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Published on 09-15-2018 08:22 AM
Watch Formula 1? You are not alone as it is the world's most popular motorsport. It is not the most popular motorsport in the United States though and there are various reasons for that but the quality of racing is often times quite boring. ...
Testing the difference between OEM Porsche aluminum GT3 wheels and Carbon Revolution carbon fiber wheels on a Porsche 991.1 Carrera SPublished on 09-10-2018 11:25 PM
Carbon fiber wheels were once a dream but are increasingly becoming a realistic performance upgrade for enthusiasts as prices drop. It certainly helped that Ford sold the GT350R with production carbon fiber wheels which, yes, Carbon Revolution supplied. ...Published on 08-27-2018 06:52 PM
Formula 1 is back from its summer break and the back half of the season kicked off with the Belgian Grand Prix at Spa. After initial drama it was relatively uneventful as Sebastian Vettel got ahead of Lewis Hamilton and never looked back. ...Published on 08-22-2018 06:39 PM
Fabspeed Motorsport is a name all of us know. I knew it back when I first got started with cars way back almost twenty years ago in those late teenage years. Fabspeed did something nobody else did at the time which was offer reasonably priced exhausts for exotics designed and built in the USA. ...Published on 08-14-2018 11:32 PM
This picture caught our attention as it highlights just how massive the Precision PT118 is. Yes, the 118 in the name tells you the 118mm inducer size. The Garrett GTX3582R by comparison has a 66mm inducer good for up to 850 horsepower. ...Published on 08-08-2018 05:41 PM
We have a problem. California wants to continue to tighten emissions regulations to match Obama-era promises mandating a steep rise in fuel efficiency requirements through 2025. The Trump Administration wants a freeze keeping things at 2020 levels until 2026. ...Published on 08-06-2018 11:21 PM
As you know Pirelli is the official Formula 1 tire supplier. For those of you out there who are big time Formula 1 geeks or just think this is cool Ixoost developed a speaker based on the design of various Formula 1 tires. ...Published on 07-25-2018 12:15 PM
Fine, it is not 500 lb-ft at the wheels but 495 lb-ft of torque at the wheels. Close enough though, right? Absolutely incredible torque figures in what is very hot Southern California summer weather. ...Published on 07-25-2018 09:22 AM
This is obviously sad news and FCA (Fiat Chrysler Automobiles) lost its CEO who helped organize the merger. There were many critics but it is hard to argue Chrysler, FIAT, and the various associated brands are not much better of today than they were just five years ago. ...Published on 07-24-2018 10:32 AM
Mercedes-AMG had another strong showing and a 1-2 finish but they received a rather large gift from Ferrari's Sebastian Vettel who locked up and hit a wall while leading the race. Rain came pouring in and some cars were caught with the wrong tires. ...Published on 07-18-2018 02:01 AM
It is nice to see something different from HRE. The company has some of the best looking wheels on the market but the designs have not seen any real styling evolution in some time. In come sthe RS3 series with interesting twisted-spoke styling. ...Published on 07-11-2018 08:23 PM
Many of us have loud exhausts on our cars. Imagine you are out enjoying your car and someone comes up and kicks it because the exhaust is too loud. How would you react? Well, the Asian actor who owns this particular R8 decided to kick some ass. ...Published on 07-09-2018 05:31 PM
The British Grand Prix was exciting and one of the better races of the 2018 calendar year thus far. Ferrari and Mercedes-AMG had at it again proving whomever is going to come out on top at the end is really going to have to earn it and perhaps have some luck involved. ...Published on 06-26-2018 01:22 PM
The French Grand Prix was interesting mostly due to the carnage from the first lap. Mercedes-AMG qualified 1-2 with Hamilton in front but Bottas was clipped going into an early turn by Sebastian Vettel which essentially relegated both Bottas and Vettel to the back of the pack. ...Published on 06-20-2018 06:12 AM
As you likely know Toyota won the 2018 24 Hours of Le Mans and Fernando Alonso was one of the drivers for the winning Toyota TS050 Hybrid. Toyota is going to celebrate the victory in style but just look at Fernando Alonso make his way through the field. ...


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A leader in health policy analysis and health journalism, the KFF is dedicated to filling the need for trusted information on national health issues.
The Kaiser Family Foundation is a non-profit organization focusing on national health issues, as well as the U.S. role in global health policy. Unlike grant-making foundations, KFF develops and runs its own policy analysis, journalism and communications programs, sometimes in partnership with major news organizations. KFF serves as a non-partisan source of facts, analysis and journalism for policymakers, the media, the health policy community and the public. Our product is information, always provided free of charge — from the most sophisticated policy research, to basic facts and numbers, to in depth health policy news coverage provided by our news service, KHN, to information young people can use to improve their health or the general public can use to understand the health reform law. The modern day KFF was established in the early 1990s with its current mission and operating style. It is not associated with Kaiser Permanente.More About The Foundation History & Mission Our Programs See more
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subset: commoncrawl


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The Medicare Rights Center recognizes that one of the most effective ways to educate the public about Medicare is through the media.
We know that the press is the best tool for disseminating information widely and to diverse audiences. We work closely with local and national media outlets to get the word out about important policy issues and the day-to-day Medicare challenges that consumers face. Our communications efforts allow us to reach consumers, advocates and policy makers, as well as decision makers in the health care industry.
If you are a member of the press, please contact us to be added to our press list.


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There is a reason why I am jealous of men and small children. No, its not their willingness to display immature behavior or their inability to feed themselves – its their lashes. Babies have fabulous lashes. Many men have amazing lashes. My other half has lashes that get tangled because they are so long. Sometimes I look at my arm pit hair and think, why couldn't you have been transferred to my lashes instead – but no. Life doesn't work like that.
I have long wanted lush, stunning lashes. But I am Asian – most of us are given short, straight, downward facing lashes. I need to curl everyday, I occasionally get lash perms (50% disastrous). I have problem lashes. They are depressed.
So when I went to see lash guru, Sue Marsh at Cosmetics A La Carte I was dying to see what she would do on me.
Sue offers various services, her new range being the Swift Lash 2go range, using fashion lashes for dramatic looks. They can can be done in under 30 minutes (or you can choose a natural look), and it lasts for 2-3 days. Here's an example of a fashion look created by Sue:
You can see the gallery here.
Anyway. So, no one told me that the distance between the tube stops on the map does NOT IN ANY WAY CORRELATE WITH HOW FAR STOPS ACTUALLY ARE FROM EACH OTHER. I set off with good time I tell you, but after running in circles around Harrods for half an hour I finally used my spidey sense and ended up at Cosmetics A La Carte, which is one of Sue's venues.
Sue has worked with lots of designers and celebrities so I wasn't sure what she would be like – that and I was half an hour late (blame London maps!) and sweating, but she was very very lovely. Sue is a bit of a glamourpuss with curled blonde hair and red lips, and immediately did some lash dialysis.
Diagnosis: A lash lift treatment (similar to perming but done at the root so the curl is natural) and some lashes applied to the ends in a colour to make the brown of my eyes stick out – in blue and green.
I lay on a comfy dentists chair while Sue taped my bottom lashes down (with surgical tape! not sellotape). She than began the root lift, which didn't feel as uncomfortable has having a perm (when the lash has to be pulled really tightly over the rod). It didn't feel uncomfortable to me because I get cat paws whacked into my face quite a lot – cat battery – so I'm used to the poking and prodding.
After the lift (which took a fair while) Sue showed me the results – the curl was much much much less harsh than the usual perm (which I have had done three times in total).
The next stage was the application of the single lashes. Sue decided in the end to put more lashes on across the top so the whole thing would have more impact.
Being a perfectionist, Sue also tidied up my brows, making the shape smoother and plucking out all the pesky hairs that were lurking under the skin in a very quick and painless way. I'm making this sound like a it was a quick thing, but the whole procedure took three hours and was incredibly precise and painstaking. Quite frankly, I would choose it over threading any day.
My Eye Before:
Yeah baby!I had a mixture of green and blue lashes put on.
Whilst I was in the chair, we talked about things that make lashes fall out. Waterproof mascara was one of the things mentioned (tis true – I scrub at my lashes to get it off) and Sue's tip was to let as much mascara as possible run off in the shower and then take the remainder off gently. Not only does this look after the lashes, it also looks after the eye area.
Extensions need some tender loving care – this means not using waterproof mascara, oil based eye make up removers, not scrubbing at the lashes, avoiding (if possible) mascara, not using saunas or steam based facial products. The lashes look pretty stellar on their own anyway so mascara on top would be a little bit too much in my opinion.
Also with a lash lift, you can't wear mascara for 48 hours or you will ruin the effect. You should also avoid getting water on the lashes for 24 hours.
I didn't find it uncomfortable at all because Sue does a check to make sure everything is as it should be once you are done. Finally lashes that nearly touch my brows!
That night I went to see Wicked the Musical – I only sat right under the air conditioning which made my right eye run consistently for three hours. As a result my right eye flopped a little bit more than my left. Grrr! But it is in the rules – don't get your lashes wet. I am surprised my eye could actually run for three hours straight, but they did.
Verdict: This is the first lash extension treatment I have had and although it took ages I loved it. The result is there for all to see – very glam, very sexy, really stunning.
Having said all that, this is not a low maintenance procedure. It isn't cheap, it does require care afterwards and fill in once they start for fall out. Would I do it again – oh yes, in a heartbeat but I do love lashes.
The ones I had should last 3-4 weeks.
Sue said she will be releasing some home based products soon – looking forward to it!
Prices are from £45 for the Swift2Go fashion lashes but it will vary depending on your service, and whether you have Sue or a technician who has been trained by her. As an example, 1/4 of your upper lashes would cost £60 with a tech or £80 with Sue, a root lift is £98 with a tech, £115 with Sue.
The process is time consuming and I would advise anyone considering it to find a professional because there are lots of lash disasters and mishaps that can happen if you don't find someone who has been properly trained, and more importantly, practiced. It's not meant to be a cheap procedure frankly because it takes a long time to do and you are messing with peoples eyes – if you are going to do it, get it done properly!
You can get Sue at Daniel Galvin, 58-60 George Street, London W1U 7ET. Tel: 020 7486 9661. Or email – firstname.lastname@example.com. Her website is here.
Highly Recommended


