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"Well, the cast of On The Town has been up here in the beautiful Berkshires since May," says Opel. "It was chilly when we arrived here in the mountains, but now, past the fourth of July, we have the kind of summer weather the Berkshires are famous for- no wonder so many city dwellers made their escapes here!"
"The scenery and available activities are sublime- and I personally have climbed up almost everything here that wasn't nailed down. Sometimes in the rain! I have stalked birds (seen several species for the first time, including a bald eagle) watched crazy cloud formations and witnessed a super moon! Stuck my toes in glorious waterfalls! Almost got eaten by a dog on Lake Pontoosuc! It's been incredible. The show has been a smash up here by any standard, I am happy to report. Enthusiastic near sell-outs every performance, beautiful scenery, and many happy memories. What's not to love?"
PHOTO EXCLUSIVE: "The Berkshire Portraits" With Barrington Stage On the Town Star Nancy Opel
Barrington Stage Company kicks off its 2013-14 season with the Bernstein-Comden-Green musical On the Town, featuring Tony Award winner Michael Rupert and Tony Award nominee Nancy Opel. The production officially opened June 16, following previews that began June 12, on the Boyd-Quinson Mainstage.
Directed by Tony Award winner John Rando (Urinetown) and choreographed by Emmy Award winner Joshua Bergasse ("Smash"), with music direction by Darren R. Cohen, On the Town continues through July 13. Rando, Bergasse and Cohen are all BSC associate artists. Barrington Stage Company's cast features Rupert (Sweet Charity, Falsettos, Legally Blonde) as Judge Pitkin and Opel (Urinetown) as Madame Dilly with Tony Yazbeck (Gypsy, A Chorus Line) as Gabey, Deanna Doyle (Encores! On Your Toes) as Ivy Smith, Elizabeth Stanley (Million Dollar Quartet, Encores! Merrily We Roll Along) as Claire, Clyde Alves (Nice Work If You Can Get It, Anything Goes) as Ozzie, Jay Armstrong Johnson (Hands on a Hard Body) as Chip and Alysha Umphress (American Idiot, On a Clear Day…) as Hildy.
Rounding out the ensemble are Chip Abbott, Jane Bernhard, Chloe Campbell, Jenifer Dillow, Elizabeth Flanagan, Hannah Florence, Allison Guinn, Karen Hyland, Christopher Job, Michael Kushner, Jason Luks, Megan Mekjian, Harris Milgrim, Kyle Scanlon, Michael Scirrotto, Kelly Sheehan, Gordon Stanley and Chloe Tiso.
On the Town, according to press notes, "is the story of three sailors on a 24-hour leave in New York City in 1944. Squeezed for time, they all manage to find love and incredible adventures in the Big Apple." On the Town features classics such as "New York, New York," "I Can Cook Too," "Lonely Town" and "Some Other Time."
On the Town features the music of Leonard Bernstein and the book and lyrics of Betty Comden and Adolph Green, based on the ballet "Fancy Free" by Jerome Robbins.
Other members of the creative team include Beowulf Boritt (sets), Jennifer Caprio (costumes), Jason Lyons (lighting), Ed Chapman (sound) and Renee Lutz (production stage manager).
There will be a post-show discussion following the June 18 7 PM performance as well as a free "Conversations with…" event, A Helluva Guy! Adolph Green's Broadway, where Tony-winning composer-lyricist William Finn (Spelling Bee) interviews the family of great American playwright, screenwriter and lyricist Tony Award winner Adolph Green — lyricist Amanda Green and Vogue theatre critic Adam Green — on his life and career and his experience creating On the Town June 16 at 3 PM.
BSC is under the leadership of artistic director Julianne Boyd and managing director Tristan Wilson. The Boyd-Quinson Mainstage is located at 30 Union Street in Pittsfield, MA. For more information and tickets, visit BarringtonStageCo.org.


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Yesterday we popped the cherry on the Top 5 of the Azn Badger's Top 10 Manliest Man Moments list with a scene from a Godzilla movie.
That right there should tip you off to the fact that this list is very much my list of MANLY moments, and not just some cookie-cutter list for spoon-feeding to the masses.
That being said, our next moment comes courtesy of another one of my personal heroes, Sylvester Stallone.
Now, as fucking awesome as Stallone movies can be, it's common knowledge the majority of his filmography could be described as "hit and miss."
When it comes to Stallone though, at the end of the day it all comes down to his 2 biggest characters and franchises:
While I wouldn't discover the MANLY majesty of the Rambo series until a bit later in life, the saga of Rocky Balboa was something I just couldn't get enough of in my childhood.
Now, the character of Rocky Balboa might not be the cigar chomping paragon of MANLINESS that some of the other MEN on this list are, but make no mistake; Mr. Balboa is all that is MAN.
He's the epitome of the classic underdog trope in cinema:
A big lovable retard with titanium MAN-BALLS of COURAGE, obsidian fists of AMERIKUHN JUSTICE, and a bionic heart pumped full of unflappable juices of MANHOOD.
If all of that doesn't spell AMERIKUHN HERO, I don't know what does.
Over the course of his colorful 30+ year boxing career, Rocky Balboa did it all.
He fought and defeated the previously undefeated and undisputed heavyweight champion of the world, after losing to him by a narrow margin in their previous bout:
He defended his title several times, only to amazingly lose and regain it in stupendously entertaining back-to-back bouts with Mr. T:
He dumped a shit ton of his winnings into buying his brother-in-law a horny robot maid:
He avenged the death of his best friend by beating the ever-loving fuck out of the Dolph-inator himself, Dolph Lundgren:
He trained a rough-edged prospect to world championship status, only to later end up beating the shit out of said pupil in a random and highly illegal street fight:
And at the end of it all he ended his career by once again losing to a world champion half his age by a narrow split-decision:
Somewhere towards the middle of all this though, after buying the horny robot but before beating the piss out of his pupil; Rocky found time to do something truly MAN-great…
Something worthy of being ranked our 4th MANLIEST MAN moment in all of movies…
Something MANLIER than any mere boxing ring could contain…
Something…….. POLITICAL.
My greatest hope is that everyone reading this blog has seen Rocky IV, or failing that; at least knows the story of it.
Should anyone reading this blog not match any of these criteria, congratulations; you are both a pussy and a failure at life.
*ANYWAY* being as the beginning of Rocky IV deals with Rocky's best buddy Apollo Creed getting killed in an exhibition match with the Swedish, I mean, COMMUNIST RUSSIAN death-machine Ivan Drago; naturally the final act of Rocky IV involves Mr. Balboa flying over to the USSR to pound some AMERIKUHN MAN JUSTICE into the giant Arian fuck's face.
Unfortunately, unbeknowst to Rocky, Drago is packin' the 'roids; making the ensuing battle a clusterfuck of MANLY mayhem the likes of which the Eastern and Western world alike have never known:
For nearly 15 rounds and nearly 10 minutes of screen time, Drago and Balboa slug it out; with Balboa falling to the mat no less than 7 times throughout.
Despite Drago out-landing Balboa about 10-to-1, someway, somehow; the Italian Stallion manages to power through the EPIC FIST-STORM of COMMUNIST RUSSIAN FACE-FUCKERY and do some damage of his own.
As evidenced by the announcer team making note of it just about every 30 seconds, the COMMUNIST RUSSIAN crowd seriously want Balboa's nuts in their borscht.
Also made apparent by the announcer team making note of it every 30 seconds though, is that part way through the fight, Balboa's MAN-COURAGE in the ring is starts to win over the hearts and minds of the COMMUNIST RUSSIAN crowd.
At the end of the night, it all comes down to the 15th and final round, wherein Drago, is touched by the spirit of Rocky's AMERIKUHN SPIRIT; turns his back on THE FUCKING POLITBURO, and says "Fuck it!" to fighting for the state in favor of fighting for MANLINESS.
Despite possessing an incredible height and reach advantage, as well as being ahead on the scorecards by an absurd margin; Drago opts to fight the final round standing toe-to-toe with Balboa, thereby insuring his failure as a COMMUNIST MAN.
Sure enough, Balboa gets some good shots in downstairs, punches some WOMANLY MAN-tears out of Drago's guts; and ends up flattening the big, Russian, Best-Friend Murderer in spectacular fashion.
The ref's count reaches "10" and all the previously anti-AMERIKUHN RUSSIANS in the crowd rush into the ring and drape the triumphant Rocky Balboa in an AMERIKUHN FUCKING FLAG that, I guess they just happened to have on hand…
Such is the MANLY-POWER of Rocky.
He can travel to a HOSTILE nation, inexplicably defeat a physically superior opponent as a massive underdog, and then end up winning over the crowd to such a MANLY extent, that they KNIT AN AMERIKUHN FUCKING FLAG during the course of an hour long fight.
Equally, uh, inexplicable; is the fact that, after trouncing their champion, the living symbol of their people's achievements in physical conditioning; the COMMUNIST RUSSIANS offer the marble-mouthed Rocky Balboa the opportunity to voice his thoughts on the fight over the PA system.
Realizing the EPIC-NESS of the opportunity presented to him, Balboa digs deep within his recently brain-damaged mind, and summons an unrehearsed MAN-SPEECH of world-changing POLITICAL MAN-POWER:
In one night, Rocky Balboa won the most physically demanding fight of his life, and single-handedly ENDED COMMUNISM in the USSR.
Thus concludes our 4th MANLIEST MAN moment.
We've got 3 more to go folks, with all the EPIC MANLINESS being slung around here, it's hard to say whether or not we'll all survive the experience; but godddamnit I'm gonna' give it my best shot to see it through to the end!
Check back tomorrow for MANLY MAN moment #3!
Filed under: Boxing, Movies, Tokusatsu, Top 10 Manliest Man Moments, Uncategorized, Wrestling, Antonio Tarver, Apollo Creed, boxing, Carl Weathers, Clubber Lang, Dolph Lundgren, fight, films, Godzilla, II, III, IV, Ivan Drago, Mason Dixon, Movies, Mr. T, Rambo, robot, Rocky, Rocky Balboa, Russian, speech, Sylvester Stallone, Tommy Gunn, Tommy Morrison, Top 10, Top 10 Manliest Man Moments, Ultimate Warrior, USSR, V, WWE, WWF

