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Publication Date
[Excerpt] One of your most important jobs as a steward is unifying the members in your area to work together and build the union. Building solidarity is essential, especially in tough times, but it can be challenging.
Here are things you can do to build and maintain unity.
Suggested Citation
Margolies, K. (2012). Building unity in the workplace [Electronic version]. Steward Update, 23(5).
Required Publisher Statement
© Union Communication Services. Reprinted with permission. All rights reserved.


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Snake Out Keep Snakes Out...Naturally Unique blend of ingredients that snakes find very unpleasant. Snake Out can be used anywhere you don't want snakes to be or anyplace snakes are a problem. Snake Out doesn't harm snakes; instead, it actually repels them naturally.
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Snakes "taste" the surrounding air, and the special blend of ingredients in Snake Out-Snake Repellent is especially unpleasant to them. When they come into contact with Snake Out in the air, an escape/avoidance reaction is triggered so the snakes are actually repelled away from the product.
Snake Out can be used anywhere you don't want snakes to be or anyplace snakes are a problem. Snake Out doesn't harm snakes; instead, it actually repels them naturally.
Clove Oil(CAS No. 8000-34-8)0.3%
Cinnamon Oil(CAS No. 8015-91-6)0.6%
Cedar Oil(CAS No. 68990-83-0)3.1%
Sulfur, Fulle's Earth, Water 96.0%
Use around swimming pools, patios, decks, woodpiles, flower beds, garages, gardens, garden sheds, barns, swing sets, building foundations, outbuildings, sand boxes, doghouses, boathouses, campsites, cabins, trailers, RV spots or anywhere snakes are not wanted.
SNAKE OUT Snake Repellent effectively repels snakes from around your home. Apply around homes, garages, barns, swimming pools, gardens, garden sheds, woodpiles, and other areas where snakes may be a problem. May be used in areas where children and pets play. SNAKE OUT Snake Repellent is biodegradable and, when used as directed, will not harm lawns, gardens, flowerbeds or other desirable plants.
How It Works:
The unique blend of ingredients in this product trigger escape/avoidance behavior in snakes. Snakes actually taste the air around them (via a receptor organ known as the Jacobson's organ). This product provides a powerful scent/taste repellent that snakes find unpleasant and which triggers a natural reaction to escape and avoid.
SNAKE OUT Snake Repellent does not harm snakes; it drives them away, naturally.
How To Use:
Using the convenient dispenser cap on this package, lightly sprinkle a band 6" -8 " wide, next to and around the area you wish to protect. It is not necessary to completely cover the ground with product. One pound will treat a band 8 inches wide by 50 feet in length. Do not water in after application. Reapply product after heavy rains or every two weeks to obtain best results.
Endangered Species Considerations
Before using this product, consult with State or local wildlife authorities to ensure that use does not present a hazard to any threatened or endangered species. Where necessary, obtaining all required permits and licenses is the responsibility of the applicator.
User Precautions - Reminder:
Some snakes are poisonous; NEVER attempt to pick up a snake unless you are properly trained, experienced and know which species you are dealing with. Handling wild snakes is best left to experts. Contact your local wildlife management office for further information.
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Air Berlin has made a last desperate cash grab from it's former largest stockholders, Etihad, after blaming them for being the catalyst of the airline's bankruptcy filing
Failed airline Air Berlin has announced it is making a desperate cash grab from Etihad, who abandoned the company's sinking ship in August of this year. After years of Air Berlin being crippled by debt, Etihad finally gave up throwing cash in an attempt to keep Air Berlin functional.
Consequently, Air Berlin believes that Etihad left them with no other choice than to file for insolvency. And now, Air Berlin is claiming that Etihad should recompense them for allegedly forcing them to go bankrupt.
According to Reuters, Air Berlin's representative, Frank Kebekus states that the company is seeking €10 million in damages from Etihad. Kebekus claimed he felt confident that the failed airline would achieve a settlement with their former primary stockholders. Up until August, Etihad owned 29.21% of Air Berlin's shares. Etihad had initially hoped to benefit from the 2011 deal by gaining greater access to Air Berlin's European network.
Thus far, Etihad has not issued a formal statement
Etihad has been busy cutting most of its losses by withdrawing its shares from many airlines in the European market. In 2014, Etihad withdrew it's 49% stake in Alitalia. Air Berlin appears to have been "next in the queue" as Etihad sets about removing themselves from these many risky investments.
Air Berlin additionally invoked public debate when the German government allotted them a €150 million loan. The German government claims this is to keep the airline in the air for a further three months. Many claimed that this was an illegal move. They believe that giant Lufthansa will now conveniently be able to monopolize the German industry when it usurps Air Berlin's assets.
Lufthansa possibly breaching all competition rules
In a report in Fortune on August 15 this year, Robin Kiely of Ryanair accused Lufthansa of dirty dealing. He claimed "This is clearly being set up for Lufthansa to take over Air Berlin, in breach of all known German and EU competition rules. The German government is supporting this Lufthansa-led deal with €150 million of state aid so that Lufthansa can acquire Air Berlin and drive domestic airfares in Germany even higher than they already are."
Air Berlin, on the other hand, defended the loan. The airline claimed that the security of 8200 of its former employees was the priority. However, Kebekus also stated that setting up a transfer company could potentially employ around half of them temporarily. The most significant losers will likely be the bondholders. Unfortunately, €600 million outstanding Air Berlin bonds will probably never have their claims considered.
In fitting style, Air Berlin left the skies with controversy earlier this month
Pilots making the airline's final flight into Dusseldorf airport found themselves with their licenses suspended. The errant albeit defiant pilots had allegedly performed an illegal low flying fly-past over the city, claiming they were giving the historic airline a "dignified goodbye."
Air Berlin flew its first flight from Berlin during the Cold War in 1978. All in all, it is a sad and embarrassing end of an era for a once much-loved airline.
Update on 28.10.2017
Videos by w.com: Air Berlin's last flight melts hearts from Munich to Berlin
Goodbye with love ? Air Berlin's final approach 'heartfelt' ❤ #AirBerlin#airline#txlpic.twitter.com/4MX0DcgUPN
— Lukas Wrede (@lukaswrede) October 27, 2017
Final #AirBerlin flight arrives to a water cannon salute #BER4EVR #AB6210 pic.twitter.com/fShBbe6TOL
— Victoria Bryan (@vl_bryan) October 27, 2017
References: Gulf Business, Reuters, Rheinische Post, Fortune
Image credit: pixabay.com