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Mediterranean Maritime Park
Ceuta marina
Ceuta Military Museum
Contact details
Turismo de Ceuta
C/ Edrissis, s/n. Baluarte de los Mallorquines
51001 Ceuta (Ceuta)
Tel.:+34 856200560
An open city which links two continents and in which four different cultures come together and intermingle: Christian, Muslim, Hindu and Jewish. Sites not to miss include the Royal Walls and the Mediterranean Maritime Park. And if you're keen on water sports, you'll really enjoy Ceuta's coast. You'll be able to paddle in a kayak, visit the city in a recreational vehicle and spot turtles, dolphins and whales. But this coastline is a particular favourite with scuba divers, as this is the place where the waters of the Atlantic Ocean and the Mediterranean Sea meet and mingle together, thus encouraging a constant regeneration of its flora and fauna.


text: 1. Never write in all capital letters or in all lower case letters. 2. Be sure to show the connection between your message and the subject of the message board. 3. Always state specifically what you want to know. 4. Never use acronyms such as LOL, BTW or CYL. These are genealogy message boards not 'Chat Rooms'. 5. Never use non-standard abbreviations such as CTY for county, GGF for great grandfather, or BIL for brother in law. 6. These are genealogy boards so don't place messages searching for school chums, adoption information, searching for birth mother, or messages looking for missing family members. There are "Topic Message Boards" for such subjects.


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Remember Me
Click Here for Pictures and Videos from our 25th Anniversary Celebration on Capitol Hill in Washington, D.C.
SeniorNet's mission is to provide older adults education for and access to computer technologies to enhance their lives and enable them to share their knowledge and wisdom. Find out how you can become a part of SeniorNet and start enjoying the benefits of membership today!
If you are looking for some help to learn new or enhance existing computer skills, you have found the right place. Welcome. Come on in and make yourself at home. SeniorNet is the nation's premier and most respected nonprofit organization specializing in computer and Internet education for adults over 55 and those in need (veterans, disenfranchised, and those with disabilities) Since 1986, SeniorNet has empowered more than two and a half million students by providing encouragement, lifelong learning opportunities and new worlds to explore via the Internet. Based in Fort Myers, Florida, we have learning centers across the United States, including Indian Reservations with international affiliations in Nepal, Netherlands, South Korea, China, UK, Sweden and New Zealand.
SeniorNet is Celebrating their 25th Anniversary!
Read more...
SeniorNet Appoints Four New Board Members in Pursuit of Strategic Growth
Leaders in Aging to Propel Non-Profit Forward
FORT MYERS, FL, July 11, 2018 /24-7PressRelease/ -- SeniorNet, the nation's premier provider of computer education to those in need, added four new directors to its board to help foster growth and the organization's commitment to diversity. The new members will serve two-year terms. The new directors are:
Debra Carter is National Director of the Senior Community Services Employment Program (SCSEP), administered by the National Caucus and Center on Black Aging, Inc. (NCBA). Carter who has been with the center for nearly 16 years, is a recognized and accomplished leader in training older workers. She now directs the National SCSEP program which serves nine states and the District of Columbia. Prior to joining NCBA, Carter was Executive Director of Sunrise Assisted Living in Pikesville, Md.
Anthony Cirillo is president of The Aging Experience. His consultancy helps organizations craft experiences and opportunities in the mature marketplace, as well as helping family caregivers thrive. He is a monthly contributor to the Charlotte Today program, a blogger for Huffington Post 50, and contributor to US News and World Report. He is a Fellow of the American College of Healthcare Executives and an editorial board member of the Journal of Aging and Geriatric Psychiatry. William I. "Bill" James currently serves as VP of Operations at the Computer Club of Oklahoma City (SeniorNet). He previously served for two terms as the group's president beginning in 2000. James is an avid contributor to SeniorNet's curriculum and technical advancement. He volunteers for the Association of Personal Computer Users Group and serves on the board of North Care Center, a private, non-profit behavioral and social services facility in his hometown. James is retired from the Federal Aviation Administration.Sarah Ruiz, Ph.D. is a Program Officer at the National Institute on Disability, Independent Living, and Rehabilitation Research. Dr. Ruiz has more than 15 years of experience designing and analyzing research studies on health outcomes for older adults and people with disabilities. Her previous roles encompassed research leadership positions at NORC at the University of Chicago, the National Self-Management Alliance, RAND Corporation and IMPAQ International.
"SeniorNet is proud to welcome these four leaders in aging and technology to our board," said the organization's Chairman Paul DelPonte. "Each will help propel SeniorNet forward with new ideas, new energy and new partnerships as rapidly changing technology tries to keep pace with the nation's aging boom."
Also welcoming the new members are incumbent Board members: Slava Vero, vice chairman and co-founder of the SeniorNet Computer Learning Center on Long Island, N.Y.; Joseph Shaffery, treasurer and former VP and treasurer of HELP USA; Barbara Page, secretary and former board chair of the Family Service League of Long Island, N.Y.; Dr. Donghee Han, director of the Research Institute of Science for Better Living for the Elderly; Paul Sladkus, founder of the Good News Corporation; and Leslie M. Smith, retired IBM business development executive and SeniorNet President and CEO.
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SeniorNet Receives $122,500 "Cy Pres" Award
In 2010, SeniorNet received a "Cy Pres" Award of $122,500, which was part of a $11.5 Million settlement resolving a federal class action, In re ATI Tech. HDCP Litigation, with distribution of $2 Million dollars of funding to fifteen organizations which included SeniorNet.
SeniorNet thanks the nearly four years of hard work and dedication of Los Angeles Attorney David C. Parisi of Parisi & Havens, LLP and New York Attorney Scott A. Kamber of KamberLaw, LLC, who were counsel on this case and selected the organizations to receive the award designated by court order.
This exemplifies the continued visability of SeniorNet as the nation's premier provider of computer education to those in need, both seniors and the underserved.
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Stephen Edwin King (born September 21, 1947) is an American author of contemporary horror, suspense, science fiction and fantasy fiction. His books have sold more than 350 million copies, which have been adapted into a number of feature films, television movies and comic books. As of 2011, King has written and published 49 novels, including seven under the pen name Richard Bachman, five non-fiction books, and nine collections of short stories. Many of his stories are set in his home state of Maine.
King has received Bram Stoker Awards, World Fantasy Awards, British Fantasy Society Awards, his novella The Way Station was a Nebula Award novelette nominee, and in 2003, the National Book Foundation awarded him the Medal for Distinguished Contribution to American Letters.
King's father, Donald Edwin King, who was born ca. 1913 in Peru, Indiana, was a merchant seaman. King's mother, Nellie Ruth (née Pillsbury; March 13, 1913 – December 28, 1973) was born in Scarborough, Maine. They were married July 23, 1939, in Cumberland County, Maine.