subset: commoncrawl


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- Store
- >
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- Booms, Towers & Pylons
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- Barefoot International Quad V-Drive Boom for V-Drive Boats
Barefoot International Quad V-Drive Boom for V-Drive Boats
per item
Barefoot International's Deluxe Quad V-Drive Boom
Fits All V-Drive Boats With Rear Pylons.I have used my 30 years of experience and training to personally design each of the Barefoot International booms without compromising safety. They are all built to stay strong and won't damage your boat. For added safety, our booms utilize a dual stainless steel cable system that runs all the way to the attachment point at the bow. There are no levers or moving parts in my clamp designs because they can loosen or break during use. The clamps for each boom are extremely strong with heavy duty hardware to ensure they remain mounted firmly to the pylon. They also have a quick release pin which makes it easy to attach and remove the boom. Other companies use inferior designs such as a single cable system or straps which will wear out or even worse, entirely fail... I have seen it happen. By purchasing a Barefoot International boom you are guaranteeing that you have the highest quality, strongest, and without a doubt, safest boom on the market.
Ships 7-10 Days
5 available


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The deep freeze logistics with up to −30 °C poses special challenges for material flow solutions. The 24-V roller conveyors and diverters enable an efficient zero pressure accumulation operation, even under these ambient conditions. Not only does this increase the work productivity, but it also facilitates installation and maintenance.
Belt conveyors are also being used for the chill area, which is usually between 0 °C and +5 °C. Hence, it is possible to use a continual material flow solution at different ambient temperatures in a modular and flexible way.
Your Benefits
- Efficient material flow
- Decentrally controlled technology
- Low energy consumption
- Better and safer working environment
- Flexible and scalable configuration
- Standard plug-and-play conveyors
- Proven solution
24 V Roller Conveyors for Deep Freeze and Chill Environments
Belt Conveyors for Chill Environment


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We Are Hiring
Ascension St. John Anesthesia Services is seeking a full-time CRNA to join the elite team.
Why Join Ascension?
Ascension St. John, based in Tulsa, Oklahoma, was founded in 1926 by the Sisters of the Sorrowful Mother. Beginning with a 50-bed hospital, Ascension St. John now incorporates the skills of more than 800 primary care and specialty physicians, 7,000 employees and several medical centers throughout northeastern Oklahoma.
Ascension St. John is part of Ascension, a faith-based healthcare organization dedicated to transformation through innovation across the continuum of care. As one of the leading non-profit and Catholic health systems in the U.S., Ascension is committed to delivering compassionate, personalized care to all, especially to those most in need. In FY2018, Ascension provided nearly $2 billion in care of persons living in poverty and other community benefit programs
What You Will Do
As an Associate with St John Health System, you will have the opportunity toAdministers anesthetic care for the purpose of facilitating diagnostic, therapeutic and surgical procedures.
What You Will NeedLicenses/Certifications/Registration:
Equal Employment Opportunity
Please note that Ascension will make an offer of employment only to individuals who have applied for a position using our official application. Be on alert for possible fraudulent offers of employment. Ascension will not solicit money or banking information from applicants.
E-Verify Statement
St. John Health System participates in the Electronic Employment Verification Program. Please click the E-Verify link below for more information.


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If you're frequently uploading videos and photos to Flickr, YouTUbe, Vimeo, Twitpic or Facebook, you know that it's slightly annoying to have to log into each service, search your files and go through their uploader. Courier solves all this for you.
It's a desktop app that lets you make Envelopes that represent various services, so you can set Vimeo and YouTube as a "videos" upload, and Facebook and Twitter and Twitpic as a "photos" upload, for example. Or, just mix and match whatever you like. Once you've set the Envelopes, just drag your media onto those envelopes and Courier will automatically upload your files for you, without having to visit their webpages.
There've been Flickr uploaders and YouTube uploaders and FTP clients before, but as far as I know, nothing's combined all these various services into one app. Realmac also incorporated extensibility, so other services can add uploadability after the fact. For example, there is an Amazon S3 plugin that you can use to backup your files to the cloud.
As far as I've seen, it handles file uploads quite well, except when there's a slight problem with, say, tags. I tried uploading a 100MB YouTube video that seemed like it was successful, until Courier told me, 10 minutes later, that one of the tags had a bad character in it. I had to reupload the video with better tags, which was successful. It would have been nice to figure out if the tags worked or not before the upload failed, but that is most likely a limitation with YouTube, rather than a Courier thing.
In any case, if you're a frequent uploader, Courier is for you. [Realmac]


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Meet the new Golf R: the most powerful, fastest accelerating and, with a price that's likely to top $50,000 in Australia, the most expensive series production version of Volkswagen's best-selling model.
The latest entry into the burgeoning performance hatchback ranks comes in both three- or five-door body styles. It is powered by the Volkswagen Group's turbocharged 2.0-litre four-cylinder direct injection petrol engine boasting variable valve timing, camshaft control and a two stage valve lift function. It is essentially the same used by the latest iteration of the Audi S3 Sportback.
In Europe, the new Golf R is rated at a stout 221kW and 380Nm of torque. But like the recently introduced S3 Sportback, Australian versions are set to feature a slightly detuned version of the EA888 engine with 206kW and 330kW, due in part to our harsh weather conditions, which necessitate changes to the electronic management system for added durability in summer months.
The next most powerful Golf model on sale in Australia is the performance pack equipped GTI, which also uses the 2.0-litre turbo engine but in an even milder state of tune that endows it with 169kW and 350Nm of torque.
As with its highly-rated predecessor, the new Golf R's transversely mounted engine sends its drive to all four wheels via either a standard six-speed gearbox or, as fitted to the example we sampled in icy surroundings in northern Sweden this week, an optional six-speed dual clutch transmission.
But while the gearbox options remain the same, Volkswagen has brought a number of changes to the Golf R's 4Motion four-wheel-drive system, among them a new fifth generation Haldex multi-plate clutch boasting a revised electronic package, a so-called EDS (electronic differential system) and further developed version of the XDS Plus system (front differential lock), as found on the seventh-generation Golf GTI .
Together, they are claimed to provide a more rapid apportioning of power between the front and rear axles and, with four electronic differential locks, an ability to alter the amount of drive between the left and right hand side wheels for what its engineers describe as added traction, stronger straight line performance and higher cornering speeds.
A Drive Profile function allows the driver to choose between three differing set-ups: race, normal and eco. Alternatively, you can tailor the responsiveness of the steering, throttle and gearbox to suit your driving style or conditions. On top of this is an optional DCC (dynamic chassis control) system with adaptive damping in three different modes: comfort, normal and sport
The new Golf R adopts the same steel body shell and hot formed steel monocoque MQB (modular transverse platform) structure as other regular seventh-generation Golf models. Dimensionally, it has grown. Although, not by much. Length, width and height are up marginally in three door guise, liberating greater interior space and luggage capacity than previous generations of the über-Golf.
Yet despite the increase in size, Volkswagen says the new three-door Golf R has shed 45kg, bringing its kerb weight down to 1476kg in manual guise and 1495kg with the dual clutch gearbox. As a result, its weight to power has improved to a respective 6.7kg/kW and 6.8kg/kW in three-door form.
Figures for the Australian model have yet to be released, though a high level of equipment is likely to see it tip the scales above the 1500kg mark, according to sources at Volkswagen's Wolfsburg based headquarters in Germany.
Volkswagen claims a 0-100km/h time of 5.3 seconds for the manual model, while the quick shifting dual clutch equipped model is rated at just 4.9 seconds in European specification. By comparison, the old three-door Golf R posted times of 5.7 seconds and 5.5 seconds respectively. As before, top speed is electronically limited to 250km/h.
The new go-fast Golf also touts some impressive fuel consumption and emission figures. Official claims for the dual clutch gearbox equipped model are 6.9L/100km 159g/km of CO2 on the combined cycle.
The styling changes over lesser models are characteristically subtle but at the same time effective enough to signal that this is no ordinary Golf. With widened tracks and a 20mm lowering in ride height, it is sporty looking, but in an understated way that we've come to expect from Volkswagen over the years.
Included in the visual makeover is a beefed up front bumper with larger air ducts for more efficient engine cooling, a unique grille insert, chrome R decals within the front flanks, widened sills, a larger spoiler above the tailgate, a re-profiled rear bumper and a two pairs of chromed tailpipes – the latter replacing the two central mounted tailpipes of the old Golf R. A set of standard 18-inch wheels shod with 225/40 profile tyres and an LED lighting package complete the look.
The sporty accents continue inside with revised analogue instruments with blue highlights, leather bound flat bottom steering wheel, terrifically supportive leather sport seats and unique R Alcantara trims. It is a highly practical car with sufficient space for four adults and their luggage. Build quality and overall attention to details is also of a high level; if not quite in the same league as the S3 then not far behind.
The blown 2.0-litre four cylinder powerplant throbs with real purpose at idle. There's also a deep chest blare under load and the exhaust crackles proper intent on a trailing throttle as you head off down the road, instantly heightening the appeal of the new range topping Golf. However, the noises are only part reality. A synthetic sound booster has been included to enhance the soundtrack via the speakers of the infotainment system.
Underway, there is some initial low end lag as the turbocharger spools up, but revs build quickly with an impressively smooth and hugely flexible delivery. The mid-range is where the engine really shines, though. There's strong pull through to and beyond 6200rpm – the point at which peak power is developed. And the feeling of strength continues right on through to the 6800rpm limiter.
There's a mature feel to the new Volkswagen, with outstanding mechanical refinement. Indeed, the smoothness of the power delivery and a crisp shift action from the dual clutch gearbox serves to mask the Golf R's sheer pace. Make no mistake; this is a rapid hatchback, capable of mixing it with all but the best of its rivals for outright straight line speed.
We've only driven the new Volkswagen Golf R in frigid arctic conditions on studded snow tyres but it is clearly an improvement on its already talented predecessor in the dynamic department. With direct electro-mechanical steering, excellent body control and a fluid chassis boasting a firm but never harsh ride even in race mode and with the adaptive dampers set to sport, it feels every bit responsive and capable as the mechanical identical but more expensive S3 Sportback.
Grip levels are predictably high, and the newly configured four-wheel drive system provides superb traction and drive out of low speed corners. When adhesion is breeched, there is an instant tightening of your line as the two stage electronic stability control system reduces drive either to the inside wheels to suppress understeer or the outside wheels to reduce oversteer as you back off .
There is a new found agility and responsiveness to the whole car, making it both terrific fun and thanks to its outstanding traction and fast the fast acting differentials supremely secure, even at minus 26 degrees on a frozen Swedish lake.
Smooth, rapid, responsive, practical, relatively economical and big on quality - the latest Golf R has a lot going for it. But in a class that includes such stand outs as the recently launched Mercedes-Benz A45 AMG, Audi S3 Sportback and new BMW M135i it is far from the only choice in the hot hatchback ranks. And that's to say nothing of the likes of the Ford Focus ST, Seat Leon Cupra and Skoda Octavia RS.
Yes, it boasts clear visual similarity to lesser Golf models. But if you don't want the rest of the world to know just how fast or capable your car really is this is only going to add to its appeal.
- Interested in buying Volkswagen Golf? Visit our Volkswagen showroom for more information.