text: This storage facility is located about a mile south of lower Ross Park and is less than three miles from ISU. This facility offers 8 different storage unit sizes, ranging from 8x5 up to 10x28. Need help determining what size you need or unsure how to rent a unit? Refer to our storage guide page for more information. Please contact the facility manager for prices and availability. You can call the manager during office hours or use the contact form below to email them.


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Solarpunk is a type of optimistic science fiction that imagines a future founded on renewable energies. The seventeen stories in this volume are not dull utopias—they grapple with real issues such as the future and ethics of our food sources, the connection between technology and nature, and the interpersonal conflicts that arise no matter how peaceful the world is. In these pages you'll find a guerilla art installation in Milan, a murder mystery set in a weather manipulation facility, and a world where you are judged by the glow of your solar nanite implants. From an opal mine in Australia to the seed vault at Svalbard, from a wheat farm in Kansas to a crocodile ranch in Malaysia, these are stories of adaptation, ingenuity, and optimism for the future of our world and others. For readers who are tired of dystopias and apocalypses, these visions of a brighter future will be a breath of fresh air.
Buy Paperback
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See What Reviewers Are Saying
"This anthology is a welcome relief from dystopias and postapocalyptic wastelands, and a reassurance that the future need not be relentlessly bleak."
—Publishers Weekly
"Each of these stories is a window into a world where issues like climate change and food shortages are approached with a joyful creativity. The variety in character, narrative approach, and setting offers something to appeal to a wide variety of readers, especially those who look to anthologies to find new authors to follow."
"This anthology gives you just enough story, science, and hope…I've been needing a book like this in my life."
—Utopia State of Mind


text: Two scholarly associations last week issued statements about the Iranian government's crackdown on students and professors at the nation's universities. The Middle East Studies Association sent a letter to Ayatollah Ali Khamenei expressing "serious concern over the murders, mass arrests, brutal beatings, and widespread harassment of Iranian university students." A statement from the Executive Council of the Modern Language Association said: "Recognizing with alarm the implications for freedom of thought and expression and in the light of its particular responsibility for the humanities in higher education, the Modern Language Association deplores the attacks on Iranian universities, which endanger students, faculty members, and staff members. We express our hope that the government of Iran will refrain from using violence or other repressive measures in these revered centers of learning and teaching."


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Don't get me wrong, I love summer and the warm sun so seeing the lambs running around is exciting as summer is not too far away. The sunshine will warm up, the grass will smell fresh and green and happiness reigns.
(DD with a new born lamb at the neighbours house.)


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The Kirklin Clinic is the only entity in the state selected by the American Association of Diabetes Educators (AADE) as part of the National Diabetes Prevention Program. The program offers adults 18 and older considered most at risk for type 2 diabetes – those with a body mass index (BMI) greater than 24 — an evidence-based program that can help prevent or delay the onset of type 2 diabetes through lifestyle changes. Those who may be at risk of developing type 2 diabetes are encouraged to visit uabmedicine.org/PreventDiabetes and sign up to be part of the AADE National Diabetes Prevention Program at UAB. The website offers a video about the program and an online quiz to help visitors determine their risk.
In addition to age and BMI requirements, those who have had a blood test within the past year indicating prediabetes are eligible. Also, women with a history of gestational diabetes may be eligible, as are Asian men and women with a BMI greater than 22.
Read more about the program.