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You know it's bad when…….Tuesday, October 21st, 2008
French Bistros File Record Bankruptcies as Le Big Mac ReignsÂ
By Ladka Bauerova
Oct. 21 (Bloomberg) — It's lunchtime in Paris and the packed restaurant has neither checkered tablecloths nor carafes of red wine. It's a McDonald's and the French are lovin' it.
While rising prices and record low consumer confidence drive the French to throw their culinary pride to the wind and embrace le Big Mac, traditional bistros are hurting. About 3,000 independent French restaurants filed for bankruptcy in the first half, a record 27 percent higher than the same period a year earlier, according to Paris-based statistics office Insee.
"A hamburger patty and fries in a bistro around the corner from my office costs almost twice as much," said Alexandre Cavanel, a 27-year-old computer programmer, as he tucked into his 8 euro ($10.70) double cheeseburger menu meal with colleagues at a McDonald's in Paris's Opera district.
McDonald's, accused by Jose Bove — the activist farmer who ran last year for president — of serving "malbouffe," or junk food, said French revenue will increase 12 percent this year. In contrast, the fate of traditional French restaurants may worsen as a slumping economy drives more people to swap offerings such as duck dish "confit de canard" and "blanquette" of veal for hamburgers and fries, economists said.
France may have slipped into its first recession in more than 15 years in the third quarter, Insee said Oct. 3. Consumer spending will stagnate for the rest of 2008 as employment and the real estate market deteriorate and credit for new investment dries up, the statistics office said.
"Clearly, the current economic environment speaks in favor of cheaper products," said Dominique Barbet, an economist at BNP Paribas SA in Paris.
Wine for Lunch
That trend is evident also in other industries. Retailers including Carrefour SA and Casino Guichard-Perrachon SA report consumers buying unbranded products and switching from supermarkets to discount chains. Groupe Danone SA, the maker of Activia yogurt, last month introduced cheaper products to offer shoppers alternatives.
Many French restaurateurs and cafe owners are concerned that rising prices and growing unemployment together with the global financial crisis will stop people from dining out.
"Fewer people eat in restaurants now, and when they do come they don't order like before," said Clara Vega, a manager of La Cote d'Azur cafe on Rue Quatre Septembre in central Paris. "They used to order an appetizer and a meat dish with a glass of wine for lunch. Now they buy a crocque and wash it down with a carafe of tap water."
A crocque is a popular French snack similar to a grilled cheese sandwich. A steak with fries costs 13.70 euros while a crocque goes for 5.20 euros in La Cote d'Azur.
Rising Bankruptcies
Falling consumer spending and a ban on smoking in cafes have eroded business, resulting in more restaurant bankruptcies in the wealthiest Paris neighborhoods as well as in less affluent ones, court records show.
"L'Instant de Plaisir," in the 12th arrondissement, met with the same fate as "Manhattan" on the Champs Elysees and "Le Consul II" on the opulent Avenue Friedland in the past six months, according to the Tribunal de Commerce.
"We are disturbed by the rise in bankruptcy filings and fear the consequences for our businesses," Union des Metiers et des Industries de l'Hotelerie, a hotel and restaurant association, said in a Sept. 25 press release. "Restaurants, particularly cafes in rural areas, have seen a brutal decline in their business."
Meanwhile, France has cemented its position as the biggest earner outside the U.S. for McDonald's Corp., accounting for about 13 percent of total sales.
Cheap Meals
"Logically, people are switching from restaurants to fast food," said BNP's Barbet.
McDonald's, which is based in Oak Brook, Illinois, and opened its first French restaurant in Strasbourg in 1979, is doing better than ever. Sales at the company's 1,115 outlets in France will rise this year to a record 3.35 billion euros, McDonald's said this month. The company is opening 29 new restaurants in France this year.
"In the short term, we will probably benefit from the current economic crisis," Jean-Pierre Petit, chief executive officer of McDonald's France and southern Europe, said in an interview. "Offering food at accessible prices and correcting our negative image helped us win over clients who used to eat only in traditional French restaurants."
Still, even McDonald's is wary of the economic morass.
"It's never good to have an economic crisis because sooner or later it will catch up with you," Petit said. "That's why we aren't just offering cheap meals. We are also offering a wider selection of products."
Since becoming CEO of McDonald's France in 2003, Petit has added salads, Danone yogurts and bite-sized snacks to the menu, overhauled interior design and opened about 30 outlets a year. While there are fewer McDonald's outlets in France than in Germany, they generate more revenue per customer, he said.
At the McDonald's Opera restaurant, Cavanel's friend Jerome, also a computer programmer, said he enjoys eating at McDonald's even though it makes him feel a little guilty.
"I know it's malbouffe, but malbouffe can be good every now and then," he said, declining to give his surname. "We eat differently from the Americans. We eat less, and only at meal times. And we can't afford a proper lunch every day."


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"Duck Dynasty" debacle winners and losers
The feathers are no longer flying. For now, the "Duck Dynasty" debacle is settled. The network, A&E, has welcomed patriarch and hate-speech spewer Phil Robertson back into the fold. The hiatus that was to be his punishment for homophobic and racist comments made in a GQ interview has been lifted.
So who were the winners and losers in this sad episode?
A&E, which seized the moment to attract more viewers (fans and hate-watchers, both), proved that money is the first priority in TV programming. The network wins the craven capitalism prize.
Sarah Palin and other politicians who piled on, claiming Christianity as an excuse for hate speech, win the hypocrisy award. I'm no theologian, but vile bigoted comments would seem to qualify as unchristian.
Free speech advocates and reality TV fans come out on the winning side, and really, why should a bigot be muzzled? Shine a light on the ignorance. Certainly the "Big Brother" flap proved commercial interests take care of punishment in the long run. (A modeling contract was cancelled after a contestant spouted racist and homophobic slurs inside the BB house.) It's now up to viewers to find the "Duck Dynasty" patriarch's comments abhorrent, and up to sponsors to decide not to advertise.
Journalistically, the winner was GQ for publishing the revealing ignorant comments in the first place.
Robertson and clan won the financial security of an ongoing reality TV show but suffered humiliation.
A&E's stated intention to run public service announcements promoting "unity, tolerance and acceptance" is a lame PR move.
Haters gonna hate, but it's better to know where the offensive hatred is located.


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For over a decade, the Millenium Seed Bank Partnership has been working in collaboration with scientists from around the world to establish an insurance policy against the extinction of Earth's plant species. By 2020, the project hopes to have safely stored 25% of the world's plant diversity in massive, nuclear-bomb-proof underground seed vaults.
This beautiful short film takes you behind the scenes of the Millenium Seed Bank Partnership and the Kew Gardens (home to the world's largest living plant collection), along with many of the scientists working to preserve the global seed supply. [Spotted on Brain Pickings]


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FICPAYou Are Here:
Quick CPE Search
The Do's and Dont's of Password Management
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Passwords; seems like we are constantly getting a new one. More sites require logins and passwords are frequently changed in the workplace. Microsoft recently conducted a study on user passwords. The average user has 6.5 passwords, which are shard across 3.9 different sites. Each user has about 25 accounts that require passwords and types an average of eight passwords each day.
Remembering all those passwords can present a challenge. There are a number of ways to keep track of your passwords; here is a list of different methods to try and some not to try.


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Hatfield, Massachusetts
|This article is a stub. Help us to expand it by contributing your knowledge. For county and town page guidelines, visit U.S. County Page Content Suggestions.
Hatfield is a town in Massachusetts. It was formed in 1670 and was previously called Hadley. It can be found in Hampshire county. For more information, contact the county at 59 Main St., Hatfield 01038. On the attached map, Hatfield is shown as 8 in Hampshire county.
For information about the state of Massachusetts see Massachusetts Family History Research.


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The Dirty (Hardy & Kate) and Rowdy (Matt & Amy) families got together for a simple purpose; make honest wines that we want to drink.
There's a long story about Dirty and Rowdy involving blogs, videos, dream jobs, Atlanta, late nights spent cooking spicy fried chicken in an old cast iron skillet, and a sincere love of real wine and real food.
After years of fried chicken it was only logical that we would start a band…or better yet, a winery. In 2010 we began making wine — these are wines with knees, elbows, and open hearts.


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Great to see you back and running ( or drawing if you prefer). Get in touch with me when you get the chance. Lots of news and all that.
Take Care
Hell to the left of me, Lawyers to the right. Here I am, stuck in the middle and screwed!


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Camp Invention - Annunciation Catholic School
- Cave Creek, AZ
- Cave Creek, AZ
- Camp Type: Day
- Age of Campers: 6 - 11
- Gender of Campers: Coed
Invent the future today at Camp Invention®!
A program of the National Inventors Hall of Fame®, Camp Invention is an exciting, week-long summer adventure with lessons that explore connections between science, technology, engineering, and innovation. Children in kindergarten through 6th grade work together to seek solutions to real-world problems and sharpen critical 21st century learning skills while rotating through several fascinating modules.
Camp Invention connects children to inventors who changed the world, and enhances the scientific knowledge base of participants. The program hooks children and gives them high-energy, hands-on, innovative fun, while presenting them with challenges that emphasize STEM, collaboration, and entrepreneurship through innovation. Camp Invention positively impacts teacher attitudes toward science content while reinforcing their abilities to instruct children using educationally sound methods and creates effective strategies for developing challenges to prepare students for the future. Every year the fresh content inspires children to explore, have big ideas, and make new innovations.
Camp Invention's all-new program, Fast Forward, allows campers to bring their "smart" home to life with smart furniture and eco-smart energy, design a robotic dog and diagnose puppy problems, explore sensors by designing tracks for an Optibot, a robot that senses dark and light surfaces, and build Cake Catapults!
Optibot™ – Campers will launch into the future with their own Optibot—a small self-driving bot that senses changes in light. Exploring the technology behind transportation, children will design the ultimate futuristic vehicle that might one day be reality!
Robotic Pet Vet™ – Animal shelters are reporting that malfunctioning robotic dogs have been popping up all over town. Hurry and tell your young inventor to grab their vet kit because there's only one cure for these pups—innovation! Throughout this module, campers diagnose puppy problems and design and build dog parks as they hammer out ideas for the best dog park attraction.
Mod My Mini Mansion™ – Campers will dream up and design their very own futuristic smart home filled with gadgets, LEDs, technology and innovation! From talking mirrors to toasters that know how to cook their favorite foods, your child will invent and build models of these smart gadgets and gizmos.
Stick To It™ – Campers will invent something new every day as they explore what it is like to be a physicist, engineer and entrepreneur. Daily challenges inspire campers to bring their own ideas to the table, think big, persevere and get to the heart of what it means to be an inventor. Your young innovator will invent, make and craft solutions to real-world challenges by building their own prototypes and discovering that anything is possible!
Local educators will facilitate program modules and enthusiastic high school and college students will serve as Leadership Interns ensuring that one staff member is in place for every eight children.
Availability is limited, so visit www.campinvention.org or call 800-968-4332 to learn more and secure your child's spot today! Use promo code Camps25 to save $25 (expires 3/23) and Camps15 to save $15 (expires 5/4).


