal with this issue because Sirius and Pandora both have decided to stop paying on these recordings while continuing to play them. Or rather, while continuing to play the most popular ones.
Let's be clear–this is not about feeling sorry for "legacy" artists. These are some of the best known artists of all time–which is why they are still getting played on Sirius and Pandora–in many cases 70 years after the records were released. The reason Sirius has "40s," "50s," "60s" and "70s" channels is because it profits them to do so.
And the artists should be paid because they deserve that respect.
Representatives George Holding and John Conyers are introducing a bill in the U.S. House of Representatives to handle this issue–the RESPECT Act. We haven't seen the legislation yet, but I anticipate that it will be consistent with the SoundExchange filing in the Copyright Office Music Licensing Study request for comments. It is not necessary to go to full "federalization" of the pre-72 recordings in order to clarify that they are to be included in the royalty payment.
Whatever the result, what is not correct is what Pandora and Sirius are doing now–playing the music without paying the artists. This is yet another missed opportunity for these two public companies. They could very easily have said that they'd continue paying artists rather than rely on a loophole. They could easily have joined with artists to fix this ambiguity. But…they didn't. More bad advice and lobbying malpractice.
And here's some of the artists they could have joined with, all of whom are supporting the RESPECT Act: The Allman Brothers Band, The Beach Boys, Roseanne Cash, Melissa Etheridge, Al Green, B.B. King, The Moody Blues, Cyndi Lauper, Martha Reeves, members of Steely Dan, The Supremes, The Temptations and Three Dog Night.
So once again, the Congress has to put other pressing business on hold in order to deal with Sirius and Pandora, public companies who want to get something for nothing. And make no mistake, Sirius at least is making money on this deal. Here's the before and after on their "music fees" as told to their customers:
Before December 2013:
After December 2013:
Do you get the impression from this advertising that Sirius is charging more but paying less? If you were a fan of the "decade" channels would you have any idea that Sirius was stiffing your favorite artists? This is verging on false advertising.
More on this as it evolves, you can get the latest from Project 72, the new effort from SoundExchange to make this right and #respectallmusic
A Guide To Music Performance Royalties, Part 3: An Interview with Mike Huppe of SoundExchange
[Editor Charlie sez: This interview first appeared in a 2 part series in the Huffington Post . It is also available as a podcast. This series continues the Guide to Music Performance Royalties Part 1 and Part 2.]
Background: As we developed in Parts 1 and 2 of this series, there is an important distinction between songs and recordings that is frequently lost on the public. When you hear a recording of a song, there are actually two distinct copyrights involved, the song (also called a "musical work") and the recording of the song.
When recordings are played on terrestrial radio, the writer of the song gets a royalty and the performer of the song on the recording gets nothing (neither does the record company). Almost every other country in the world besides the U.S. recognizes a performance right for recordings so that the artist does get paid for radio or internet airplay. (See the "I respect music" campaign and petition and our interview of campaigner, recording artist and entrepreneur, Blake Morgan.)
U.S. law changed in 1995 to pay a royalty for digital transmissions of certain kinds (satellite and Internet radio), and SoundExchange collects those royalties. If you are a featured artist or sound recording owner you can register at www.soundexchange.com.
The following chart extends the chart we started developing in this series and adds the "post digital" column and digital royalty column.
Note that the term "LOD" in the Record Producer box refers to the "Letter Of Direction" that artists sometimes send to SoundExchange authorizing the organization to pay a share of the featured artist's performance royalties to a producer. While individual producer rates will vary, the LOD is pretty typical "custom and practice"; the law only requires that performance royalties are paid to featured artists, non-featured artists and sound recording copyright owners. The producer's share percentage is negotiated by the producer as part of the producer's engagement by the artist and is usually expressed as the producer's royalty (say 4%) divided by the artist's royalty, including the producer's royalty (say 16%). In this example, the producer's LOD would provide for the producer to get 4/16ths or 25% of the artist 45% share of royalties collected by SoundExchange. (Engineers, mixers or remixers who receive a royalty can also negotiate for a share of the featured artist performance royalties.) The rate in the SoundExchange LOD typically tracks the producer's share of flat fee income (e.g., master use fees). See Record Producer Agreements: Accountings and Producer Letters of Direction.