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MusicHi, welcome to my blog. I'm a musician from Tel Aviv and I sometimes write about the music that inspires me in some way, cross genre. Stick around and please do visit my Soundcloud page to listen. Enjoy, Yair Yona.
Tag Archives: Tapes'n'Tapes
Smalll Town Romance Mixtape – My Life Will Soon Come Back
STR Mixtape – My Life Will Soon Come Back 1. The Small Faces – Hey Girl 2. Gandalf – You Upset The Grace Of Living (2:09) 3. Homegas – Bulldozer Blues (04:38) 4. Fifty Foot Hose – The Things … Continue reading


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- » Bears clueless or just careless?
- » Amazing Cutler survived this long
- » It's Quade's job to lose now
- » Bears fans know flip side of more wins
- » New Lovie Smith improved version
- » A Super reason Bears' win looks familiar
- » Cutler thrives thanks to Tice, Martz
- » Cubs, Sox questions start in dugout
- » Bad Bears season no guarantee for change
- » In the process, Bears get a gift
- » Woods sees better swing, days ahead
- » Pain of swing change not new for Woods
- » Right to the point: Rose takes big leap
- » No downside for Sox with Manny
- » There's a side of Frank we never knew
- More from Barry Rozner
On the one hand, there's Lou Piniella.
Sure, he may seem in a trance at times as bench coach Alan Trammell does the heavy lifting, but he comes alive when he sees something he likes - or doesn't - and he lets you know.
Just ask Kosuke Fukudome.
He's also keenly aware of what it takes to survive a long season, and he's not shy about letting GM Jim Hendry know when the roster needs adjusting.
He is, in other words, engaged when he believes it matters, though, clearly, chats with the media don't fall into that category.
On the other hand, there is your old friend Dusty Baker, Piniella's predecessor.
Baker slept through most of his time here in Chicago, rarely waking long enough to do anything except abuse a pitcher.
And, shockingly, he's at it again in Cincinnati.
You may remember the story of May 25, when the Reds dropped an 18-inning affair to San Diego.
In that contest, Baker was so concerned about Baker, so worried about his own record and proving he can win, that he brought back Aaron Harang - the team's ace the previous four years - on only two days' rest after 103 pitches and pitched him 4 more innings (63 pitches).
Hard to believe a few weeks later that Harang was on the disabled list with an arm problem.
Even worse, Baker didn't hesitate to throw youngster Edinson Volquez on May 25, but why not? The kid hadn't thrown a pitch for more than 24 hours.
Yeah, Volquez got one whole day off, and after tossing 92 pitches, Baker had him throw another 1 innings and 39 pitches.
Volquez, now 25, will be a superstar if he survives the Baker era, but after he was clobbered in an 8-1 loss to Milwaukee on Aug. 5, he had to be pushed back two days.
Baker was so concerned about a tired arm that when Volquez returned Tuesday, Baker allowed him to throw only 113 pitches against Pittsburgh.
Good thing Baker's not here to handle Rich Harden.
See, a manager who has more than his own interests in mind will sometimes be willing to lose a game - even by using a position player to pitch - in order to save a pitcher's arm and career, or sacrifice one game to win later in the season, maybe October.
So, yes, Piniella might appear a bit goofy at times, and, sure, he's sorry he hurt feelings if Fukudome's your favorite player.
And, OK, maybe we can debate the Carlos Zambrano decision in Game 1 vs. Arizona last fall.
But think of the arms of Chad Fox, Mark Prior, Kerry Wood, Aaron Harang and Edinson Volquez, to name just a few, and be thankful someone is minding the store.
Stirring it up
Jim Hendry only smiled when he heard of Lou Piniella's comments regarding Kosuke Fukudome, knowing Piniella's penchant for trying to motivate through the media.
"I'm still a believer is Kosuke,'' Hendry said. "He's still working hard and not taking it out in the field with him, and we're a much better team with him than we were without him.
"And let's not forget he's a rookie here and has had to go through a lot of adjustments on the field and off.
"I don't think he's out of gas. I'm confident he's going to start hitting and give us a heck of a September.''
Pitching glitch
No one can blame the White Sox for passing on Paul Byrd, especially in their homer-happy park, but you know the way these things work. If the Sox lose the wild card to the Red Sox by one, guess who's going to pitch that game?
Ivan Boldirev-ing
Buffalo Grove native and current Red Wing Brett Lebda is offering everyone a chance to view the Stanley Cup Aug. 21 from 3-5 p.m. at the Glenview Ice Center.
Lebda will sign autographs and anyone desiring a photo with the Cup can get one for a small donation to the Juvenile Diabetes Research Foundation, in honor of his sister, Amanda.
Just Murphy-ing
Greg Maddux, who's won his last three, is up to 26 walks for the year and 995 for his career, meaning he's not going to join Fergie Jenkins as the only retired pitchers with 3,000 strikeouts and fewer than 1,000 walks.
Flipping out
Alicia Sacramone is probably going to feel bad forever about her slips on beam and floor, and we'll feel bad for her, but she should know the U.S. wasn't going to get the gold no matter what the team did.
Between the underage Chinese girls, some having just lost baby teeth, and the judges' decisions, that medal was gone before Team USA got off the plane.
Age-old question
Sure, the Chinese gymnasts have passports proving their ages. That's proof, just ask Sammy Sosa, Miguel Tejada and Jose Contreras.
The line
You needed to see about one element scored to know the Chinese men and women were winning Olympic team gold. Who's in charge of those gymnastics judges, the NBA referees union?
Best headline
Sportspickle.com: "LeBron James considering $500 million offer to play on the moon.''
And finally -
David Thomas of the Ft. Worth Star-Telegram, on Beijing's time zone: "If I have it figured correctly, when it's noon here, it's 1 a.m. tomorrow at the Olympics, and sometime last night on NBC."


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We are proud of the SEO services and solutions we have delivered to our clients and you may want to read some of our clients' success stories here.