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A Hidden Guest Bed With Your Symphony Organic Mattress
A Hidden Guest Bed With Your Symphony Organic Mattress
Psst. I've got some inside information for you. Naturepedic's newly redesigned and sublimely comfortable Symphony organic pillowtop mattress offers a hidden "guest bed." We don't market this as a feature, so this will be our little secret.
If you have a Symphony, I doubt you'll be offering it to guests, not even to a favorite sister. With a base of two layers of support coils, each coil individually wrapped in certified organic cotton fabric and hand assembled, how can you be expected to go without that glorious support and isolation of movement? I'm not judging. I didn't even mention the 1 inch of certified organic natural latex foam built into the base. Listen. I understand. The Symphony takes comfort to a remarkable level.
This base alone is already incredibly comfortable as a cushion firm mattress.
Of course on top of this base you have a two-sided pillowtop made with 3 inches of organic latex. One side of the pillowtop is deeply quilted for an uber-plush, luxurious feel. Flip the pillowtop over and you find a lower-fill quilt design that creates a firmer sensation while still delivering a plush level of support. Three sleep sensations, depending on your preference, or even mood.
So here is the secret. If you're in a pinch and need one more additional sleep surface, you can pull that lush pillowtop onto the floor for a comfy, cushy pad. You still get an incredible sleep sensation, and your guest(s) gets a cloud-like sleep surface better than any cot or couch could ever offer.
You'll sleep satisfied. Instead of giving the shirt off your back, you'll have given the top off your mattress, and that's kind of the same thing, isn't it?
Yes. It really is.


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New parents often learn how to swaddle their infant from the nurses in the hospital. A blanket wrapped snuggly around your baby's body can resemble the mother's womb and help soothe your newborn baby. The American Academy of Pediatrics (AAP) says that when done correctly, swaddling can be an effective technique to help calm infants and promote
But if you plan to swaddle your infant at home, you need to follow a few guidelines to make sure you are doing it safely.
To reduce the risk of
Sudden Infant Death Syndrome, or SIDS, it's important to place your baby to sleep on his back, every time you put him to sleep. This may be even more important if your baby is swaddled. Some studies have shown an increased risk of SIDS and accidental suffocation when babies are swaddled if they are placed on their stomach to sleep, or if they roll onto their stomach, says Rachel Moon, MD, FAAP, chair of the task force that authored the
AAP's safe sleep recommendations.
"I would stop swaddling by age 2 months, before the baby intentionally starts to try to roll," Dr. Moon says. "If babies are swaddled, they should be placed only on their back and monitored so they don't accidentally roll over."
Parents should know that there are some risks to swaddling, Dr. Moon says. Swaddling may decrease a baby's arousal, so that it's harder for the baby to wake up. "That is why parents like swaddling – the baby sleeps longer and doesn't wake up as easily," she said. "But we know that decreased arousal can be a problem and may be one of the main reasons that babies die of SIDS."
The AAP recommends parents follow the safe sleep recommendations every time they place their baby to sleep for naps or at nighttime:
Babies who are swaddled too tightly may develop a problem with their hips. Studies have found that straightening and tightly wrapping a baby's legs can lead to hip dislocation or
hip dysplasia, an abnormal formation of the hip joint where the top of the thigh bone is not held firmly in the socket of the hip.
The Pediatric Orthopaedic Society of North America, with the AAP Section on Orthopaedics, promotes "hip-healthy swaddling" that allows the baby's legs to bend up and out.
Some child care centers may have a policy against swaddling infants in their care. This is because of the increased
risks of SIDS or suffocation if the baby rolls over while swaddled, in addition to the other risks of overheating and hip dysplasia.
"We recommend infants wait to enter a child care center until they are about three months old, and by then swaddling should have been phased out because the babies are more active and rolling," said Danette Glassy, MD, FAAP, chair of the AAP Section on Early Education and Child Care and the AAP representative on a panel that wrote guidelines for child care providers.
The guidelines,
Caring for Our Children, National Health and Safety Performance Standards, which are jointly published by the National Resource Center for Health and Safety in Child Care and Early Education, the AAP and the American Public Health Association, do not ban swaddling in child care centers, but they say swaddling is not necessary or recommended. As a result, some child care centers, and the states where they are located, are implementing more forceful recommendations against swaddling in child care settings.
"Compared to a private home, where one or two people are caring for an infant, a child care center usually has a number of caregivers, who may have variations in their swaddling technique," Dr. Glassy says. "This raises a concern because studies show babies who are not usually swaddled react differently when swaddled for the first time at this older age." They may have a harder time waking up, which increases their risk of SIDS.
"The difference in the advice for swaddling at home or the hospital nursery, versus in a child care center, really comes down to the age of the child and the setting," Dr. Glassy says. "A newborn can be swaddled correctly and placed on his back in his crib at home, and it can help comfort and soothe him to sleep. When the child is older, in a new environment, with a different caregiver, he is learning to roll, and perhaps he hasn't been swaddled before, swaddling becomes more challenging and risky."


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The STUDENT JAVELIN Odyssey features a tough, double-layer cordura main container, adjustable main lift webs and deluxe legpads. Safety features include a reserve Static Line (Standard on all Javelins), a left side AFF main deployment handle and a color coded system for easily changing from freefall to direct bag configurations. All Javelins come to you Cypres ready at no extra charge. Additional options may be additional cost.
Click on Related Files tab above for further information.
Call Para-Gear for Current Low Prices
and Full Rig Discounts


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Jul 30, 2013 | ISBN 9780345532435
Praise for The Solitary House
"A Victorian tour de force . . . a must-read."—Kirkus Reviews (starred review)
"Dickens fans will rejoice. . . . [Lynn] Shepherd leaves the reader spellbound."—Booklist (starred review)
"The star of Lynn Shepherd's intriguing mystery novel is mid-century Victorian London. . . . Her suspenseful story and winning prose ably serve her literary conceit."—Associated Press
"Intellectually enthralling, with dark twists at every turn . . . a haunting novel that will have you guessing until the last pages."—Historical Novels Review
"Lynn Shepherd has a knack for setting literary murder puzzles. . . . This literary magpie-ism is a treat for book lovers, a little nudge-and-a-wink here and there which delights fans of these other works without alienating those who haven't read them yet. . . . An intelligent, gripping and beautifully written novel."—The Scotsman
"The reader is plunged into a complex but comprehensible labyrinth of deception."—Publishers Weekly (starred review)


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By Karin Calloway
Related Menus
Recipe Categories
Creamy Oven-Baked Polenta
Making polenta could be described as a workout for your upper arms, since most recipes require lots of stirring. But making creamy polenta doesn't have to be so much work. Our Creamy Oven-Baked Polenta is as simple as combining chicken broth and polenta in a baking dish and popping it into the oven. The dish only needs to be stirred once, and the end result is delicious, perfectly cooked polenta that you can use as a side dish or as a base for a hearty ragout (see Pork, Cider and Root Vegetable Ragout on this site.)
While our polenta is simply flavored with a little butter, salt and pepper, feel free to add shredded cheese, fresh herbs or finely chopped sundried tomatoes at the end of cooking.
Preheat oven to 350 degrees F. Combine chicken broth and polenta in a 3-quart oven-proof baking dish and place in the oven. Bake for 1 hour, stirring after 30 minutes. Remove from oven, stir in the butter and season to taste with salt and pepper.
Makes 8 servings.


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Phone Necklace - Reflect Neon Pink
The KNOK CASE : the original KNOKberlin accessory. Fusing technological savviness with precision and simplicity, the KNOK CASE is a lightweight, minimal, and convenient phone necklace.
From young to old, smartphones play a defining role in our modern lives. The KNOK CASE changes how we handle our most used possession. Flexible and durable, this accessory assists you in daily life with style and practicality, comfortably adapting to your every moving moment.
Whether it's dancing, cooking, working, or walking, the KNOK CASE is useful for the situations when being hands-free is needed. And when it's time for photos, phone calls, or podcasts, access to your phone is instant, as the KNOK CASE is attached to your body.
Perhaps you have no pockets, or you are prone to losing your possessions, then the KNOK CASE is a necessary accessory that keeps your smartphone safe.
The adjustable strap allows you decide for yourself how you want to wear your mobile phone; across the body or as a necklace. The TPU anti-shock silicone frame stays clear and fresh, and will not discolour over time. The high-quality PPM cord is available in a range of colours, and is finished with elegant brass accents.
- PPM cord: strong and resistant to water damage, lightweight and durable
- Brass: high-quality brass accents with a smooth finish
- Anti-shock stable case TPUX®
- Strap: 150cm long.
Please note:
The necklace is assembled in by hand. The products therefore may present minor differences between them.
Please use with care. We cannot guarantee the integrity of your individual smartphone.