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I want to use Apple Push Notification Service, so I need a server. This server will have to check a site every x minutes.
How the site that has to be checked requires the user to login.
So is it ok security wise to get the user to login on a web browser, then upload the cookies which contain the session information (not the user's username or password) and store them in a database which is just one table, with 2 fields, 'cookies' and 'deviceToken' so that the cookies are associated with the device token.
Then perform requests from the server to the site with the user's cookies, on the user's behalf, and if the site has changed push a notification to the user.
Is this a secure method and how exactly would I implement this so that noone else can get access to the database and download the cookies?
Also as long as I let the users choose to enable or disable push notifications (neither opt-in or opt-out) is this morally ok?


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This piece by Armstrong dives into his views on Goldman Sachs, the conspiracy theories that surround them, as well as a few other "manipulation" issues. This is good insight as he has personal experience and has spent time around some of the central bankers. Martin even provides a short technical update of GS and JPM.
While I do agree with much of what he says here, like there is no one on our side looking out for our interests, I do take issue with a few of his positions. I disagree, for one, that the central banks largely do not collude – baloney, that's what the G5 and now G20 are all about. Secondly, Martin is ignoring the TRILLIONS UPON TRILLIONS in credit derivatives that are now underlying everything at JPM, GS, and others. The leverage created by them will be their undoing. Otherwise good insight and a great piece for thought and debate:
Oh, and in case you missed the Matt Taibbi Rolling Stone piece, here's a pertinent video that does a terrific job of explaining Goldman's role in Government.
Goldman in the Government…
Again, these people have NO business being involved in government. In fact, they are the very last people who belong there.
Wednesday, July 22, 2009
Martin Armstrong - The Goldman Sachs Conspiracy - The Real Dark Pool…
Posted byAmy Jamison at2:32 PM


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Eagles tribute band Desert Highway has plenty of area fans
Desert Highway is known throughout the country as an Eagles tribute band -- but in Bridgeport, the group has a special following.
"We've only played Bridgeport one other time -- but both concerts were sold out before we even got there," said Larry Lippman, lead vocalist and drummer.
As the Don Henley voice of the band, Lippman said the Long Island-based group is looking forward to the next visit -- three performances at Bridgeport's Downtown Cabaret Saturday and Sunday, April 12-13 -- "because audiences there are an intelligent crowd and know their music. And they're very responsive and enthusiastic."
This time the group will be doing three performances: two on Saturday and one on Sunday. Each performance will be 90 minutes without an intermission. Doors will open 30 minutes prior to each show so that concert-goers have time to set up picnics and other bring-your-own food and drink.
Lippman, a music educator in the Long Island school system, says no two shows are ever alike, given the wealth of material created by the iconic country-rock band since 1971. (The Eagles, by the way, will be on a History of the Eagles Live In Concert tour of the United States later this summer; the group has sold more than 120 million albums, earning five U.S. No. 1 hit singles and six Grammy Awards.)
Fans, however, can be assured of hearing signature songs: "Take It Easy," "Hotel California," "One of These Nights" and "Life in the Fast Lane," the Buffalo, N.Y., native said.
With Desert Highway since 2012, Lippman said he gets great satisfaction from performing in the tribute band.
"First and foremost, to be in a tribute band, you have to absolutely love the (original) band and their music. And the Eagles are an easy one to love. I grew up with this band ... they're beloved. My real passion is playing and performing -- and Desert Highway gives me that opportunity."
Desert Highway also includes veteran musicians Mike Green doing lead vocals and guitars; Carl Bova on bass and vocals; Rich Naso, guitars; Ed Betancourt, guitars and vocals; and Mitch Lieb keyboards.
More InformationDowntown Cabaret Theatre, 263 Golden Hill St., Bridgeport. Saturday, April 12, 5:30, 8:30 p.m..; Sunday, April 13, 5:30 p.m. $47. 203-576-1636, downtowncabaret.org.
Lippman said he began studying music at age 5, including piano, drums and French horn, as well as voice.
A 1989 graduate of The Berklee College of Music in Boston, Lippman had four-year scholarship in the name of acclaimed drummer, Steve Smith, from the multi-platinum rock group, Journey. (And he remembers receiving his degree from the hand of Beatles producer Sir George Martin, who was at the ceremony to receive an honorary doctorate.)
The musician said he has enjoyed a full musical life -- from dueling pianos at nightclub comedy shows to sharing the stage with renowned guitarist Elliott Randall of Steely Dan
email@example.com; Twitter: @PhyllisASBoros
Downtown Cabaret Theatre, 263 Golden Hill St., Bridgeport. Saturday, April 12, 5:30, 8:30 p.m..; Sunday, April 13, 5:30 p.m. $47. 203-576-1636, downtowncabaret.org.


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manorial system
manorial systemmənôr´ēəl, măn– [key] or seignorial systemsēnyôr´ēəl [key], economic and social system of medieval Europe under which peasants' land tenure and production were regulated, and local justice and taxation were administered. The system was intimately related to feudalism but was not itself feudal, since it had no connection with the military and political concept of the fief. The fundamental characteristic of the manorial system was economic—the peasants held land from the lord (Fr. seigneur) of an estate in return for fixed dues in kind, money, and services. The manorial system prevailed in France, England, Germany, Spain, and Italy and far into Eastern Europe. A similar method of landholding by the peasants has existed in countries outside Europe, notably Japan and India.
Sections in this article:
- Introduction
- Structure and Functions
- History
- Bibliography
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2012, Columbia University Press. All rights reserved.
See more Encyclopedia articles on: Ancient History, Middle Ages and Feudalism


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Philadelphia man gets 16 years for stealing credit cards while crawling on Connecticut theater floors
HARTFORD >> A Philadelphia man who authorities say crawled along movie theater floors to steal credit cards from women's purses has been sentenced in federal court in Connecticut to 16 years in prison.
Anthony Johnson was convicted last year of multiple counts of credit card theft and identity theft.
Prosecutors say the 50-year-old Johnson stole credit cards from moviegoers at theaters in Greenwich, Fairfield and Colchester between 2008 and 2010.
Authorities say he and female accomplices would then use sophisticated computer equipment to make fake driver's licenses with the victim's name and an accomplice's photo. They then used the stolen credit cards to buy tens of thousands of dollars' worth of clothing, jewelry and electronics, and for gambling.
Johnson also was sentenced Thursday to three years of probation upon release.


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As of July 2013, the USDBF is the U.S. representative for the Pan Am Dragon Boat Federation (PADBF) which in turn is part of the International Dragon Boat Federation (IDBF).
There are four (4) regions in the USDBF: PDBA representing the West Coast, ADBA representing the Central US, ERDBA respresenting the NorthEast, and SRDBA representing the SouthEast.
The PanAmerican Federation is a newly formed organization comprised of North, Central and South America and will have a website with more information coming soon.
The following chart is not a definitive representation of the organizational structure of Dragon Boat in the U.S. and in the world, but will be expanded upon as more information becomes available.