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- "If you or your father ever need a place...look me up on Vedis IV."
- ―Toob Ancher to Drake Paulsen
Vedis IV was a planet located in the Vedis system, which was part of the Mayagil sector in the Outer Rim Territories of the galaxy.[1] Around 3 BBY,[2] the smuggler Toob Ancher was known to have left Soco-Jarel Spaceport with the YT-1300 transport Glory to reach the planet.[3] Vedis IV was also where another smuggler named Lu Esi died when he crashed his freighter into the planet while being chased by sector authorities.[4]
Behind the scenesEdit
Vedis IV was first mentioned in the 1994 short story Out of the Cradle, written by Patricia A. Jackson and published within Star Wars Adventure Journal 2. It was again mentioned within the 1995 Star Wars Adventure Journal 5, in the short story A Bitter Winter, which was also written by Patricia Jackson.
- "Out of the Cradle"—Star Wars Adventure Journal 2 (First mentioned)
- "A Bitter Winter"—Star Wars Adventure Journal 5 (Mentioned only)
Notes and referencesEdit
- ↑ 1.0 1.1 1.2 1.3 1.4 The Essential Atlas — Considering the grid coordinates within the Atlas' maps and the system's name.
- ↑ The Essential Reader's Companion
- ↑ "Out of the Cradle"—Star Wars Adventure Journal 2
- ↑ "A Bitter Winter"—Star Wars Adventure Journal 5


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National-award winning filmmaker Nagesh Kukunoor has revealed superstar Shah Rukh Khan is not making any guest appearance in his upcoming film "Dhanak".
There were reports that Shah Rukh will be seen in a cameo in the film which chronicles the life of two siblings - a young girl who is determined to have her blind brother's vision restored before his ninth birthday.
"No, Shah Rukh is not there in the film. That's just a rumour that got started... I would love to make a film with him, no plans as of now but who knows," said Kukunoor.
The movie, set in Rajasthan, was honoured at the 65th Berlin International Film Festival with The Grand Prix of the Generation Kplus International Jury as the best feature-length film. It also received a special mention from the kids' jury.
It was premiered at the recently concluded Jio MAMI 17th Mumbai Film Festival and the director says he is happy with the response.
"The premiere of 'Dhanak' was exciting as this was the first time the festival had a 'Half Ticket' section. I was also excited because we haven't shown the movie to the Indian audience so far. It has traveled festivals across the world, but this was the first time in the country... It's always fun to see kids react to it. They were clapping and smiling, so that was enjoyable."
"Dhanak" is scheduled to release in January.
Photo Credit: TOI Archives


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Monday thru Friday 5:30 AM – 10:00 AM
Saturday & Sunday 6:00 AM – 11:00 AM
All Eggs Utilized For Breakfast Are Cage Free Eggs.
Breakfast Items Include Breakfast Potatoes or
Hash Browns & Buttered Toast with Preservers
Ħ – Gluten Free Toast Available Upon Request
The All American 12
Two Eggs, Any Style, with Choice of Applewood
Smoked Bacon, Sausage, or Ham
Angel Breakfast 15
Scrambled Egg Whites with Grilled Chicken, Sautéed
Spinach, Grilled Onions
Lo-Carb Special 13
Wheat Tortilla Dipped in a French Toast Batter,
Stuffed with Bananas, Granola, Fresh Berries, with a
Greek Yogurt Drizzle
Breakfast Bruschetta 13
Wheat Toast, Scrambled Eggs, Sliced Avocado, with
Diced Tomatoes
Smoked Salmon Scramble 13
Fluffy Scrambled Eggs with Locally Smoked Salmon
Eggs Benedict 13
Two Poached Eggs over English Muffin, Canadian
Bacon & Topped with Hollandaise Sauce
Ħ*Steak and Eggs 15
New York Steak Cooked to Perfection, Two Eggs,
Any Style
ĦCreate Your Own Omelet 12
Three Egg Omelet with Choice of Three Toppings
(Cholesterol Free Egg Beaters are Available Upon
Any Three Toppings:
Bay Shrimp, Avocados, Monterey Jack Cheese,
Bell Peppers, Ham, Mushrooms, Salsa, Tomatoes,
Sour Cream, Sausage and Bacon
Bagel with Cream Cheese and Salmon 11
Fresh Toasted Bagel with Cream Cheese, Diced
Onions, Capers and Sliced Smoked Salmon
Malted Waffle & Seasonal Berries 12
with Maple Syrup, Berries and Butter
Buttermilk Pancakes 10
Buttermilk or Fresh Fruit Flavored, with Maple Syrup and Butter
Cinnamon French Toast 11
Two Slices of Thick Bread with Egg Batter, Maple Syrup and Butter
ĦVegetarian Frittata 11
Open Faced Omelet, Fresh Spinach, Mushrooms,
and Green Onions, Topped with Parmesan Cheese
*option for egg white substitute
Granola Parfait 7
Granola, Yogurt and Sliced Berries
ĦBreakfast Shake 7
Almond Butter, Blueberry, Chia Seeds, Vanilla Soy
Milk, Vanilla Greek Yogurt
The Complete 19.95
Enjoy our Full Buffet Selection of Fruits, Cereals;
Yogurts & Fresh Baked Breakfast Breads, Hot
Dishes, Juices, Coffee or Tea. Ask Your Server about
Made-to-Order Eggs and Omelet's.
The Continental 14.95
Enjoy our Selection of Fruits, Cereals, Yogurts, and
Fresh Baked Breakfast Breads from our Buffet with
Juices, Coffee or Tea.
Toast 3
White, Wheat, Rye, Sour Dough or Raisin
Artisan Pastry Basket8
Croissant, Danish, and Muffin
Jumbo Toasted Bagel 6
with Cream Cheese
Toasted English Muffin 4
ĦHam, Bacon, or Sausage Links 4
(Chicken Sausage is available upon request)
ĦHome-Style Potatoes 4
ĦOne Egg Cooked Any Style 3
ĦTwo Eggs Cooked Any Style 4
ĦFresh Seasonal Fruit Plate5
ĦFresh Melon Wedge 5
Half Grapefruit 4
Cold Cereal 5
Hot Steel Cut Oatmeal 5
with Fresh Berries or Sliced Bananas 7
Orange, Grapefruit, Cranberry, Apple Juice 5
V-8 or Tomato Juice 3
Hot Chocolate, Chilled Milk or Hot Tea 5
Fresh Brewed Regular or Decaffeinated Coffee 5
Cappuccino 6
Espresso 6
Heart Healthy ĦGluten Free
*Consuming raw or undercooked meat, poultry, seafood, seafood or eggs may increase your risk of food borne illness. MAny of our products contain or ay come into contact with common allergens, including wheat, peanuts, soy, tree nuts, milk, eggs, fish and shellfish. Before placing your order, please inform your server if a person in your party has a food allergy