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- This event has passed.
Student Ministries
August 7, 2019 @ 6:30 pm - 8:00 pm
|Recurring Event (See all)
An event every week that begins at 6:30pm on Wednesday, repeating until November 20, 2019
Event Navigation
Student Souls Ignited is our youth group and is for ages 12-18.
We have service every Wed Night from 6:30pm – 8pm.
Show up early @ 6pm to hang out and have fun.
We would love for you to join us and bring a friend.


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{{cite web | title = Developer Policy — Twitter Developers | url = https://developer.twitter.com/en/developer-terms/policy | date = 2019-05-29 | archiveurl = http://archive.today/mruOt | archivedate = 2019-05-29 }}
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Developer terms
Developer Policy
Developer Policy
Effective: November 3, 2017.
In addition to the
Developer Agreement
, this Developer Policy ("Policy") provides rules and guidelines for developers who interact with Twitter's ecosystem of applications, services, website, web pages and content including any content that we may make available through
our other covered services
set forth at
("Twitter Services"). Policy violations are also considered violations of the Developer Agreement. Take a look at the Definitions for the meaning of capitalized words used in this Policy. These policies may be changed from time to time without notice. Please check here for any updates.
I. Guiding Principles
A. A Few Key Points
B. Maintain the Integrity of Twitter's Products
C. Respect Users' Control and Privacy
D. Clearly Identify Your Service
E. Keep Twitter Spam Free
F. Be a Good Partner to Twitter
G. Avoid Replicating the Core Twitter Experience
H. Engage in Appropriate Commercial Use
II. Rules for Specific Twitter Services or Features
A. Twitter Login
B. Social Updates
C. Twitter Identity
D. Twitter Cards
E. Twitter for Websites
F. Periscope Producer
G. Definitions
I. Guiding Principles
A. A Few Key Points
Keep any API keys or other access credentials private and use only as permitted.
Respect our requirements on how to display and interact with users' content.
If your application will need more than 1 million user tokens, you must
contact us
about your Twitter API access, as you may be subject to additional terms.
Twitter may monitor your use of the Twitter API to improve the Twitter Services, examine commercial use and ensure your compliance with this Policy.
Remember, Twitter may suspend or revoke access to the Twitter API if we believe you are in violation of this Policy. Do not apply for or register additional API tokens if Twitter has suspended your account. Instead,
contact us
B. Maintain the Integrity of Twitter's Products
Follow the
Display Requirements
Twitter Rules
Periscope Community Guidelines
. If your Service facilitates or induces users to violate the
Twitter Rules
Periscope Community Guidelines
, you must figure out how to prevent the abuse or Twitter may suspend or terminate your access to the Twitter API. We've provided guidance in our
Abuse Prevention and Security help page
If your Service submits content to Twitter that includes a Twitter username, submit the correct Twitter username ("@username").
Do not modify, translate or delete a portion of the Twitter Content.
Maintain the features and functionality of Twitter Content and Twitter API. Do not interfere with, intercept, disrupt, filter, or disable any features of Twitter or the Twitter API, including the Twitter Content of
embedded Tweets
embedded timelines
Do not exceed or circumvent limitations on access, calls, sharing, privacy settings, or use permitted in this Policy, or as otherwise set forth on the
Developer Site
, or communicated to you by Twitter.
Do not remove or alter any proprietary notices or marks on Twitter Content or the Twitter API.
Do not (and do not allow others to) aggregate, cache, or store location data and other geographic information contained in the Twitter Content, except as part of a Tweet or Periscope Broadcast. Any use of location data or geographic information on a standalone basis is prohibited.
C. Respect Users' Control and Privacy
Get the user's express consent before you do any of the following:
Take any actions on a user's behalf, including posting Twitter Content, following/unfollowing other users, modifying profile information, starting a Periscope Broadcast or adding hashtags or other data to the user's Tweets. A user authenticating through your Service does not constitute user consent.
Republish Twitter Content accessed by means other than via the Twitter API or other Twitter tools.
Use a user's Twitter Content to promote a commercial product or service, either on a commercial durable good or as part of an advertisement.
Store non-public Twitter Content such as Direct Messages or other private or confidential information.
Share or publish protected Twitter Content, private or confidential information.
Configure media to be sent in a Direct Message as "shared" (i.e. reusable across multiple Direct Messages). You must also provide the user with clear notice that "shared" media sent in a Direct Message will be viewable by anyone with the media's URL.
Do not (and do not permit others to) associate the Twitter Content with any person, household, device, browser, or other individual identifier, unless you or the entity on whose sole behalf you make such an association do so (a) with the express opt-in consent of the applicable individual; or (b) based solely on publicly available data and/or data provided directly by the applicable individual that the individual would reasonably expect to be used for that purpose.
If Twitter Content is deleted, gains
protected status
, or is otherwise suspended, withheld, modified, or removed from the Twitter Service (including removal of location information), you will make all reasonable efforts to delete or modify such Twitter Content (as applicable) as soon as reasonably possible, and in any case within 24 hours after a request to do so by Twitter or by a Twitter user with regard to their Twitter Content, unless otherwise prohibited by applicable law or regulation, and with the express written permission of Twitter.
If your Service will display Twitter Content to the public or to end users of your Service, and you do not use
Twitter Kit
Twitter for Websites
to do so, then you must use the Twitter API to retrieve the most current version of the Twitter Content for such display. If Twitter Content ceases to be available through the Twitter API, you may not display such Twitter Content and must remove it from non-display portions of your Service as soon as reasonably possible.
If your Service allows users to post Twitter Content to Twitter, then, before publishing, show the user exactly what will be published, including whether any geotags will be added to the Twitter Content. If you will send read receipt events for Direct Messages, you should inform users they will be sent as part of a conversation, such as by directly providing this notice to users in your application or by displaying read receipts from other participants in a conversation.
If your Service allows users to post Twitter Content to your Service and Twitter, then, before publishing to the Service:
Explain how you will use the Twitter Content;
Obtain proper permission to use the Twitter Content; and
Continue to use such Twitter Content in accordance with this Policy in connection with the Twitter Content.
Display your Service's privacy policy to users before download, installation or sign up of your application. Your privacy policy must be consistent with all applicable laws, and be no less protective of end users than Twitter's Privacy Policy located at
including any relevant incorporated policies such as the supplemental terms located at
. You must comply with your privacy policy, which must clearly disclose the information you collect from users, how you use and share that information (including with Twitter), and how users can contact you with inquiries and requests regarding their information. If for any reason you are unable to comply with your privacy policy or any privacy requirement of the Developer Agreement or Policy, you must promptly
inform Twitter
and take reasonable and appropriate steps to remedy any non-compliance, or cease your access to the Twitter API and use of all Twitter Content.
If your Service uses cookies, disclose in your privacy policy:
Whether third parties collect user information on your Service and across other websites or online services;
Information about user options for cookie management and whether you honor the
Do Not Track
setting in supporting web browsers.
If your Service adds location information to users' Tweets or Periscope Broadcasts:
Disclose when you add location information, whether as a geotag or annotations data, and whether you add a place or specific coordinates.
Comply with
Geo Developers Guidelines
if your application allows users to Tweet with their location.
Do not store Twitter passwords.
D. Clearly Identify Your Service
Make sure users understand your identity and the source and purpose of your Service. For example:
Don't use a name or logo that falsely implies you or your company is related to another business or person.
Don't use a shortened URL for your Service that attempts to mask the destination site.
Don't use a URL for your Service that directs users to
a site that is unrelated to your Service
a site that encourages users to violate the
Twitter Rules
the Periscope Community Guidelines.
a spam or malware site.
Do not replicate, frame, or mirror the Twitter website or its design.
E. Keep Twitter Spam Free
Follow the Abuse and Spam rules
Comply with the
automation rules
if your Service performs automatic actions.
Do not do any of the following:
Mass-register applications.
Create tokens/applications to sell names, prevent others from using names, or other commercial use.
Use third-party content feeds to update and maintain accounts under those third parties' names.
Name squat by submitting multiple applications with the same function under different names.
Publish links to malicious content.
Publish pornographic or obscene images to user profile images and background images.
F. Be a Good Partner to Twitter
Follow the
for using Tweets in broadcast if you display Tweets offline and the
for using Periscope Broadcasts in a broadcast if you display Periscope Broadcasts offline.
If you provide Twitter Content to third parties, including downloadable datasets of Twitter Content or an API that returns Twitter Content, you will only distribute or allow download of Tweet IDs, Direct Message IDs, and/or User IDs.
You may, however, provide export via non-automated means (e.g., download of spreadsheets or PDF files, or use of a "save as" button) of up to 50,000 public Tweet Objects and/or User Objects per user of your Service, per day.
Any Twitter Content provided to third parties remains subject to this Policy, and those third parties must agree to the Twitter
Terms of Service
Privacy Policy
Developer Agreement
, and
Developer Policy
before receiving such downloads.
You may not distribute more than 1,500,000 Tweet IDs to any entity (inclusive of multiple individual users associated with a single entity) within any given 30 day period, unless you are doing so on behalf of an academic institution and for the sole purpose of non-commercial research or you have received the express written permission of Twitter.
You may not distribute Tweet IDs for the purposes of (a) enabling any entity to store and analyze Tweets for a period exceeding 30 days unless you are doing so on behalf of an academic institution and for the sole purpose of non-commercial research or you have received the express written permission of Twitter, or (b) enabling any entity to circumvent any other limitations or restrictions on the distribution of Twitter Content as contained in this Policy, the Twitter Developer Agreement, or any other agreement with Twitter.
Use and display Twitter Marks solely to identify Twitter as the source of Twitter Content.
Comply with
Twitter Brand Assets and Guidelines
as well as the
Periscope Trademark guidelines
Do not do any of the following:
Use a single application API key for multiple use cases or multiple application API keys for the same use case.
Charge a premium above your Service's standard data and usage rates for access to Twitter Content via SMS or USSD.
Sell or receive monetary or virtual compensation for Tweet actions, Periscope Broadcasts actions or the placement of Tweet actions on your Service, such as, but not limited to follow, retweet, like, heart, comment and reply.
Do not use, access or analyze the Twitter API to monitor or measure the availability, performance, functionality, usage statistics or results of Twitter Services or for any other benchmarking or competitive purposes, including without limitation, monitoring or measuring:
the responsiveness of Twitter Services; or
aggregate Twitter user metrics such as total number of active users, accounts, total number of Periscope Broadcast views, user engagements or account engagements.
Use Twitter Content, by itself or bundled with third party data, to target users with advertising outside of the Twitter platform, including without limitation on other advertising networks, via data brokers, or through any other advertising or monetization services.
Use Twitter Marks, or Twitter Certified Products Program badges, or similar marks or names in a manner that creates a false sense of endorsement, sponsorship, or association with Twitter.
Use the Twitter Verified Account badge, Verified Account status, or any other enhanced user categorization on Twitter Content other than that reported to you by Twitter through the API.
G. Avoid Replicating the Core Twitter Experience
Twitter discourages online services from replicating Twitter Service's core user experience or features.
The following rules apply solely to Services or applications that attempt to replicate Twitter's core user experience:
You must obtain our permission to have more than 100,000 user tokens, and you may be subject to additional terms.
Use the Twitter API
as provided by Twitter
for functionalities in your Service that are substantially similar to a Twitter Service feature and present this to your users as the default option.
Display a prominent link or button in your Service that directs new users to Twitter's sign-up functionality.
Do not do the following:
Pay, or offer to pay, third parties for distribution. This includes offering compensation for downloads (other than transactional fees) or other mechanisms of traffic acquisition.
Arrange for your Service to be pre-installed on any other device, promoted as a "zero-rated" service, or marketed as part of a specialized data plan.
Use Twitter Content or other data collected from users to create or maintain a separate status update, social network, private messaging or live broadcasting database or service.
H. Engage in Appropriate Commercial Use
Advertising Around Twitter Content
You may advertise around and on sites that display Tweets and Periscope Broadcasts, but you may not place any advertisements within the Twitter timeline or on or within Periscope Broadcasts on your Service other than Twitter Ads or advertisements made available through the official Twitter Kit integration with MoPub. Access to MoPub ads through Twitter Kit requires a MoPub supply account and is subject to MoPub terms of service & policies.
Your advertisements cannot resemble or reasonably be confused by users as a Tweet or Periscope Broadcast.
You may advertise in close proximity to the Twitter timeline or a Periscope Broadcast (e.g., banner ads above or below timeline), but there must be a clear separation between Twitter Content and your advertisements.
Twitter reserves the right to serve advertising via Twitter APIs ("Twitter Ads"). If you decide to serve Twitter Ads once we start delivering them, we will share a portion of advertising revenue with you in accordance with the relevant terms and conditions.
II. Rules for Specific Twitter Services or Features
A. Twitter Login
Present users with easy to find options to log into and out of Twitter, for example, via the OAuth protocol or Twitter Kit.
Provide users without a Twitter account the opportunity to create a new Twitter account.
Display the "Sign in with Twitter" option at least as prominently as the most prominent of any other third party social networking sign-up or sign-in marks and branding appearing on your Service.
B. Social Updates
If you allow users to create social updates from your own social service or a third party social networking, micro-blogging, or status update provider integrated into your Service ("Update"), you must display a prominent option to publish that content to Twitter.
If Updates are longer than 140 characters or not text, you must display a prominent link to publish that content to Twitter and:
URLs must direct users to the page where that content is displayed. You may require users to sign in to access that page, but the content must not otherwise be restricted from being viewed.
URLs must not direct users to interstitial or intermediate pages.
C. Twitter Identity
Once a user has authenticated via "Sign in with Twitter" via your Service, you must clearly display the user's Twitter identity via your Service. Twitter identity includes visible display of the user's avatar, Twitter user name and the Twitter bird mark.
Displays of the user's followers on your Service must clearly show that the relationship is associated with the Twitter Service.
D. Twitter Cards
Develop your Card to have the same quality experience across all platforms where Cards are displayed.
If your Service provides a logged-in experience, the experience prior to a user's login must be of equivalent quality and user value.
Mark your Card as 'true' for sensitive media if such media can be displayed.
Use HTTPS for hosting all assets within your Card.
For video and audio content:
Default to 'sound off' for videos that automatically play content.
Include stop or pause controls.
Do not do any of the following:
Exceed or circumvent Twitter's limitations placed on any Cards, including the Card's intended use.
Attach the App Card to a user's Tweet, unless the user is explicitly promoting or referring to the app in the Tweet.