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Ready to Test Your Knowledge?
Take the plagiarism Quiz
The plagiarism quiz provides you an opportunity to let your instructor know how well you understand plagiarism issues. The plagiarism quiz is 10 questions, plus one short answer. If you score about 75% you will have an opportunity to email the results to your instructor. If you score 100% you will have the opportunity to print out a certificate.
Ready? Go to the Plagiarism QuizPlagiarism Quiz »


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Videos | September 27, 2011
Aquarius Yields NASA's First Global Map of Ocean Salinity
Aquarius is making NASA's first space observations of ocean surface salinity variations, a key component of Earth's climate that is linked to the cycling of freshwater around our planet and that influences ocean circulation.
Transcript:NASA's new Aquarius instrument has produced its first global map of the salinity, or saltiness, of Earth's ocean surface. The map is a composite of the first two and a half weeks of data since Aquarius became operational on August 25. Yellow and red represent areas of higher salinity, while blues and purples indicate lower salinity. Black areas are gaps in the data.


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Fireplace Makeovers: Before and Afters From House Crashers
See "crashed" fireplace makeovers from the hit show House Crashers.
Keep in mind: Price and stock could change after publish date, and we may make money from these links.
March 30, 2015
Before: Outdated Brick Fireplace
The stained brick and gold finish on this fireplace give it an outdated look. The plain, empty shelves on both sides of the fireplace don't do much for the space either.
After: Modern Tile Fireplace
The brick is covered with a glass-tile surround to give the fireplace a modern look. Glass cabinet doors installed on shelves provide the space with a quaint cottage style.
Before: Stone Walled
The rock wall in this living room overpowers the small fireplace, and the room's monochromatic color scheme leaves the space feeling dull and dark.
After: Stylish and Bright
The fireplace gets a contemporary update with a new marble surround, a floating mantel and a hearth. The homeowners gained space by eliminating the huge stone wall, and the brighter wall color makes the room seem even bigger.
Before: Bland Corner Fireplace
This fireplace lacks a mantel and isn't very warm and inviting.
After: Floor-to-Ceiling Fireplace
The new fireplace is now the room's centerpiece with a sheet-metal surround and stained-oak trim. The custom entertainment center blends with the new fireplace giving the room a seamless look.
Before: Ugly Rock Fireplace
The soot-stained rock fireplace is too much of the focus in this living room.
After: Fireplace With a Hidden TV
The combination of rich earthy colors gives this fireplace a classy arts-and crafts vibe. The vertical placement of the glass tiles has a fresh spin and the cool factor comes from having the TV hidden behind the mirror.
Before: Angled Fireplace
The angled wall of this fireplace/entertainment center combo feels kind of awkward. Plus, the traditional-style fireplace insert with the large stones looks out of place in this contemporary setting.
After: Bachelor Pad Cool
The angled wall is removed and replaced with a custom bookcase. The fireplace is given an industrial-style makeover with metallic tiles and an iron mantel with matching trim.


text:
From Father's Arms to Mother's Arms
1. From Father's arms to mother's arms the infant Jesus came.
And with this birth God sent to earth salvation in His name.
Behold the Lamb of God, asleep, within a crib of hay.
God sends His tiny miracle to save the world one day.
2. He wakes, so Mary gently takes her son and holds Him tight.
In mother's arms He's safe from harm, from cold, and dark of night.
To faithful shepherds angels sing God's wondrous news for men.
In haste the shepherds run to see and kneel before the Lamb.
3. One day this tiny child will grow and be the King of Kings;
But now He rests in Mary's arms while lullabies she sings.
One day this child will bring His sheep back to His Father's arms;
But now He sleeps, so Mary keeps her baby safe and warm.
Text: John Pearson
Music: Janice Kapp Perry
Artist: Pearson/Perry
Album: Music Published in the Church Magazines: New Era
Composition Date: 2012-12-07
More Info: New Era