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Shuttle service
For a comfortable transfer from Jože Pučnik Airport use the hotels shuttle service, which has the only one exclusive access right to the hotel door. Ljubljana airport is located 25 km from the city and the drive to the hotel takes approximately 30 minutes.
You can order it when booking your room or send us an e-mail on firstname.lastname@example.com and provide us with your flight details (arrival time and flight number). At arrival, the driver will be waiting at the exit gate with guest name written on the blackboard.
Hotels shuttle transport from the airport to the city or vice versa costs 9 EUR per person per direction. When departing, you need to leave the hotel at least two hours before your scheduled flight.


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Last week, I took an adaptive yoga class at the University of Washington. I love it. The instructor, Julie, learned about teaching at my last studio and recognized me from the start. There were five students in this class, one teacher, and four volunteers: that's a one to one ratio (and who says Ann's the math whiz in the house?)
The class was lovely. We sat in chairs and did some supportive stretching; then we lay on the floor and did some more stretching, with more support. Julie apologized to me for such an easy class, saying that she knew I could do more. I assured her that the class was fabulous. I think she thought I was being nice, but I really did love not pushing myself, letting my yoga be more internal than external.
At one point in the class, Julie commented on the tension between rest and engagement, between what another yoga teacher might have called the elements of water and fire. We need to find space to just be, I think she was saying, and we need to find the places where we act for justice in the world. We need a balance in this.
I think often about this tension, about being present and fighting for justice, and in the week following Martin Luther King, Jr. Day, I began thinking of this tension in the context of Martin Luther King, Jr's life and work.
On the MLK holiday, Ann and I attended the performance Hands Up! Six Plays by Six Young Black Men. The performance was a series of monologues delivered by six black men in Seattle, but written by other black men elsewhere. Each story was a powerful telling of being a young black man in America today. In the discussion afterwards, each player talked about his relationship to his characters' story: stories of being mulatto, neither accepted in black nor white circles, stories of violence and vulnerability.
Someone proposed that Martin Luther King, Jr would have felt sad in America today. I began wondering what MLK would do--and in what spirit--today. Would he still advocate for non-violence? I think so. I also think he would still say:
The ultimate weakness of violence is that it is a descending spiral, begetting the very thing it seeks to destroy. Instead of diminishing evil, it multiplies it. Through violence you may murder the liar, but you cannot murder the lie, nor establish the truth. Through violence you may murder the hater, but you do not murder hate. In fact, violence merely increases hate. So it goes. Returning violence for violence multiplies violence, adding deeper darkness to a night already devoid of stars. Darkness cannot drive out darkness: only light can do that. Hate cannot drive out hate: only love can do that.
I think he would still fight non-violently for justice, fight with a heart full of love. I think he would still criticize the U.S. for our militarism, though today the argument would focus on Afghanistan rather than Vietnam.
I summon his spirit as I work at the University of Washington, seeking for the school to integrate disability content into its non-oppression teaching. Don't worry: I'm not saying that my work is equivalent to his, nor that my spirit mirrors his, only that he inspires me with love and justice.
I find this spirit in me when I do yoga.
The work for justice is big, so multi-faceted. I wonder, does personal peace-seeking in yoga set the groundwork for peace and justice in the world, or is it just selfish?
Before my tumors, I worked too hard for a more just world. Since my tumors, perhaps I have found more humility. Perhaps I see that in order to give to the world in sacred spirit, I need to connect with that spirit daily. That's how it seems to me now, anyway. Like MLK, I dream of more just, more free, more loving world.
I know I have quoted Oscar Romero here before. His words are so apt again:
It helps now and then to step back and take a long view. The Kingdom is not only beyond our efforts, it is beyond our vision.
We accomplish in our lifetime only a fraction of the magnificent enterprise that is God's work. Nothing we do is complete, which is another way of saying that the kingdom always lies beyond us. …
This is what we are about. We plant the seeds that one day will grow. We water the seeds already planted knowing that they hold future promise. We lay foundations that will need further development. We provide yeast that produces effects far beyond our capabilities.
We cannot do everything, and there is a sense of liberation in realizing this. This enables us to do something, and to do it very well. It may be incomplete, but it is a beginning, a step along the way, an opportunity for the Lord's grace to enter and do the rest. We may never see the end results, but that is the difference between the master builder and the worker.
I suspect that MLK understood this. I suspect that MLK and Romero drew water from the same well. I suspect each did yoga in his heart if not with his body. (I can't really imagine either doing downward facing dog).
I suspect if MLK were here he'd say, I still have a dream.
And if Romero were here, he would tell me that the Kingdom is still not only beyond my effort, but beyond my vision.
And both, like my teacher Julie, would tell me to breathe deeply.