Place third-party sponsored content within Cards without Twitter's prior approval.
Include content or actions within your Card that are not contextually relevant to the user's Tweet text and Tweet entities, such as URLs and media.
Generate active mixed content browser warnings.
Attach monetary incentives or transactions (including virtual currency) to activities that occur within the Card or on Twitter from your Card.
Apply for Cards access for domains you do not manage to prevent others from registering or utilizing Cards on those domains.
E. Twitter for Websites
If you expect your
embedded Tweets
embedded timelines
to exceed 10 million daily impressions, you must contact us about your Twitter API access, as you may be subject to additional terms.
If you use
Twitter for Websites
widgets, you must ensure that an end user is provided with clear and comprehensive information about, and consents to, the storing and accessing of cookies or other information on the end user's device as described in Twitter's
cookie use
where providing such information and obtaining such consent is required by law.
If you use embedded Tweets or embedded timelines, you must provide users legally sufficient notice that fully discloses Twitter's collection and use of data about users' browsing activities on your website, including for interest-based advertising and personalization. You must also obtain legally sufficient consent from users for such collection and use, and provide legally sufficient instructions on how users can opt out of Twitter's interest-based advertising and personalization as described
If you operate a Service targeted to children under 13, you must opt out of tailoring Twitter in any embedded Tweets or embedded timelines on your Service by setting the opt-out parameter to be true as described
F. Periscope Producer
You must provide a reasonable user-agent, as described in the Periscope Producer technical documentation, for your Service when accessing the Periscope API.
If you expect the number of broadcasts created by your hardware will exceed (10 million) daily broadcasts, you must
contact us
about your Twitter API access, as you may be subject to additional terms.
You must honor user requests to log out of their Periscope account on your Service.
You may not provide tools in your service to allow users to circumvent technological protection measures.
G. Definitions
Twitter Content
- Tweets, Tweet IDs, Direct Messages, Direct Message IDs, Twitter end user profile information, User IDs, Periscope Broadcasts, Periscope Broadcast IDs and any other data and information made available to you through the Twitter API or by any other means authorized by Twitter, and any copies and derivative works thereof.
Developer Site
‒ Twitter's developer site located at
Periscope Broadcast
- A user generated live video stream that is available live or on-demand, that is publicly displayed on Twitter Services.
Broadcast ID
- A unique identification number generated for each Periscope Broadcast.
- A short-form text and/or multimedia-based posting made on Twitter Services.
Tweet ID
- A unique identification number generated for each Tweet.
Direct Message
- A text and/or multimedia-based posting that is privately sent on the Twitter Service by one end user to one or more specific end user(s).
Direct Message ID
- A unique identification number generated for each Direct Message.
Twitter API
- The Twitter Application Programming Interface ("API"), Software Development Kit ("SDK") and/or the related documentation, data, code, and other materials provided by Twitter, as updated from time to time, including without limitation through the Developer Site.
Twitter Marks
- The Twitter name, or logos that Twitter makes available to you, including via the Developer Site.
- Your websites, applications, hardware and other offerings that display or otherwise use Twitter Content.
User ID
- Unique identification numbers generated for each User that do not contain any personally identifiable information such as Twitter usernames or users' names.
By using Twitter's services you agree to our
Cookies Use
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Nureyev as Dancer and Choreographer
Léon MINKUS (1826-1917)
Don Quixote - ballet (1869) [127:00]
La Bayadère - ballet (1877) [130:00]
Sergey PROKOFIEV (1891-1953)
Romeo and Juliet - ballet (1935) [149:00]
Choreography and staging by Rudolf Nureyev
Juliet - Monique Loudières
Romeo - Manuel Legris
Tybalt - Charles Jude
Mercutio - Lionel Delanoë
Benvolio - Wilfried Romoli
Rosaline - Karin Averty
Paris - José Martinez
Lady Capulet - Clotilde Vayer
Lord Capulet - Olivier Patey
The nurse - Annie Carbonnel
Orchestre de l'Opéra National de Paris/Vello Päh
Directed for video by Alexandre Tarta
See below review for performance detailsrec. 1972-95
2564 646990 [3 discs: 127:00 + 130:00 + 149:00]
Rudolf Nureyev (1938-1993) is once again hot news.
This year marks the 20th anniversary of his death and, as
detailed by his eponymous Foundation's own website (see
here), many of the world's leading ballet companies are marking
the fact. As the dancer/choreographer/producer was closely associated
with both London and Paris, it is hardly surprising that it is those
two capitals that account for the majority of the commemorative events.
Nureyev was both an intensely charismatic and a polarising figure in
the world of dance. But he was also, in one respect, exceptionally fortunate.
Even though occasional attempts to put him on a par with the likes of
the Beatles or Andy Warhol as a 1960s cultural icon do seem somewhat
far fetched, his fame - and, indeed, his later notoriety - did extend
way beyond the rarefied world of ballet. From the very day of his defection
to the West at Paris's Le Bourget airport in June 1961, dramatically
defying the KGB's attempts to entice him onto a plane back to
Moscow, Nureyev was always hugely newsworthy. As a consequence, he was
far more often filmed, both in his normal everyday life and, thankfully,
in performance, than any other dancer of his generation.
Warner Classics' nod to the 20th anniversary is a box
set of three Nureyev filmed performances/productions, conveniently -
if, as we shall note later, not necessarily felicitously - collected
together and available both on Blu-ray and DVD.
Nureyev as dancer and choreographer ("after Petipa") is
to be found in the earliest material. It's a rather odd feature
film, made for cinema, of the ballet Don Quixote, far more of
a rarity on the stage in 1972 but thankfully becoming much better known
these days. I reviewed this disc just last year - see
here. For now, then, I will merely repeat that a jet-lagged Nureyev,
suffering, moreover, in the intense Australian heat, appears not to
gel with a cast that was, to be fair, largely unknown to him. His partner
Lucette Aldous gives a comparatively low-key performance that may well
disappoint anyone familiar with the flashy pyrotechnics of, say, Nina
Ananiashvili or, more recently, Natalia Osipova. Meanwhile, John Lanchbery's
unnecessary and sometimes rather crude and vulgar tinkerings with the
score may well have been at Nureyev's request but do, nevertheless,
a real disservice to Minkus's beautifully crafted music.
The disc's partially redeeming features - a splendid contribution
from Robert Helpmann, some imaginative camerawork and a thorough restoration
process what has brought the original colours back to life quite superbly
for this reissue - along with the desirability of watching, at least
once, anything in which Nureyev performed, mean, though, that it need
not necessarily be ruled entirely out of court.
Neither of the other two performances in this set showcases Nureyev
the dancer. In September 1983 he had taken up the post of Artistic Director
at the Paris Opera Ballet and had gone on to mount his own new productions
of, among others, Romeo and Juliet (1984) and La Bayadère
(1992). Discs 2 and 3 of this set contain Paris performances of those
two. Both, it is true, were recorded after Nureyev's death. But
both feature dancers with whom he had personally worked and both were
recorded sufficiently shortly after his death for his influence to be
still apparent. This set's Romeo, for instance, is Manuel Legris,
a particularly favoured protégé who had enjoyed a spectacular
rise to prominence in the Paris company under Nureyev's patronage.
Within just six years of joining the ranks of the corps de ballet
in 1980, the 21 year old completely bypassed the intervening rank of
Premier Danseur when Nureyev, in a dramatically contrived moment
on stage in front of a wildly applauding New York audience and to the
surprise of everyone, not least Legris himself, personally promoted
him from Sujet to the highest company rank of Etoile.
Taking the earlier of these recordings, La Bayadère, first,
I have to agree with my colleague Dave Billinge who described the production
- with choreography by Nureyev, once again "after Petipa"
- as "spectacular to look at, brilliantly costumed (literally)
and with magnificent sets to act as background to some top class dancing.
All the principals are at the top of their profession and the large
corps de ballet has a level of precision that leaves one breathless
- Classical ballet par excellence - " (see
here). I would certainly second all those points but I beg to differ
with some of the others that Dave goes on to make. Some of my disagreements
are minor and subjective and nothing to do with Nureyev at all. I find
Minkus's score, for instance, far more enjoyable - and well constructed
for Petipa's choreographic requirements - than Dave does. Similarly,
I espouse what is almost certainly a minority opinion in considering
La Bayadère's "real life" drama to be
rather more involving than the supernatural fantasticalities of Dave's
beloved Swan Lake.
The really major objection that I have to Nureyev's production
is that he fails to tackle the issue of the "missing" fourth
Act. While, even today, the Paris and the major Russian dance companies
choose to end the drama with flawed hero Solor's opium-induced
vision of the celebrated Kingdom of the Shades, several other companies
now opt for Natalia Makarova's addition of a reconstructed final
Act that brings the story to a more emotionally satisfying conclusion.
Anyone who is mainly familiar with La Bayadère through
the Royal Ballet's two filmed productions (see here
and here)
or the splendid one from La Scala, Milan (TDK DVWW-BLLBSC), will find
the Nureyev production lacking not just a full 21 or so extra minutes
of music and dancing but a final cathartic emotional resolution to the
story. That having been said, Nureyev's production does include
some attractive elements that Makarova did not include, most
notably a spectacular Indian dance that raises the Palais Garnier
roof and actually inspired me, back in 2005, to e-mail my enthusiastic
appreciation to the charismatic dancer Gil Isoart - whose kind but rather
succinct response read, in full, "I just watch your message thank
you very much for it."
Moving on to the set's final disc, the 1995 performance of Romeo
and Juliet certainly looks very good, with attractive, well lit
sets and costumes so gorgeous that even Verona's whores must be
doing fantastic business to pay for their outfits. They and the rest
of the Paris corps de ballet dance with their usual degree of
well-executed precision, while the principals are, as one would expect,
equally skilled.
Manuel Legris's - or, rather, Nureyev's - conception of
Romeo is as a thoughtful dreamer, somewhat reminiscent the 1930s actor
Leslie Howard in his film interpretation. He dances beautifully and
with great grace, but lacks the sheer charisma, raw sexuality and stage
presence that Nureyev himself brought to the part. I took a little time
to warm to Monique Loudières's Juliet, though that, I think,
is a reflection of the role itself where she is only gradually brought
to maturity by her interaction with her lover. Her technique is of the
highest quality. Of the other leading roles, I found Charles Jude's
depiction of Tybalt as a poisonously violent psychopath particularly
effective, while Annie Carbonnel dances a more than usually jolly -
and, in the midst of all the bloody circumstances, surprisingly relaxed
and apparently stress-free - nurse.
The Paris Opera Ballet sets are surprisingly spacious, making full use
of the wide and deep stage in the crowd scenes. That makes an interesting
contrast with the famous Kenneth MacMillan Royal Ballet production in
which Nureyev himself had created the original role of Romeo in 1965.
The Scottish choreographer brings more of the action to the front of
stage where some impressive sets create darker, more claustrophobic
spaces that symbolically emphasise the characters' pent-up, indeed,
often lethal, inner passions.
The Paris production's musical performance comes as something
of a contrast with London too. In general, conductor Vello Päh
leads a more stately and more orchestrally-blended account, less raw
and edgy than his British counterparts: the sections of the score that
depict the ballet's many fight sequences offer good illustrations.
That is of a piece with the two contrasting productions, for Nureyev
deliberately eschews many of the rough edges that MacMillan intentionally
chose to emphasise. On the other hand, the more refined Paris approach
pays off well in quieter, more lyrical scenes such as the "balcony"
pas de deux or the scene where the lovers implore Friar Laurence
for his help.
There are the usually encountered problems when close-ups occur in ballet.
While the theatre audience is fortunately too far away to see, a probing
camera clearly shows that "corpses" - of which Romeo
and Juliet boasts rather a lot - are breathing and our suspension
of disbelief is thereby abruptly, if only momentarily, destroyed.
The presentation of these discs is also rather questionable. Given that
they are being packaged and marketed as a unified, themed set, is it
too much to ask that the separate discs might have been provided with
a uniform identity on their front edges? I realise that doing so might
well have incurred some extra manufacturing costs, but it would at least
have avoided giving the impression that Warner Classics was simply repackaging
some old stock.
In my particular case, another area of annoyance with the finished product
was the lack of uniformity in the information that they communicated
to my DVD/Blu-Ray player. Whereas Don Quixote showed its track
number and its timing on the front panel display, both the other discs
simply generated the word PLAY. That was not the most helpful information
for a reviewer keen to pinpoint specific timings for his readers'
reference but not prepared to sit there in front of the TV screen with
an old stopwatch.
A more serious issue to bear in mind - and one that affects all three
of these discs - is that while Blu-Ray technology may well be able to
maximise the quality of the visual image, it can only maximise it to
the quality of the original recording at its best. None of these
productions had been originally filmed in high definition. Today, many
other Blu-Ray/DVD releases of this repertoire can boast HD filming and
many viewers have, perhaps sadly, come to regard that as a sine qua
non. Faced with alternatives such as the memorable and hugely enjoyable
2006 Mariinsky Ballet Don Quixote (see
here), the outstanding 2009 Covent Garden La Bayadère
or its equally attractive 2006 La Scala equivalent, and either one of
the recent Royal Ballet releases of Romeo and Juliet (see here
and here),
I suspect that many potential buyers may not even consider these older
and occasionally somewhat grainy recordings of the Nureyev productions.
That would, though, be a great shame. Rudolf Nureyev was without doubt
an egotistical, selfish and, pretty often, not even a very pleasant
man to be around. Equally, though, he was certainly a much larger than
life character who gave classical ballet a profile on the international
arts scene that it sorely lacks today.
As the current live commemorations in theatres across the world are
demonstrating, Nureyev's legacy has certainly lived on - but it
deserves, perhaps, somewhat better recognition than is offered by this
particular box set.
Rob Maynard
Performance details
Léon MINKUS (1826-1917)
Don Quixote - ballet (1869) [127:00]
Choreography by Rudolf Nureyev after Petipa
Additional music by John Lanchbery
Don Quixote - Robert Helpmann
Sancho Panza - Ray Powell
Basilio - Rudolf Nureyev
Lorenzo - Francis Croese
Kitri/Dulcinea - Lucette Aldous
Gamache - Colin Peasley
Street dancer/Dryad queen - Marilyn Rowe
Estrada - Kelvin Coe
Two girl friends - Gailene Stock; Carolyn Rappell
Matadors - Ronald Bekker, John Meehan, Rex McNeil, Rodney Smith, Joseph
Janusaites, Frederic Werner
Gypsy dancers - Alan Alder, Paul Saliba
Gypsy king - Ronald Bekker
Gypsy queen - Susan Dains
Two gypsy girls - Julia da Costa, Leigh Rowles
Cupid - Patricia Cox
Leading fandango couple - Janet Vernon, Gary Norman
Artists of the Australian Ballet
The Elizabethan Trust Melbourne Orchestra/John Lanchbery
Cinematography - Geoffrey Unsworth
Production/ costume design - Barry Kay
Directed by Rudolf Nureyev and Robert Helpmann
rec. Melbourne, Australia, 1972
Region: all regions
Sound: 5.1 surround / Dolby 2.0 stereo
Léon MINKUS (1826-1917)
La Bayadère - ballet (1877) [130:00]
Choreography and staging by Rudolf Nureyev after Petipa
Orchestrations by John Lanchbery
Nikiya - Isabelle Guérin
Solor - Laurent Hilaire
Gamzatti - Élizabeth Platel
The fakir - Lionel Delanoë
The high Brahmin - Francis Malovic
The rajah - Jean-Marie Didière
The golden idol - Wilfried Romoli
The three shades - Agnès Letestu, Clotilde Vayer, Nathalie Riqué
Orchestre Colonne/Michel Quéval
Directed for video by Alexandre Tarta
rec. Palais Garnier, Paris, May 1994
Region: all regions
Sound: L-PCM stereo
Sergey PROKOFIEV (1891-1953)
Romeo and Juliet - ballet (1935) [149:00]
Choreography and staging by Rudolf Nureyev
Juliet - Monique Loudières
Romeo - Manuel Legris
Tybalt - Charles Jude
Mercutio - Lionel Delanoë
Benvolio - Wilfried Romoli
Rosaline - Karin Averty
Paris - José Martinez
Lady Capulet - Clotilde Vayer
Lord Capulet - Olivier Patey
The nurse - Annie Carbonnel
Orchestre de l'Opéra National de Paris/Vello Päh
Directed for video by Alexandre Tarta
rec. Opéra Bastille, Paris, July 1995
Region: all regions
Sound: 5.1 surround / Dolby 2.0 stereo