text:
Flirting with the Forbidden
- Steven James Author
- 2012 22 Feb
EDITOR'S NOTE: The following is an excerpt from Flirting with the Forbidden: Finding Grace in a World of Temptation by Steven James (Revell).
I lost two sons today.
One to his brother, the other to himself.
And I screamed.
Screamed into the darkening day.
But Death had come and there is no turning back, no rebirthing again. This I have learned. This is the lesson of my life.
Perhaps I should have seen it coming.
Yesterday, when I was preparing the morning meal with Cain, I had the small, tender sense that things had changed.
He told me that God had spoken to him, and I felt a flare of jealousy. God had spoken to me in the garden, yes, but hadn't spoken to any of us since the rift, the great divide. Since we'd been banished from the place of harmony.
"What did God say to you?" I asked my son.
He was slow in responding. "It was a message for me." I caught the hint of a grin. "Only for me."
His words were like a slap in the face.
First he taunted me and now he was drawing satisfaction from it.
"Tell me, Son. What message did God give you?"
He eyed me. "He told me that sin is crouching at my door, that it wants to control me. But that I must master it."
I was quiet. I didn't know if this truly was the Lord speaking to him, but it was a message my son definitely needed to hear and I doubted he would have come up with those words on his own.
"Then you must master the sin, Cain," I said. "The Lord will help you."
"He told me I needed to do it." A touch of venom in his words. "He never told me he would help me."
"Do not talk that way."
"Don't speak in truth? You would have me—"
"Stop." I stemmed off the argument. "Trust that God will help you and you'll be able to resist."
Then Cain smiled. "Don't worry," he said. "I'll resist."
"Don't open the door."
"I won't open the door."
It would be easier if I didn't remember the way things were in the Garden. It's the knowing that hurts, the knowing that things were different once, that harmony was possible. I wish I didn't know that, wish I could just erase the memories once and for all, forget it and live as if this were the best of all possible worlds.
But I can't.
And that's part of the curse.
It seems like so long ago when we walked with the Creator beside us. Listened to his presence. It wasn't like a voice speaking but an understanding being shared that was beyond words. We were surrounded with the overwhelming weight of his holiness, the comfort of his acceptance, the warming presence of his unspeakable love.
The memory stings like a new breed of loneliness.
When Adam looks at me I can see it in his eyes too. A longing backward through time, before all of this. A terrifying regret that we will never feel that peace again.
I used to wonder what it would be like for my boys—growing up never knowing the way things were in the Garden, only seeing splintered, thorn-encrusted glimpses of paradise. And if I have more children—if—then I wonder if there will be an eventual forgetting of what things can be like between us and the Creator, each generation falling further from the knowledge of the Garden.
The day the rift occurred is a stain on my memory. That day when death came into the world and the hot horror of shame overtook us still haunts me.
A blade cut through my heart after it happened, especially when I looked into Adam's eyes and I saw a slow-growing darkness. I found out later what it is called.
And when the Creator spoke to us, I explained that I'd heard the thoughts, the words of the snake—which wasn't all that unusual since both Adam and I had a sense of what the animals were saying to each other. Not in the same language we spoke but in a whisper-reflection of it.
I looked to Adam for his support, for his help, but he stepped backward.
Faltered. Blamed me for everything.
And all that had been pure and right between us crumbled.
I knew I would never trust him again, not like I had, and I could see by the look on his face that he had already stopped trusting me.
So much pain.
And I thought, If death is to come, let it come! I desire it!
But in a wicked twist of fate, the Creator let us live.
I wish he had not.
And when my sons came, despite the pain, the terrible pain of their birth, I had a sense of hope. A daring seed of belief that life would go on, that the past could be redeemed by the birth of something new.
They looked like their father. I hadn't known it would be like that.
When I awoke this morning, a tumult of clouds was roiling on the horizon. They would do this sometimes, chase us, then descend and surround us with a gray mist.
But the breath of the clouds' damp wind hadn't found us yet. The air was staid and still and sharp with the heat of the awakening day.
At the morning meal Abel announced that he was going to make an offering to God. Adam, Cain, and I listened quietly.
"An offering," I said.
"Yes. A gift."
"What gift could you possibly give God?"
Adam eyed me, trying to let his look rebuke me, but I didn't let it.
"One of my lambs," Abel said.
"How will you give your lamb to God?" Cain asked.
"I will burn it and let the smoke rise to heaven like a fragrance."
The scent of death as a gift?
"God is a spirit, Abel," I told him. "He does not need your dead
"He gives us all we have," he replied. "Everything. But what do we give him? He gives us the sun, the air, the earth, the food we eat." He smiled in his innocent way, his naive way, and I wished I could feel that sense of trust in the Creator, that pure thanksgiving, unclouded with regrets or shame. "I want to thank him."
"Then thank him by the way you live." I was done with this conversation. "Don't thank him by killing. Death is a curse, not a gift."
He was quiet.
"Let's just eat," I said, but almost immediately Adam contravened what I'd said.
"Go on," he told Abel. "Give God your offering. Who knows, he may be honored by it and bless us."
I felt anger twist me. Had I told Abel to go to the fields and make his offering, I could only guess that Adam would have told him to stay back. That's the way it was between us.
Cain cleared his throat slightly. "I'm going to give God an offering too." He didn't keep animals but gathered from the field, and I wondered what kind of offering he would give, but before I could respond, Abel nodded to him. "Good. We'll go together."
Adam was not a man to stop people from acting. He'd said nothing to me when I took the fruit, even though he was standing right beside me. And now, as our sons left, he said nothing.
The wind picked up as the deep clouds rolled our way.
When the boys had stepped away, I said, "Adam, this is not—"
"There's nothing wrong in offering to God what we have."
"Is that what you think Cain is doing?"
My husband rose quietly and headed toward the river. I might have called for him to go fetch our sons, but I did not.
And now I wonder how things might have turned out if only I had.
When the bank of clouds arrived and our sons failed to return, Adam went to find them. But somehow I already knew. A mother knows these things. Even before he returned with the body of my younger son in his arms, a deep ache had begun to gnaw at me.
Abel hung in his arms limp and still like an animal, like one of the lambs. No breath. Adam laid him down and I collapsed beside my dead son.
Dust to dust.
Then I screamed my grief into the blackened sky.
I lost two sons today.
And now I cry out to the Lord, begging him for a new life, for a new hope, and the howl of the wind on the edge of the skies is his only reply.
Now Cain said to his brother Abel, "Let's go out to the field." And while they were in the field, Cain attacked his brother Abel and killed him.
Then the Lord said to Cain, "Where is your brother Abel?"
"I don't know," he replied. "Am I my brother's keeper?"
The Lord said, "What have you done? Listen! Your brother's blood cries out to me from the ground. Now you are under a curse and driven from the ground, which opened its mouth to receive your brother's blood from your hand." (Gen. 4:8–11)
This is where it all began.
In a garden with a choice, in a field with a body. That's the legacy of humankind—the quest to be like gods, the elevation of self over others. The firstborn human murdering the second and a shattered mother weeping in the dark.
According to the Bible, things between God and humans were not always as they are now. Now we have these cliffs of pride that humility struggles to scale, these depths of despair that drown our joy, this friction between us, within us. We have arguments and grudges, fistfights and muggings, incest and abortion. None of this was in the original plan.
In the beginning, harmony existed between us and God, between us and creation, between us and each other, and, in a very real sense, between us and ourselves.
Most people feel it inside of them, a smoldering knowledge that we are not what we were meant to be; we're nagged with a hunger for eternity. Even those who reject believing in God don't seem to be able to shake the thought that a bigger purpose must be at work, a deeper joy available somewhere.
The tempter is real.
Our choices separate us from unity with the divine.
We've been cast out of the garden of clarity, of harmony, because we have sought and picked and eaten the forbidden fruit.
Here's something I've been learning the hard way: I'm never free from temptation. It might be the temptation to slant the truth in my direction when it benefits me, or to yell at my daughter when she won't stop picking on her little sister, or to lash out in anger when the world doesn't tilt my way.
I struggle with big things and I struggle with little things—anger, materialism, impatience, frustration, disappointment, and a rather unhealthy addiction to chips and salsa. Dissatisfaction in the world. The root of the fall itself.
And I've found that no matter where I travel or what I'm doing, I'm just one thought away or one action away from stepping over the line and entering the land of the forbidden.
Every day, every hour, every minute of our lives we have the opportunity to either say "yes" to God or "yes" to ourselves. That's why Jesus emphasized something I don't hear much about at churches these days—denying yourself: "If anyone would come after me, he must deny himself and take up his cross daily and follow me" (Luke 9:23). I think he found it necessary to say that because, while most of us want to do what God wants, we also want to do what we want. And that's where the problems begin.
Being honest about life requires that we admit we're stuck somewhere between sinfulness and holiness, between being lost and being found, between indulging ourselves and serving our God.
After all, we're both wretched and royal, sinners and saints, part of God's divine solution and part of the overarching problem.
Paul discovered that when a person trusts in Jesus Christ, the core priorities of her life fundamentally change instantly. He wrote to his friends in Corinth about this: "He died for everyone so that those who receive his new life will no longer live for themselves. Instead, they will live for Christ, who died and was raised for them" (2 Cor. 5:15 NLT). When I read those words, honestly, I get a little uncomfortable. Jesus didn't die just so that one day I could go to heaven, he died so that I might stop living for myself now.
Welcome to a paradigm shift. When I first stumbled across that verse, it was a wake-up call for me to realize that every moment I'm faced with a choice: will I offer this moment to God or try to keep it for myself ?
Over the years I've read lots of books about following Jesus. Typically, they tend to make me feel guilty because I'm either not rejoicing enough or witnessing enough or going to church enough or tithing enough or praying enough.
Or they make following Jesus sound like a piece of cake: that life will just keep getting easier and easier as I get holier and holier and put into practice the Five Time-Tested Tips and Seven Life-Changing Principles that the author has based his current book, seminar series, website, or DVD curriculum on.
But I find very few books that lay out the paradoxical truth of the matter—(1) following Jesus isn't always easy, practical, fun, or popular because temptation hounds us every step of the way, every day of our lives, (2) through it all, God's grace and forgiveness are powerfully available and instantly accessible to everyone, everywhere, all the time. We live in the middle of a deep and rich paradox. Grace and truth, pain and healing woven through our world, through time itself.
The greatest saints of the ages have discovered something most of us haven't. Not only are they familiar with their own shortcomings and sins, they're also aware of the outlandish grace of God. By being mindful of both their fallen nature and Jesus's risen love, they're able to live on the escarpment of evil without constantly toppling over the side.
When we're tempted (either by our own desires or the nudgings of the devil) I don't think the point is to make us do the unthinkable—at least not at first. The goal is to make the unthinkable more and more reasonable. And then, when it doesn't seem so bad anymore, when it seems trite and harmless, when it seems like the next logical step, to have us go ahead and take a bite out of the forbidden fruit.
Ever since the tragic choice in the Garden of Eden, temptation has been the default setting for life on this planet. But most of us don't just pluck the fruit and start eating. Instead, we first get curious about what it might taste like. We wonder about the other people who've eaten it. Did they like it? Are we missing out? Isn't it unfair that they get to try some but we don't? Why should we be the only ones left out? Huh?
God never said you couldn't pick the fruit, did he? He just said you weren't supposed to eat it, right? Well, go on. Pick it . . . Good . . . Now smell it. He never said you couldn't smell it. There's nothing wrong with smelling the fruit . . . There, now, lick it. It's not the same as eating. He was clear you weren't supposed to eat it, but he never said anything about licking it . . .
And so it goes.
Until we take a bite.
It's so much easier once the fruit is in your hand, once you've touched it with your tongue.
And until we finally admit that temptation is a reality of life and that (at least to some extent) we want to lick the forbidden fruit and explore what lies beyond the fence, we'll remain vulnerable to the dark thoughts that keep trying to climb into our souls and burrow deeper into our hearts.
The secret to overcoming temptation is not to try harder but to receive more of what God offers: "For the grace of God that brings salvation has appeared to all men. It teaches us to say 'No' to ungodliness and worldly passions, and to live self-controlled, upright and godly lives in this present age" (Titus 2:11–12). Even the ability to say "no" comes from the grace of God.
That's how lost we are.
That's how much we need him.
That's how gracious God is.
And that's what this book is about.
© 2012 by Steven James
Published by Revell
a division of Baker Publishing Group
P.O. Box 6287, Grand Rapids, MI 49516-6287
Printed in the United States of America
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—for example, electronic, photocopy, recording—without the prior written permission of the publisher. The only exception is brief quotations in printed reviews.