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mid ROPER
Regular price $80.00
Versatility :: shorts, one-sleeve shirt, halter dress, wings, etc. HAS POCKETS!
made in brooklyn
sizes :: 1-6 :: see size chart
fabric :: modal / spandex. Rope :: hand braided scraps
wash :: hand or machine wash gentle cold, lay flat or fold over hanger to dry
model :: louise croft blake // photo :: patrick arias


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If this story doesn't describe perfectly the stupidity that is big-government, I don't know what does.
Recently, New York City tried to fire 65-year-old Geoffrey Tolliver from his $38K-a-year job as a Medicaid eligibility specialist for missing about 18 months of work.
The cities Human Resources Administration accused the government employee of abandoning his job as of November 2013. Last month an administrative law judge recommended Toliver be fired, noting that he didn't appear for a July 1 hearing.
Of course Tolliver couldn't appear to the hearing, he had died of cancer last December.
Via The New York Post:
HRA officials said they sought to remove Toliver from his $38,000-a-year job after they couldn't reach him for well over a year.
They marked the start of his absence as Nov. 12, 2013, and said calls and certified letters mailed to his home were never answered.
"We did everything we could to contact him and his family," said HRA spokesman David Neustadt. "This employee was not paid when he wasn't working, but we left his job open in case he recovered."
He said that now that the agency knows of his "unfortunate death," it would take no further action.
Family members were surprised to hear city officials claim they hadn't been in touch with Toliver.
"It is my understanding that . . . his employer was fully aware that he was not able to come back to work," Toliver's brother Anthony told The Post.
"It is my understanding that my brother's family spoke directly to his supervisor during his long hospitalization and informed them of his death."
An online obit said Toliver was born in Harlem as the second of eight children.
"He was very well liked by his colleagues," it said. Read More…
If you can't trust the government to know that one of it's employees had passed away, seriously what can you trust it to do?


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White House Soup of the Day
The White House Soup of the Day, as first reported by MSNBC's "The Daily Rundown" is…
Not exactly the soup that best defines Rosh Hoshanah. "Not the best day for Gazpacho guys," complained Host Chuck Todd. "A good day for matzoh ball. It is the new year."
Soup of the Day is dedicated to @MurrowMonitor who adores this feature.