Just to be clear, this chart and explanatory material does not come from SoundExchange. It is something I created to help explain the high level division of royalties.
|Post-digital income (Post 1995/1998)
Digital (non-interactive webcast, Simulcast)
Physical (CD, Vinyl)
US Radio/TV (OTA)
Ex US Radio/TV (OTA) For US Writer/Artist
|Yes, PRO
|Yes, mechanical from publisher
|Yes, PRO
|Yes, PRO
|Yes, sync license from publisher
|Music Publisher of Song
|Yes, PRO
|Yes, mechanical
|Yes, PRO
|Yes, PRO
|Yes, sync license
|Recording Artist ("Featured")
|Yes, SoundExchange
|Yes, from record company
|No (unless qualified see PPL)
|Yes, master use from label
|Featured Recording Artist if Sound Recording Owner
|Yes, SoundExchange
|Yes, from aggregator or distributor
|No, unless qualified (see PPL)
|Yes, master use (often all-in fee)
|Session Musician/Vocalist
|Yes, SoundExchange
|Yes, from union
|No (unless qualified see PPL)
|Yes from union
|Record Producer
|Yes, artist share from SoundExchange (if LOD)
|Yes from artist
|No (unless qualified see PPL)
|Yes from artist
|Record Company
|Yes, SoundExchange
|Yes from sales or license
|No (unless qualified see PPL)
|Yes, from master use
To help you understand more about the performance royalty for sound recordings and the role of SoundExchange in collecting and paying , we were able to interview Mike Huppe, the President of SoundExchange.
MTP: Tell us a little about SoundExchange. I think a lot of artists and musicians are unclear about what SoundExchange does, so perhaps you can explain how the digital performance royalty for sound recordings in the U.S. came to exist and what is involved.
Huppe: SoundExchange has been collecting performance royalties for sound recordings since 1995. To give a little background, most people in the U.S. are aware of entities like ASCAP, BMI and SESAC. For decades those groups have collected performance royalties for musical works [or songs] — the actual musical notes and lyrics that a songwriter creates. Until 1995, the sound recording side of the business, meaning the recording most people would recognize on the radio or on the internet, did not have performance rights in this country.
In 1995, for the first time ever in the U.S., the Congress established a performance royalty and a statutory license for the sound recording for certain types of digital transmissions. SoundExchange was entrusted with the collection and payment of those performance royalties. We administer a statutory license under the U.S. Copyright law, which means if a service like Pandora or iHeart Radio wants to stream a sound recording digitally, they can either obtain individual licenses from 5,000 rights owners or take advantage of a government license. According to federal law, that service would then simply file a two-page paper with the Copyright Office, meet the terms of the statutes, and then send their royalties and data every month to SoundExchange.
MTP: Just to give some perspective, how much money has SoundExchange distributed?
Huppe: To date, SoundExchange has distributed more than $2 billion in total. In 2013, SoundExchange distributed approximately $590.4 million in royalties — that's enormous growth since our distribution of $20 million in 2005.
We've had tremendous growth over the past 3-4 years as a result of a variety of factors which include an increase in the rates in 2006-2007 and a radical shift in the way people consume music. More and more people are accessing music through digital devices, mobile devices and through streaming content rather than downloading it. We've seen explosive growth–comparing 2005 to 2013, total payments increased over 2000%.
MTP: I still run into artists who have never heard of SoundExchange, what do you do to encourage artists and sound recording owners to register?
Huppe: That's a great question and you are absolutely right. SoundExchange's name recognition and brand is certainly more recognizable now than it was 10 years ago, but you are correct there are people who don't know who we are or confuse us with some of the other performance rights organizations, not recognizing that these other groups collect for a completely different right — for the song instead of the actual sound recording.
We do a lot in our effort to reach artists and rights owners. Every month, we get reports from people that we've never heard of, and who have never heard of us. Outreach is an ongoing effort, but the money comes to us, and it's our job to find and ensure these individuals to sign up.