text:
Writing a series is a process…a long detailed process made easier with a little planning and documentation. Planning ahead is always a good idea. Ask anyone who's ever lost their luggage or ran out of cash on a date. For series writers, planning ahead saves time and streamlines the process of writing books two and beyond. It's important to remember writing a novel is a great accomplishment. Often, we write and write and write without stopping to admire our success. Many writers begin a novel and never finish. If you've finished, please pat yourself on the back. Congratulations on your magnificent tenacity and dogged determination. You did what few ever do. You are a novelist!
The amount of time and planning authors put into the story of their heart is unimaginable. Recreating your setting, plot and characters for future novels takes some serious planning. As readers fall in love with your world and the inhabitants, they will expect consistency in the books to come. Readers remember the details. If the author forgets a detail or changes it without explanation, readers will make sure the author and other readers hear about the error. Inconsistency in series writing is a mark against your books and, for some readers, against you as a writer. I don't know about you, but I never want labeled as the author who didn't know the details of her own stories, so I plan ahead. Sometimes obsessively, which I don't recommend for everyone, but it works for me.
Planning Ahead
Where should you start? What kind of details are noteworthy? Short answers: 1. Start at the beginning. 2. All details are noteworthy. This is your amazing new series! You spent months of your life creating the characters, cultivating the dynamics and building their world. Those details are what makes your novel stellar and unique. You want to log all the details for future reference.
If you aren't convinced you need to write anything down, consider this: How long did it take you to complete your story? How long will your manuscript be out on submissions? Assuming the manuscript (Book One) is picked up by a publisher, how long before it hits shelves? Often times, the timeframe between submission and publication takes years. Years. What will you write in the meantime? It's not uncommon for an author to begin a new book (not a sequel) while waiting for news on Book One. I do. I'm always writing and I rarely begin book two in a series before contracting book one. Hey, noveling takes endless hours, sweat and tears. Until Book One sells, I spend my time writing other stories that might sell. If you do this too, then you see the problem. A year after you finish Book One, and have written another novel or two, how can you expect to remember the details? Even if you write your sequels back to back, it's easy to forget the head librarian's name or hair color when she pops up again in Book Three.
Where to Start
Reread Book One. I know. Cringe. Retreat. How many times have you read those words? It feel like a hundred by the time the novel is ready for submissions, not to mention rounds with your agent, revision letter from the acquiring editor, line edits, copy edits. I understand. I know you don't want to read Book One again, but it's a great idea and it's Step One. So, you must. Rereading is especially important before writing a sequel because rereading puts you back in the main character's headspace and reminds you of the tone and voice of the character.
Make Lists
Use the time you spend rereading to the fullest by taking notes. Keep lists or make spreadsheets of people, places and things. Ideally, do this as you write or plot Book One, but if you've already finished Book One, make notes during the reread and save the file. When your dream publisher buys Book One and accepts your series proposal, writing consistent sequels will be a breeze. You'll be glad you took the time. Promise.
People Lists
Consider all the things about your named characters, first and secondary characters, maybe even tertiary characters if they could pop up in future novels. If character were important enough to get a name, they go on the list. For example, unless you've had an election in your world, Sheriff Tom in Book One can't be Sheriff Bob two sequels later. Readers remember. They love your work. They will want to know what happened to Sheriff Tom. See? A good rule of thumb for your lists: Anyone with a name makes the list.
Beside the character names, add a brief physical descriptions. Include their height, weight, hair color, eye color, fashion sense or lack thereof. A stutter. A limp. A wonky eye. A dimple. If you mentioned the detail in Book One, it's important. You wouldn't have thrown in random unimportant facts, would you? Right. Every word was chosen carefully, by you, for a purpose. So, honor your decision to include Aunt Mary's nose mole with a line on your list. You deserve credit for that!
Character Traits
Note any characteristics that impact character development. Is the character graceful, clumsy, dowdy or charming? Write it down. Making a quick one word notation can be sanity-saving to you later on in the series. Let's face it, most writers are hanging onto their sanity by a thread as it is, we have to do what we can to keep sanity within reach. Lists of character traits help for another reason too. Staying true to the character is important, but making notable changes intentionally is a great way to clue the reader in that something is happening or has happened to that character. For example: A drastic new look can mean a major life change for a character. A new job. A new beau. Or a breakup. The same concept applies for things like extreme noticeable fatigue. Forgetfulness, puffy eyes & general malaise might mean the character has a second job or switched to the midnight shift …or developed a drinking problem…or had a new baby. See? Details are important and can be used to your advantage as the author.
World Dynamics
Relationships within the world you create are noteworthy as well. Make room on your lists to note how the characters know one another (if they do). How are they connected to other characters? What is the dynamic of their friendship? Cordial? Hostile? Fake? Do some characters share a common interest which might bring them into one another's lives in future novels? Are they single? Neighbors? Avid readers? Love cat shows?
As you build your world, or make notes of the world you've built, take five minutes and draw a rough sketch of your world on paper. Label key street names and landmarks. Put an x on character homes and their places of employment. How do they commute? How far are the things from home, or from one another? If the heroine is being chased or has car trouble, where can she get on foot sensibly? This is important. Logistics are huge factors in your story arc. If your heroine gets coffee at the shop on her corner every morning, can she reasonably also have lunch there during the workday or is it too far? Readers will remember these things and so should you. If your artistic skills top out at stick figures, don't worry about it. This map isn't for an award, it's for reference. If the church is on Church Street today, it can't be on Main Street tomorrow….unless your character changed churches, in which case, mention that. If you detail the décor of a place, make notes. Consistency.
You thought the last two topics were broad. "Things" applies to all the things. This is where my rule comes back into play. If you named it, mentioned it, put it into the story in Book One, I assume this is an important thing. Write all the important things down. Is the pickup manual or automatic shift? If you mentioned it as one or the other, mark it down. What color is the truck? Make & model? How about her home? The neighborhood? The state of her bank account, closet or refrigerator contents.
My mom likes to say, "The devil is in the details." I know what she means, but as an author, I think the details are made of gold. Details improve a reader's ability to taste the brine in the ocean air or hear the bleating red tug boat over a steady roar of wave breaks. Writers are made of details. Details run my world. As you prepare your books, I hope you'll apply one or two of my suggestions and I hope they make life easier when the time comes. I'm writing a cozy mystery series for Carina Press which was picked up for print in the Harlequin Book Club. Book one, MURDER BY THE SEASIDE will arrive in paperback this fall. Book Two, MURDER COMES ASHORE released today in digital ebook format. This is a dream-come-true opportunity for me, one I never dreamed I'd get. You can bet your bonbons I'm making consistency a high priority. I wouldn't suggest anything for others I wasn't already practicing in my writer life. I hope some of my suggestions helped!
Julie Anne Lindsey is a multi-genre author who writes the stories that keep her up at night. She's a self-proclaimed nerd with a penchant for words and proclivity for fun. Julie lives in rural Ohio with her husband and three small children. Today, she hopes to make someone smile. One day she plans to change the world.
Murder Comes Ashore is a sequel in her new mystery series, Patience Price, Counselor at Large, from Carina Press.
Learn about Julie at her website.
Patience Price is just settling into her new life as resident counselor on Chincoteague Island when things take a sudden turn for the worse. A collection of body parts have washed up on shore and suddenly nothing feels safe on the quaint island.
Patience instinctively turns to current crush and FBI special agent Sebastian for help, but former flame Adrian is also on the case, hoping that solving the grisly crime will land him a win in the upcoming mayoral election.
When the body count rises and Patience's parents are brought in as suspects, Patience is spurred to begin her own investigation. It's not long before she starts receiving terrifying threats from the killer, and though she's determined to clear her family's name, it seems the closer Patience gets to finding answers, the closer she comes to being the killer's next victim.
Buy 'Murder Comes Ashore' at Amazon and Barnes&Noble.


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The 1995 volume of the Utah Statistics of Income series summarizes and analyzes tax return data
available from the Internal Revenue Service (IRS) through the federal-state exchange program. The
data are based on those federal income tax returns which list a Utah address and were processed by
the IRS as of late August 1996.
Two different data tapes are available from the IRS. The first, called the master file, contains very basic information from the 1040 form, such as federal taxes, adjusted gross income (AGI), deductions and the number of exemptions claimed. The second source contains most of the individual tax form lines, such as detail on deductions and sources of income. The detailed source is not updated to reflect amendments and is not as thoroughly edited for errors as the first source. Thus, the data are not 100 percent correct, but in most cases are reliable for general orders of magnitude and averages. Since the two sources are not at the same phase in processing when the state tapes are made, totals from the two sources are generally not identical, although usually very close. Either differences in IRS processing speed or the timeliness of taxpayers in filing returns will cause discrepancies. This may result in slight differences on some tables in items such as AGI, deductions, or the number of taxpayers. For example, it is generally thought that many 1992 returns were filed late, since many taxpayers owed money due to reduced withholding that year.
The IRS's tax data always contain information from prior-year returns that are filed late. We
generally include prior-year returns since their omission would result in a serious under-reporting of
the various income and tax magnitudes. In a sense, 1995 prior-year (1994) data is a proxy for returns
for 1995 that will be filed late. Prior-year returns are included as a separate "county" in the county
tables and are not included in either the city or ZIP Code data, since we believe the inclusion of the
data at the state level is reliable, but that its allocation to lower level geographic units is questionable.
In addition to state, county, city, and ZIP Code data on adjusted gross income, federal taxes,
exemptions, and returns by income level, this volume reports statewide data on itemized deductions,
adjustments to income, sources of income, and other important magnitudes from federal tax schedules
C through F.
We are subject to the way taxpayers fill out their forms as far as addresses are concerned. If they use
a wrong ZIP Code, we are forced to live with it. Probably the most important error of this type is
in the "city" taxpayers claim. Some residents of the smaller communities, for example, may list Salt
Lake City as a city rather than Sandy, or Murray, for example. This also happens for residents of
unincorporated areas. Some taxpayers will also use their professional address or post office box
rather than their actual residence.
To understand what is included in "federal taxes", the reader should consult a form 1040. This
figure is what is reported on the total tax line, but self-employment taxes are not included,
while alternative minimum taxes are included as well as some other small items. Credits have
been subtracted, except the earned income tax, which is considered a payment by the IRS.
In addition, average values are only averages for taxpayers using a particular form or line. For example, for taxpayers with incomes between $40,000 and $45,000, total contributions divided by the number of taxpayers who itemize is $2,758; but our table reports a higher $3,005 which is the average for those actually making contributions.
Summary state data is reported in two places. In the section of state data in section 2, we report data
for all taxpayers, including part-year and non-residents. This data can give a distorted picture since
it includes all the income put only part of the taxes of other than full-year residents. In a section at
the back, we have similar tables for the state and counties that only includes full-year residents. In
the past year, we have produced a more detailed volume focusing on data from the state return.
The data as we receive it from the IRS and state returns is based on returns, but some analysts prefer
to think of households income and taxes. We have been publishing for several years our attempt to
group returns into households, generally putting children with their parents. Our methods are far
from foolproof and are detailed in our annual "Family Based Statistics of Income." For the first time
we have included one summary page in the state section of this volume. It looks identical to the
regular pages, but it bears the title "household" income in the title line.
Some of the data in this report, as well as data from a growing selection of other Tax Commission
reports can be accessed on the Internet using:
(That is a zero in the txdtm01 part.)