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The world first heard of a caste called the Vanniyars in 1987. A big rally of the Vanniyar Sangham (established in 1980) in Chennai got out of hand and was fired upon: No one knew who ordered the firing or why was it necessary. Chief Minister M G Ramachandran, his third term as CM, was already ill, possibly in a coma after a kidney transplant operation, and this was Tamil Nadu's worst-kept secret.
The purpose of the rally was to demand reservation for Vanniyars, who form 15 per cent of the population, and are a classified as a Most Backward Class caste in the northern part of Tamil Nadu (though they also live in Karnataka and Andhra Pradesh). The rally was the culmination of a call in the mid-1980s for the consolidation of a militant and numerically-strong caste.
The man with the Vanniyar mission was an MBBS from Tindivanam, S Ramadoss. It was efforts of Ramadoss, a medical doctor by profession, that got the Pattali Makkal Katchi where it is today -- a movement that turned into a caste-based political party and that has now been allocated seven Lok Sabha and one Rajya Sabha seat in Tamil Nadu. The PMK is part of the alliance led by Jayalalithaa's party, the Anna Dravida Munnetra Kazhagam. Never has a party with so little got so much.
The movement for self-respect of the Vanniyars was converted into a political party in 1989. There is a clear socio-economic reason for this. Vanniyars are still agricultural labourers in north Tamil Nadu, though in the past decades, they have become owners of the land they till because upper castes such as Reddiars, Naidus and Mudaliyars have rejected agriculture as a viable occupation and have moved to urban areas. Vanniyars now own houses in upper caste-streets in Tamil Nadu -- where caste continues to be the basic organising principle in the development of villages and small towns.
In north Tamil Nadu, the Vanniyars now own -- as opposed to tilling -- anything between 30 and 50 per cent of land which used to belong to the upper caste and which was either sold to them or transferred. Tamil Nadu has had a good record in enacting land reform legislation : Ceiling on land holdings, protection of tenants from eviction and fixation of fair rent. The state is ranked third, next to Kerala and West Bengal in terms of the small size of average holding. It is true that there is only a slight difference in the pattern of inequalities in the agrarian structure and social rigidities. But the beneficiaries have been the Vanniyar elite.
So while the Vanniyars have managed to pull themselves up, the Dalits, who are the main target of their oppression, have remained pretty much where they are. Ramadoss tried to forge a strategic alliance between the Vanniyars and the Dalits -- his party has tied-up with Viduthalai Chiruthaigal Katchi leader Thol Thirumavalavan. In the past, this alliance has been rejected on the ground. How it will fare in this election still remains to be seen.
The first Lok Sabha elections contested by the PMK were in 1989. The party drew a blank. In 1991, when the Lok Sabha and Assembly elections were held together, the poll process was punctuated by Rajiv Gandhi's assassination and the PMK got only one Assembly seat.
In 1996, it got four Assembly seats but still no Lok Sabha seat. In 1998, the PMK entered the Lok Sabha for the first time: This was the first election that Jayalalithaa contested in alliance with the BJP and the PMK (and the V Gopalaswamy-led MDMK). The election had coincided with the serial bomb blasts that took place in Coimbatore. Thirty out of 39 seats in Tamil Nadu went to the ADMK, the PMK got four.
When Jayalalithaa pulled out from the BJP-led alliance, the PMK stayed on -- although the DMK stepped into the breach. The PMK got five seats in the Lok Sabha elections that resulted. In 2001, Assembly elections were held in Tamil Nadu. The PMK read the tea leaves correctly once again: It contested from 27 places and won 20 seats in alliance with the ADMK. It got around 5.5 per cent of the total votes.
However, it switched sides in the Lok Sabha elections in 2004 and contested with the DMK as its alliance partner: It won all the 5 allotted Lok Sabha seats. After 1980, this was the first time the DMK allied with the Congress. In the 2006 Assembly elections, the PMK continued its alliance with the DMK and was given 31 seats to contest but won just 18. Obviously, this coalition had run its course.
Ramadoss severed relations with the DMK and shifted to the ADMK, having first declared his party would contest the elections alone this time. He remained part of the United Progressive Alliance until the election dates were declared. Just last week, his son, Health Minister Anbumani Ramadoss and another PMK MP, R Velu, quit the government. They are now no longer part of the UPA. In the 2009 general elections, he is part of the ADMK alliance and is also contesting the Pondicherry seat.
An aspect of PMK's politics which surfaces when elections are near is sympathy with the Sri Lankan Tamils. This time too, he has made this a campaign issue. Tactics is Ramadoss's political strategy. He's a fast-mover and this has worked remarkably well for his party so far.
So what's the calculation this time? When the results are out on May16, the Congress and the BJP-led NDA could be tied at the centre. With the PMK by its side and the Vijayakanth-led Desiya Morpokku Dravida Kazhagam as yet uncommitted, if Jayalalithaa is lucky she could get as many as 25 or 30 out of the 40 seats in Tamil Nadu-Pondicherry. This can be a decisive influence on the formation of government at the Centre. And Ramadoss will be right there with his PMK -- again.


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Oman signs $16bn gas deal with BP
Posted on 16 December 2013 by Vicky Ellis
British oil giant BP will drill and sell gas to Oman for 30 years after the two signed a $16 billion (£9.8bn) deal today.
It's the largest new 'upstream' project in the Middle Eastern sultanate – that is, in fossil fuel production rather than processing.
The Khazzan field has a gas reservoir in sandstone and this 'tight' gas is extracted in a similar way to shale gas by horizontally drilling and then 'fracking'.
Building at the field will begin in 2014 and 'first gas' is expected in late 2017.
Dr Mohammed Al Rumhy, Oman's Minister of Oil and Gas said: "Today's signing is an important step in the Sultanate of Oman's plans to meet growing demand for energy over the coming decades and to contribute to economic development in Oman."
The oil firm has plans for 300 wells over 15 years and will continue to sell Oman gas for another 15 years.
It expects it to produce one billion cubic feet (or 28.3 million cubic metres) of gas per day and 25,000 barrels per day of gas condensate, a product extracted from raw natural gas.
That's equivalent to around a third of Oman's total daily domestic gas supply.
Bob Dudley, BP Group Chief Executive said the "major project… is very important for both Oman and for BP".
Oil and gas are a staple part of the coastal country's economy. It produced 46.4 million tonnes of crude oil and 69,000 tonnes of liquid petroleum gas in 2011 according to International Energy Agency figures.
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Article source: http://www.energylivenews.com/2013/12/16/oman-signs-16bn-gas-deal-with-bp/