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What was a flier from the outset in signing Shaun Rogers already is looking like a failed — and expensive — experiment by the Giants.
A surprise signing by Big Blue in April, the veteran defensive tackle didn't do much of anything during the offseason program that wrapped up last week except cost them promising young tight end Jake Ballard.
With Rogers unable to participate due to a mysterious elbow condition that neither he nor the Giants will talk much about, general manager Jerry Reese exposed Ballard to waivers for roster purposes so he could bring back reserve defensive tackle Rocky Bernard.
The move backfired when Ballard was claimed by the Patriots, leaving the Giants with no Ballard, an injured Rogers and a marginal player in Bernard at what already was by far the deepest area on the team.
The whole situation also had the famously grouchy Rogers in anything but a good mood when reporters dared to even stop by his locker during the Giants' recently concluded mini-camp.
"I would like to think I'm the expert about myself, but that's not usually how y'all [reporters] write it," the former Lion, Brown and Saint said in response to an innocuous question about his general health. "Y'all [reporters] are pretty much all the same."
The Giants' decision to sign the 33-year-old Rogers was curious from the outset. Although he played in all 16 games for the Saints last season, he managed just 14 tackles and wasn't re-signed even though New Orleans knew its defense was probably going to be decimated by free agency and the NFL's bounty penalties.
Even Rogers admitted when the Giants inked the former first-round pick and three-time Pro Bowl selection that he was halfway expecting to be forced into retirement, although Rogers claimed last week that there were other teams interested this offseason.
The Giants appeared to signal a desire to get bigger and bulkier in their defensive interior with the addition of the 6-foot-4, 340-pound Rogers, who had been a Casey Hampton-style nose tackle in Cleveland.
But with Rogers unable to do anything more than study the Giants' playbook, the combination of the elbow and the surprise re-signing of Bernard are leading Big Blue watchers to wonder if Rogers will ever play a snap for the reigning Super Bowl champions.
"He is in the classroom," Tom Coughlin said when asked about Rogers recently before quickly changing the subject.
Rogers isn't exactly making any guarantees when asked if he expects to be available for the start of training camp in Albany next month. The lack of vigor in his voice indicates Rogers himself wouldn't be surprised if the Giants decided to end their relationship soon.
"That's up to them to decide," Rogers said. "I feel like I can play football at any point in time. What my role is will be determined by the coaches and how they feel."