text:
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Alfresco Home's casual furnishings and accents will help independent retailers bring together their interior decorating and outdoor living products. Entrepreneur Joseph Cilio is leveraging his experience in the home and garden market to launch a new line of fresh and original interior and exterior home and garden accents. Offering a wide selection of ...Read More
Alfresco Home's casual furnishings and accents will help independent retailers bring together their interior decorating and outdoor living products. Entrepreneur Joseph Cilio is leveraging his experience in the home and garden market to launch a new line of fresh and original interior and exterior home and garden accents.
Offering a wide selection of fashionable products, from casual furniture and garden lighting to permanent botanicals and seasonal decor, the new Alfresco Home casual living products help retailers offer a complete line of interior and exterior living offerings, expand sales into all four seasons and increasing repeat traffic.
"You see the lines between indoor and outdoor blurring," says Cilio. "The trend today is about blending interior and exterior decor, connecting the inside with the outdoors and enjoying the lifestyle of alfresco living."
Cilio says Alfresco Home grew out of the need to help retailers further develop these concepts by expanding their casual home decor offerings with some great products at a great value. Alfresco Home offers the elements that make the outside more comfortable and stylish. "My sense and first hand experience is that people want the outside to be an extension of their home in a comfortable, stylish and relaxed atmosphere," he says. "We want to step outside the home and get a sense we are still in it. Or we want to move the outside in and make us feel we are still outside, even though it is January."
Calling on more than 17 years in marketing and sales with Campania International, Cilio is designing some of the products himself as well as working directly with companies in Europe and Asia for quality indoor-outdoor home décor products that offer a great price point. Cilio is developing product lines that work together to complete the outdoor-indoor living experience.
"The beauty of the Alfresco Home concept is that it allows retailers to expand sales into all four seasons," he says. "Patio furniture sells in February and July whereas permanent botanicals are great for all season, especially holidays." Cilio says Alfresco Home, which he describes as a "boutique" design and distribution company, was created to make it easier for garden centers, casual furniture stores, and home decor retailers to fulfill the expanding needs of today's consumers. Based on his experience, Cilio saw a need for a single source for home décor products that work both inside and outside the home. "We'll do the leg work, search for or design the quality products at a good value and then bring the best of the best to the garden centers," he explains. "This way, buyers can come to Alfresco Home for one-stop shopping, eliminating the need to specialize in dozens of different product lines to expand their current offerings."
Cilio says that adding some chic home décor pieces breathes new life to the traditional plant store and gives customers a reason to skip going to the big box stores. "To keep the customers from going to Lowes, independents need to be more like an 'outdoor living boutique' where customers can find a good value and buy unique products or gifts for the home, pick up something hip to use when entertaining, and, of course, find great plants."
Alfresco Home's retail partners are benefiting from the new indoor-outdoor enthusiasm, which leads to return visits of both loyal and new customers in the fall and holiday season as they search for more products for the home and for gifts. "I personally am thrilled about the new possibilities Alfresco Home can bring to retailers throughout the county."


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Regular Domestic Cleaning in SE3, SE13, SE12 Blackheath
Do you often feel like your responsibilities never end and obligations are always a step ahead of you? These days, it's not easy to maintain the balance between kids, work, social contacts, hobby and of course housekeeping. You must wash the dirty dishes, you must do the laundry, you must remove the dust from the surfaces, you must hoover the carpets and so on, the list is very long. Wouldn't be just great if you could avoid all that and use the free time only for yourself? Just imagine that all these duties are entrusted to someone else, not a random person with doubtful skills, but to someone reliable and professional!
Welcome to the splendid world of Nice and Clean London where you can take advantage of our flexible domestic cleaning! Our convenient assistance is exactly what you need for your lovely home in Blackheath SE3, SE13, SE12. Keep in mind that our experienced company is in this business for a very long time, but what keeps us on top is the close collaboration with our customers. Every client is respected and treated with accuracy and diligence. Once you try our reliable help you will be satisfied and content housekeeper.
Grab your phone and dial 020 3670 2141! Request our professional domestic cleaning and spend your time the way you want! You are not a slave to tedious household chores anymore. Our reliable and convenient service is available in all Blackheath and the nearby SE3, SE13, SE12 area.
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Once you schedule your visit, you will be visited by one of our expert maids. She will come to your house in Blackheath SE3, SE13, SE12, ready to clean and to comply with your personal demands. She's perfectly trained and she's carefully chosen between many other candidates. Her friendly behaviour will impress you and you will be very calm in her company. Feel free to give her guidelines and instructions, she will follow them. The final results will astonish you. You will find every surface shining from cleanliness. Every room will be sanitised according to your demandings.
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We provide our regular cleaning service on daily, weekly, fortnightly or monthly basis.
- £11 per cleaner per hour with your cleaning detergents on weekly basis. Minimum two hours of cleaning.
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- Ironing service £11 per cleaner per hour on weekly basis. *
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* Please note that approximately 6 to 7 shirts could be ironed for 1 hour.


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Product Description
ABOUTWonderful white topaz gems, symbols of love and affection, encapsulated in sterling silver. This stunning 190mm chain bracelet is beautifully crafted in 925 sterling silver and set with genuine white topaz. As always, all Hot Diamonds jewellery is adorned with a real diamond and presented in a luxury gift box.
Select your delivery option at the checkout...
Standard UK delivery - £4.90
or FREE when you spend £70.
2 working days delivery time
This is sent via a Royal Mail 48 service. Delivery is usually made within 2 working days but can take up to 5 working days
Express UK delivery - £9.90
Next day delivery (if ordered before 2pm)
Order before 2pm Monday-Friday and receive your order the next day! Our express delivery is £9.90 and operates via ParcelForce. Enter your mobile number and you'll receive a text message with a 1 hour delivery slot from ParcelForce and your delivery will require a signature on delivery. ParceForce will deliver Monday – Saturday, this delivery option excludes Bank Holidays and Sundays. Please be sure to check our delivery page for details on any areas that cannot be reached on a next day service.
Standard USA delivery - $10.00
3-5 working day delivery from date of dispatch.
Standard Europe delivery - €10.00
3-5 working day delivery from date of dispatch.
Read more about our delivery service here


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Compare cheap flights to Mumbai
When is the cheapest time to fly to Mumbai?
What to do in Mumbai
Mumbai is one of India's biggest cities. It's a bustling metropolis compared to other Indian cities, and travellers can feel the buzz of excitement when they visit here.
The southern part of Mumbai is where most tourist destinations are found, so it's a great place to start your adventure in Mumbai. You'll have your pick of colonial buildings, museums and galleries, beaches, parks, religious sites, and modern buildings.
Get your picture taken with Mumbai's most iconic landmark – the Gateway of India. It's hard not to be impressed by its size and design. See the walls of Fort St. George next, and stop by other landmarks like the Chhatrapati Shivaji Terminus building, and Chhatrapati Shivaji Vastu Sangrahalaya. These three stunning destinations are even a feast for the eyes at night!
Mumbai is also home to some of India's most famous museums and galleries like the National Gallery of Modern Art, Jehangir Art Gallery, and the ones found in the Kala Ghoda area. For spectacular views of the city, the Hanging Gardens on Malabar Hill offers breathtaking views of Marine Drive.
Get to know the locals even more and experience Bollywood. Take a trip to Goregaon's Film City and enjoy a first-hand experience of filming in Bollywood. Feel like you're in a Bollywood movie yourself and spend your rupees shopping in Mumbai's Bazaars. To name a few, there's the Chor Bazaar, Fashion Street, Zaveri Bazaar, and Mangaldas Market. And since English is widely spoken in the city, you can haggle away for better bargains.
Being a melting pot of various cultures, Mumbai enjoys celebrating all kinds of festivals and events. Learn more about the Maharashtra culture in January at the Banganga Festival or attend the Elephants Festival in February at the amazing Elephanta caves.
To know more about what to expect in the city, read The Hitchiker's Guide to Mumbai.
When to visit Mumbai
The best time to visit Mumbai is during the cooler months of December to February when the weather is most pleasant.
You can fly to India and visit Mumbai once you secure your tourist visa. Make sure your passport is valid for at least six months from your arrival too. For more advice and info, check out Smartraveller.
Travelling to and around Mumbai
The main airport in Mumbai is Chhatrapati Shivaji International Airport, where you can easily reach the city by taxi. Once there, start roaming Mumbai by train, bus, taxi, and auto rickshaw.
A trip to Mumbai will spice up your life! So get your suitcase and passport and book your Mumbai flights with Skiddoo today.
Temperature average in November
Rainfall average in November
13.1 mm
Cheapest time to fly to Mumbai (BOM)
All prices refer to return flights to Mumbai and include taxes and charges.
Our experiences customer support team is there to help you every step of the way.
With the Skiddoo Price Promise, if you find a cheaper price online we'll match it!