On first impression, we sometimes hear from those that haven't registered that SoundExchange royalties "sound too good to be true." Understandable, but we have a dedicated team of staff who are focused solely on tracking down performers and labels to get them to claim their money. We try to track and contact them through a variety of methods to get them to register, including: regularly placing ads in print and online news outlets; targeting individuals via social media channels like Twitter, Facebook and YouTube; speaking on panels; sponsoring events or exhibiting at tradeshows. We host regular "how to register" webinars; and have even coordinated with music conferences, like at SXSW, where we put up large banners and hand out flyers with band names asking them to register.
In addition, we've partnered with various industry organizations such as AFM, SAG-AFTRA, MySpace, CD Baby, HFA, among others to match their lists against ours and conduct email, mail campaigns — all with the message: "Do any of you know these people? If so, can you please contact them?" We are perfectly open to those third-parties doing the branding and getting the benefit of finding money — we just want to ensure the creative community gets paid for their work. We executed over 150 matches in the past few years resulting in tens of thousands of emails to various folks sharing that SoundExchange has money for them. We are quite confident that we are doing more than our fair share of reaching out and contacting those we owe money to, because it's the right thing to do.
The real reward is when we register that individual or band where the money truly makes a difference. Approximately 80% of the checks SoundExchange sends out are for less than $5,000. We often hear from artists who express gratitude that we found them or those who might have registered with us, and forgot until they receive a check in their mailbox.
MTP: How many services use the statutory license and how many people does SoundExchange pay royalties to?
Huppe: Currently, we collect digital performance royalties from more than 2,000 services that send SoundExchange monthly reporting logs and payments. We take the data from all those services, clean it up, match it across various algorithms, sort it across numerous payees and then every quarter send out anywhere from 18,000-25,000 checks to all the registrants who come through SoundExchange to collect their money. As of today, we have more than 100,000 artist and record label accounts. When the money comes in, 50 percent of money goes to record labels or whomever owns the master and the other 50 percent goes to the performer — 45 percent goes to the feature performer and 5 percent to non-featured. We pay performers directly, regardless if they are recouped through their record label.
[MTP: That last point is very important because artists, particularly artists who are no longer signed, can be unrecouped and might not be entitled to royalties under their recording agreements. SoundExchange pays the statutory royalty to these artists without regard to whether they are recouped under their old or current record deals.]
MTP: Where do you see SoundExchange in the next 5 years?
Huppe: I am very excited about where SoundExchange is going. We are a very interesting and unique organization — certainly unlike any other in this country. We're optimistic about where the music industry is headed and see opportunity for SoundExchange to help digital music services thrive.
SoundExchange is currently one of the top digital revenue sources for most record labels in the U.S. We are growing fast because of all the ways music usage is changing. What we do is increasingly being relied on as a revenue stream for performers and record labels alike. SoundExchange checks have become a very real source of income, and it's exciting to hear from those who are grateful for what we do.
Although we squabble over royalty rates with the service providers, we view ourselves as partners that enable music service to do what they do best — creating new ways to listen and discover music. In the long run, we want them to succeed. It's in their best interest, our best interest and the best interest of the consumer to have a very full and vibrant webcasting market. We want them to create new business models, new ways of listening to music and we feel that SoundExchange enables all of that. We are the back office to a lot of these new business models emerging on the web.
In the next five years, we see ourselves growing, providing an important role in some of these business models and we hope to continue to increasing digital royalty payments (remember we went from $20M in 2005 to $590 million in 2013). One of our main responsibilities is fighting for the long-term value of content — a battle we will never shy from. We believe that content is critically important, it is the backbone of many music services and what they provide. Content is the blood and sweat of the performers and the investment of the record labels. We are constantly fighting to maximize the value of content so that those folks can get paid for all the revenue they bring to services.
We will also have an authoritative repertoire database in place that will not only be a resource to the industry so that people can go and find out about the ownership of sound recordings, but also to improve the tracking of collections and more timely payments. We are also in the process of rebuilding our technology and distribution platform in order to scale better and handle the explosive growth. Once we complete that platform I believe there are many other services SoundExchange can provide to the industry beyond processing this license. The possibilities are endless.
We are very excited about where we are headed and what we can do for the industry. And again, the fact that we are a non-profit, the fact that our board represents artists, unions, independent labels and major labels really makes us uniquely positioned to do these things for the greater good of the industry.