text:
Thursday, November 13, 2008
13: The Discovery of HMS Ontario
Recently a 22-gun British warship was located at the bottom of Lake Ontario near the southern shore. Many shipwreck enthusiasts have named the HMS Ontario the "Holy Grail" of shipwrecks because it was considered a lost cause as far as locating it.
1. During a gale on October 31, 1780, 130 people lost their lives as the HMS Ontario plummeted to the lakebed. There was a garrison of 60 British soldiers, a crew of approximately 40 men, and possibly about 30 American war prisoners aboard.
2. The ship was finally found in water up to 500 feet deep using side-scanning sonar and an unmanned submersible making it the oldest and only fully intact British warship ever found in the Great Lakes
3. Luckily the finders of the wreck understand the ship is a war grave and have no plans to raise it or remove any of its artifacts.
4. In an interview the finders also indicated the ship is still considered to be property of the British Admiralty.
5. The finders located the ship resting partially on its side, with two masts extending more than 70 feet above the lake bottom.
6. One of the finders was quoted as saying, "Usually when ships go down in big storms, they get beat up quite a bit. They don't sink nice and square. This went down in a huge storm, and it still managed to stay intact. There are even two windows that aren't broken. Just going down, the pressure difference, can break the windows. It's a beautiful ship."
7. The fact that the waters of Lake Ontario are very cold and deep are positives that helped the HMS Ontario remain pristene. There was little light and no oxygen to hasten decomposition, and little marine life to feed on the wood.
8. The HMS Ontario only saw five months of water travel. It was used to ferry troops and supplies along the frontier of upstate New York. Ship enthusiasts state she was the largest British ship on the Great Lakes at the time.
9. Once the British knew HMS Ontario had been lost they searched for her while keeping her disappearance a secret from the Continentals, but a day after the sinking hatchway gratings, the binnacle, compasses, and several hats and blankets drifted ashore. Later the ship's sails were found drifting on the lake.
10. Six bodies thought to be from the HMS Ontario were found near Wilson, New York.
11. Two centuries later the ship was finally found. One of the finders had been searching for the HMS Ontario for over 35 years. For the last three years over 200 square miles were searched before the ship was found earlier this month
12. The finders state there should be no disputes regarding their identification of the find since the HMS Ontario had a rare feature…..two crow's nests on each mast. Another was a decoratively carved bow stem. Two cannons were found, two anchors, and the ship's bell.
13. Finally, what really clinched the ship's identification was the quarter galleries on either side of the stern --- a kind of balcony with windows typically placed on the sides of the stern-castle, a high, tower-like structure at the back of a ship that housed the officers' quarters.
Currently a documentary is being planned to detail the find.
You can see a video of the submerged ship at this YouTube link.
You can find more bloggers participating in Thursday Thirteen here.
7 comments:
- Mia Celeste said...
Oh, this is very interesting. My son will enjoy watching the video.
- Denise Patrick said...
Amazing video. I find the searching for shipwrecks fascinating, even though I'd never do it myself. Thanks for the link and information. I'm glad there are not plans to salvage it.
Happy TT!
Very interesting. I'm gad they are not going to plunder the wreck.
Wow, how refreshing with a historical T13. I loved to read all about it. I love old ships. So much history, peoples life before are always so interesting. To compare their lives and ours...
- EHT said...
Thanks for visiting everyone. The wreck was found over the summer....with all of my health issues it's simply taken this long for me to finally post about it.
- Jen said...
What a great site! I am going to forward this to my history teacher friends! Thanks!
- Mrs. Bluebird said...