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Review Roundup: West End's GREAT EXPECTATIONS - All the Reviews!
A new stage adaptation of Charles Dickens's Great Expectations opened at the West End's Vaudeville Theatre on 6 February 2013. Reprising their roles from the play's recent, successful UK tour, Jack Ellis stars as Jaggers, Chris Ellison as Magwitch and Paula Wilcox as Miss Havisham. The cast of 14 also includes Paul Nivison as Adult Pip, Grace Rowe as Estella and Taylor Jay-Davies as Young Pip.
Director and co-designer of Great Expectations is Graham McLaren, who established Theatre Babel and is an Associate Director for The National Theatre of Scotland.
The play recounts the story of a poor lad called Pip Gargery and his entanglement with embittered and reclusive Miss Havisham en route to wealth and status, and is perhaps the best loved Dickens tale of all.
Dickens' masterwork has been adapted for the stage by Jo Clifford, one of Scotland's leading playwrights. She is the author of approximately 80 plays and her work has been translated into several languages and produced throughout the world.
Let's see what the critics had to say:
Michael Coveney of whatsonstage.com writes: Taylor Jay-Davies makes a lively, eager Young Pip, while Chris Ellison is a slightly underpowered Magwitch, James Vaughan a vivid, theatrical Wopsle (and a lovely Wemmick, too) and Rhys Warrington a bright-eyed Pocket who dances along Miss Havisham's mantelpiece like a festive fairy. The adaptation by Scottish playwright Jo Clifford (first made thirty years ago) is a model of its kind, but it does suffer from sacrificing narrative pressure and clarity, and true Dickensian sentiment, for a different kind of potpourri "European" style.
Paul Taylor of the Independent says: Social subtlety is ruled out (the sequence where Herbert Pocket coaches Pip in deportment and the correct way to use a spoon, while reclining way above him on the mantelpiece is a particularly showy and unfunny clunker) as is the emotional nuance needed for the encounters with Joe and with Magwitch where our hero's snobbery painfully gets in the way. And the relationship between the two Pips remains stubbornly inert in this bold but crudely executed new vision of the material.
Lyn Gardner of the Guardian states: There are some good ideas, with the story framed as a memory play in which a middle-aged Pip observes his younger self through the cobwebs of time. It's clever, too, to set the entire show within Miss Havisham's crumbling drawing room, where worryingly vocal mice and the rotting wedding cake constantly remind you that this is a story not just of Great Expectations, but also destroyed illusions and lingering disappointments. McLaren takes it further by hinting that we all perform in life as if on stage, and he offers some of Dickens' larger-than-life characters as a series of white-faced grotesque turns. Nonetheless, it still feels unsatisfyingly like Dickens-lite - a headlong rush through the major chapters of the story without the emotional ballast required to give it meaning. Taylor Jay-Davies' Young Pip is oddly unsympathetic, and the memory-play element is underplayed, so we never get a dialogue between past and present, nor glimpse the emotional fatigue and endurance of the older Pip (Paul Nivison), who had so much within his grasp, and lost it.
Libby Purves of the Times says: What is so admirable about Jo Clifford's version, after years of workshops, is that it decisively shrugs off the many screen adaptations to make something that is pure theatre. Without timidity or hesitation, under Graham McLaren's inventive, physical, impressionistic direction, its two sharp one-hour acts honour both the playful demands of Living Theatre and the themes of the book...The bones of the story are all there. So is Dickens's rage at the cruelty of the judicial system and the shallow viciousness of class. The action is all in retrospect, with a quiet greying Pip watching his past enacted by spirited grotesques under a wash of blue or red light; it is hard to be emotionally engaged, except by Josh Elwell's affecting Joe Gargery. The child, like any child, is a puzzled onlooker amid gigantic caricatures: absurd Wopsle, violent Mrs Joe, sharp Estella (Grace Rowe)... The heart is there and the culmination thrilling: fire and fog, grief and anger and regret. And no truck with that soupy, artificial happy ending Edward Bulwer-Lytton made Dickens stick on.
Henry Hitchings of the Evening Standard writes: The appeal of Dickens's story isn't completely lost in Graham McLaren's production. There will always be something poignant in the transformation of Pip (a role shared by Taylor Jay-Davies and Paul Nivison) from a humble blacksmith's apprentice to an urbane gent. Yet we're never deeply invested in his journey, and the darker effects of his changed circumstances are too briefly explored.
The Londonist writes: The play is set in Miss Havisham's cobwebbed dining room for its entirety; understandable, as set-changes would be cacophonic otherwise, but this makes it very hard to follow if you aren't familiar with the book. While those who are can imagine between the lines, those who aren't are left bewildered. Indeed, each story is rushed from one to the other, so that wonderful moments that are memorable in the novel (such as Pip's encounter with Magwitch in the graveyard) are turned into one-minute moments of nothing. The production has a very rushed feel and was slightly incoherent; none of the scenes or character relations were developed, rather, the audience was just supposed to assume that Pip had fallen in love with Estella and that Joe and Pip were "ever the best of friends".
The Express says: As a concept it works, allowing the action to unfold quickly without the need for scene changes. And it's certainly arrestingly atmospheric, with a mood of almost gothic horror. All the characters, including Wilcox's bitter Miss Havisham, are played with melodramatic gusto but at times the whole thing feels more Dickens than Dickens. The already eccentric characters have become more exaggerated and with the plot stripped back and many roles sacrificed we're presented with a kind of dumbed down Dickens where the novel's themes are spelled out rather too simplistically.
From This Author Review Roundups
- Review Roundup: AN EVENING WITH AN IMMIGRANT at The Bridge Theatre
- Review Roundup: THE TRIAL OF THE CHICAGO 7, Written and Directed by Aaron Sorkin
- Review Roundup: The Old Vic's FAITH HEALER, with Michael Sheen, Indira Varma and More
- Review Roundup: Andrew Scott in THREE KINGS as Part of Old Vic: In Camera - What Did the Critics Think?


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extreme exposure range test Olympus 35RC – Reviewed by Eric Rose Fine Art Photography
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I recently installed .NET and wrote a basic "hello world" ASP.NET webservice.
Everything compiles and it is simple enough that I am relatively certain
that the webservice is correctly coded but unfortunately for some reason
when I go to webservice with my browser the browser just downloads the file
rather than passing it to the .NET execution engine. I assume this has to
do with the IIS configuration, I originally thought it must be an ISAPI filter
that identifies this filetype and hands off to the right DLL.
I looked at my computer versus a friends who has it working and noticed that
my IIS didn't have the ASP.NET_1.0.3705.0 filter and his did. Hmmm. Well
I inserted it manually:
ASP.NET_1.0.3705.0 C:\WINDOWS\Microsoft.NET\Framework\v1.0.3705\aspnet_filter.dll
but still no change. Any help would be greatly appreciated.
- ken snyder
p.s. if you don't mind CC'ing me on any reply that would be appreciated too


text: Designed by the accounting and technology professionals at Crowe LLP, the Crowe Lease Accounting Optimizer allows companies to comply with the Financial Accounting Standards Board (FASB) ASC 840 and ASC 842, the International Accounting Standard Board (IASB) IAS 17 and IFRS 16, as well as Governmental Accounting Standards Board (GASB) Statement No. 87 regulations on accounting standards for leases and automate the financial transactions associated with their leases. Built completely within Dynamics 365 for Finance and Operations, the application supports specific requirements related to lease accounting, including:


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Event: Exhibition (permanent) County: West Yorkshire BFI MediathequeGrab a booth in the BFI Mediatheque and discover the best, rarest and most extraordinary films and TV programmes from the BFI National Archive. Simply log on at a viewing station and choose from over 2,500 highlights...National Science and Media Museum | Bradford | 1 November 2014 — 1 January 2022


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Facebook founder Mark Zuckerberg upgrades relationship status
- Published
Facebook founder Mark Zuckerberg has ended a hectic week which saw his company valued at $106bn after a stock market flotation by getting married.
He wed his long-time girlfriend Priscilla Chan, 27, in a ceremony at his home in Palo Alto, California.
Chan also had a busy week, graduating from medical school on Monday, as Zuckerberg marked his 28th birthday.
The guests believed they were going to celebrate Chan's graduation - but found they were at a wedding instead.
The wedding ring, a "very simple ruby", was designed by Zuckerberg.
Nine years ago the pair met at Harvard, where Zuckerberg founded Facebook in 2004.
They later moved to California, where Facebook has its headquarters, and Chan studied at the medical school of the University of California, San Francisco.
Facebook's valuation after its flotation on Friday means the social network site is worth about the same as internet shopping giant Amazon, and more than the value of stalwarts such as Disney.
Even after the flotation, Zuckerberg continues to control just under 56% of the voting power of the company.


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Wolf Blitzer delivers the most important breaking news and political, international, and national security stories of the day. Tune to The Situation Room weekdays 5-7pm ET on CNN.
Watch a swarm of bees attack a drone and sting a news crew. CNN's Jeanne Moos has the buzzzzzzzzz.
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Halsey Trusts Her Fans The Most Because They Are "In This Battle Together"
Halsey played an intimate performance for a special group of fans earlier this week at the SoCal Honda Sound Stage at AMP Radio.
Halsey played an intimate performance for a special group of fans earlier this week at the SoCal Honda Sound Stage at AMP Radio.
Her set consisted of tracks from her forthcoming album 'hopeless fountain kingdom' and some throwbacks for her OG fans who have been there from the beginning.
After slaying her set on stage, she sat down to speak with 97.1 AMP Radio's Booker about her new album, where she finds confidence, and her trust of her fans.
As her fans eagerly await the release of her new album, she gave us some insight into what they will be hearing.
"There are 16 songs on the album, every song has it's own identity in a way. The first real song on the record, the second track is called A Hundred Letters, and it's alternative, pop, kind of 90s vibe, very much in Halsey fashion, sad sad lyrics."
While she is known for her sad lyrics, she has a very clear and very normal answer about it.
"I think I write a lot of sad music or I tend to write more about negative things than positive things. Doing that helps me be a happier person in my real life...when nice things happen tom e I want to keep them to myself. When bad things happen I want to complain about them to you guys."
In fact, she compares writing songs to therapy, sharing that it forces her to confront parts of herself that she otherwise might not.
So what about performing, confidence and being on stage?
"I think stage fright pulls a part of you out that needs to overcompensate. When you're faced with a fear, with an ultimatum or a dilemma it pulls out a part of you you never knew existed. I can't do one pull up, but I can climb a mountain. Something about the adrenaline in that brings me to the top."
And finally, as her fans already likely know, so much of it is about them. The trust is there, and its because of the loyalty she feels from the people who support her music.
"I think people who like my music, I trust them. That's the only way to put it. I'm a hard artist to like sometimes. I can be loud, I can be aggressive, I can be obnoxious and I can make mistakes. I say things that some might consider to be embarrassing or cocky. So for the fans of mine that can see past that and accept me for who I am, and find something special in my music that they connect with, I trust them for that. I know what they go through being a fan of me, whether that means having to deal with my stuff, or another artist's fan base making fun of them because they like me, or constantly having to defend me or prove themselves in some way. We're going through a battle together. That's what happens when you have an opinion, or you have a personality, or you're unapologetic. So my fans that are willing to be unapologetic with me, I trust them."