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Sunday, March 22, 2015
What's New on Pinterest
If you're pressed for time, revel in our
Rave-worthy Ravioli
finds. Entertaining? Try a crispy ravioli appetizer or pull a company-ready pan of bubbling hot spinach and artichoke ravioli bake from the oven. Ravioli with sautéed asparagus and walnuts shows off spring's tender green spears or pass on the pasta and encase fillings paleo-style in skinny squash slices. Nacho chicken ravioli, ravioli lasagna and lemon ricotta ravioli with wilted greens are quick comforts, and even dessert's a wrap thanks to three-ingredient Nutella ravioli and chocolate ravioli with mascarpone.
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I remember making mud pies with my sisters in our back garden. We had a Rhuss tree and used to mash up the tiny rust-coloured furry balls from the seed heads into our potions. I can still remember the distinctive smell of those seed heads, even now!
With children of my own – and of course through the eyes of dozens of nursery children – I can now see the value of this kind of play. Making pies and potions is fun but it also allows for the development of all kinds of skills; socialisation, being the most important one, I think. You can make witchy potions on your own, but it is so much more satisfying to serve your concoction to your friends and watch them turn into frogs. And you can't have a cafe without customers, can you? With this kind of play comes learning to take turns, to share resources and to ask – and give – favours. You need to be able to use your pleases and thank yous!
At Harpole Day Nursery, we are so grateful to Mr Adams who made our mud kitchen. It has a sink and a hob and with the addition of a few pots and pans, it makes a wonderful place to play. Our gratitude also goes to Mr Wayman, who made our nativity stable which now doubles as a cafe/shop/shelter/den.


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The Oilfield Chemicals Market research report is expected to have a highly positive outlook 2018-2026 according to CMI published a business reserch report on Oilfield Chemicals Market research report. The Oilfield Chemicals Market report evaluates the growth trends of the industry through historical study and estimates future prospects based on complete research. The report extensively provides the market size, share, growth, trends and forecasts for the period 2018-2026. The market size in terms of revenue (USD MN) is calculated for the study period along with the details of the factors affecting the market growth (drivers and restraints).
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Fine Beadwork Embroidery Kits
Before you begin please check the contents of your kit. If anything appears to be missing or in short supply please contact us and we shall be happy to forward the item.
The Japanese seed beads are selected for their high quality but may vary slightly in their size and shape. The kit contains more beads than you need to complete the design so select only the best when sewing. The beads and needles are very fine so if possible work in good light to avoid straining your eyes.
Start by placing all the seed beads on a flat surface, a beading mat is perfect but a plate may work just as well, and sort them into colour groups. Each of these bead colour groups will be represented by a similarly coloured symbol on the chart.
Next, find the centre of the beading fabric. This may be done using either a ruler or simply by folding the fabric in half along both diagonals.
The kit contains two needles, a beading needle with a very fine eye and an embroidery needle with a larger eye for the embroidery thread.
Ideally, the beads are sewn using two strands of white sewing thread. However, the eye of the beading needle is very fine and threading the needle can be fiddly so a single length of sewing thread, although not as strong, may be used instead.
Cut a 1.5m length of white sewing thread. Fold the thread in half and cut the two free ends to the same length before threading them through the fine eye of the beading needle.
Starting at the centre of the beading fabric use a loop knot to attach the thread -
Bring the needle through the central hole leaving a loop of thread hanging at the back.
Following the chart, slip the correctly coloured bead onto the needle.
Pass the needle back through the neighbouring, diagonal hole, and through the loop of thread, pulling tight to attach both the bead and the thread to the fabric.
Use only the large holes in the fabric for stitching the beads.
An extra stitch, through a small hole, after every four or five beads helps to secure
everything in place.
Each square on the chart represents a single bead. The squares are marked with a symbol and are coloured in a similar shade to the bead they represent. Starting at the centre, working through the large holes of the fabric, and following the chart, attach the beads. Take care to stitch in the same diagonal direction (half cross stitch) to ensure the beads lie flat. As the design progresses the beads will start to lock themselves together. Make a few small stitches in the back of your work when finishing one length of thread and starting another. You may choose to stitch all the beads of one colour before moving onto the next colour. Alternatively, work across the rows picking the correctly coloured bead.
Single Colour
Row by Row