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Briefly Noted: Two High-Profile Cases of Tag Draw Violations
Drawing a premium western hunting license can be difficult. With point creep and astronomical odds for nonresidents, some coveted western licenses are now beyond any realistic hope of drawing. That situation creates frustration, and two recent cases highlight what can happen—and the lengths to which some people will go—when attempting to draw a premium permit.
Well-known Arizona hunting guide Larry Altimus (owner of the HAS tag services), of Pearce, AZ, was convicted by a Utah jury of "wanton destruction of protected wildlife-trophy bighorn sheep," a third-degree felony in Utah. According to a press release from the Utah Division of Wildlife Resources (https://wildlife.utah.gov/wildlife-news/2159-guide-illegally-kills-bighorn-sheep-in-utah.html), Altimus illegally obtained a resident license and then used it to kill a desert bighorn in the Zion unit. In 2013, Altimus had accumulated 21 bonus points for desert sheep in Utah, but with so few desert sheep tags available to nonresidents, his chances of drawing a permit were poor. In Aug. 2013, Altimus rented a house in Kanab and in March 2014 used that address to apply for a permit as a resident. In May 2014, he drew the resident permit and in June 2014 he "moved back to Arizona." Altimus returned to Utah and harvested a ram on that permit.
Utah law requires a person to have a "domicile" (fixed permanent home and principal establishment) in Utah for six consecutive months immediately preceding the purchase of a license or permit to qualify for resident license status. The person may not claim residency in another state or country for hunting or fishing purposes.
Altimus tells us he went to great lengths to comply with the law, putting his Arizona house for sale, obtaining a Utah driver's license, registering his business in Utah and applying for Arizona tags as a nonresident. "I never had one iota of illegal or evil intent or deceit in moving to Utah. In my business I certainly know all the rules and regulations pertaining to game laws. Why in the world would I do something like this and then tell all my friends and clients about it, send pictures all over—the photo was on the cover of the Grand Slam magazine—if I knew I was doing something illegal? I'm not that stupid!"
According to Altimus, he was reported to Utah authorities by Utah sheep guide Adam Bronson after Bronson saw a photo of Altimus and his trophy on the cover of Grand Slam magazine. Under Utah Administrative Rule R657-5-22, anyone who turns in a poacher is eligible for a comparable tag as a reward.
Doug Messerly, who investigated the case for Utah DNR, told us that what tripped up Altimus with the Kane County jury was the fact that he moved to Utah precisely six months prior to applying for the tag and then moved back to Arizona one month after drawing the tag, which did not appear to demonstrate the required intent to make Utah a permanent home. "Because Altimus took his sheep across state lines, he could be charged for a violation of the Lacey Act, but Utah is not asking the USFWS to step in to this case."
Altimus has been fined $750, plus ordered to pay the state of Utah $30,000 in restitution for the sheep he killed. He has also lost his hunting privileges for the next 10 years in Utah and 46 other states that are part of the Interstate Wildlife Violators Compact (IWVC). He told us he feels it would be fruitless to appeal his conviction, but he is "considering forming a coalition to instigate legal proceedings to repeal the IWVC. We would need tremendous support from sportsmen and sportswomen throughout the country.
"In my case in Utah, they have not only taken away my hunting privileges in all states, but also fishing, trapping, taxidermy and all types of wildlife licenses. I also cannot apply for any bonus or preference points in any state.
"Can you explain to me how a violation in Utah that prevents me from going fishing with a friend in Louisiana is fair? This is not justice, it's pure vengeance."
Messerly also told us about another hunter who "moved" from Washington State to Utah a year after Altimus took his sheep. That hunter had his tag rescinded before the hunt took place but was ultimately not convicted of a crime.
In another case associated with the license drawing process, a Utah man has been charged in Laramie County (WY) district court for defrauding Wyoming Game and Fish (WGF) in order to obtain two nonresident moose licenses. The charges against Byron Oldham are intellectual property crimes of modifying data in a computer network. According to WGF, Oldham wrote a piece of code that tricked the software into leaving the application button open beyond the programmed 20-minute window. In doing so, Oldham applied for and received two moose tags. WGF also found that this wasn't the first time Oldham had hacked into their system. On further investigation they discovered that Oldham attempted to apply online for a bighorn permit 99 times in a one-minute period on May 10, 2016.
Oldham owns GotMyTag.com, which promoted the Point Hunter app. Oldham has been in the hunting app business for several years, once developing a similar app for one of the state conservation groups (without their knowledge or consent—they eventually ordered him to cease and desist). The apps allow hunters to track their points, remind hunters of state deadlines and check drawing results. These apps do not apply for hunts.
Postscript: We often tell our readers that the potential penalties for breaking the law far outweigh the value of an illegally taken trophy. We stand by that statement and urge you to avoid even the appearance of misbehavior on your hunts. Someone is always watching.


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"All women are prisoners and hostages to men's world. Men's world is like a vast prison or concentration camp for women. This isn't a metaphor, it's reality. Each man is a threat. We can't escape men. . . .
"[H]eterosexuality doesn't exist and our 'urges' to bond with [men] emotionally or sexually aren't natural drives but normal PTSD reactions to years of abuse and mind-programming."
— Radical Wind, August 2013
When I think back on how this project began, I recall the woman whose screed against intercourse ("PIV is always rape, OK?") led me deep into this swamp of radical feminism. It was, however, another rant by that same blogger which made me seriously explore the ideological psychosis of which her rant was a symptom.
That four-word sentence sent me off on an investigation of her sources, especially including Professor Dee Graham, whose 1994 book Loving to Survive theorized female heterosexuality as a response to male-inflicted "sexual terror," akin to post-traumatic stress syndrome. Understanding this claim in turn required me to examine the sources cited in Graham's bibliography, including lesbian feminists like Marilyn Frye, Adrienne Rich, Mary Daly, Audre Lorde and Charlotte Bunch. Graham even managed to work in a citation to "Starhawk" (neé Miriam Simos), the lesbian feminist who was the founding high priestess of a California-based pagan witchcraft cult known as Reclaiming. From such dubious sources Graham had propounded her theory of sexuality, based in a view of men as violent oppressors and women as victims suffering under tyrannical male supremacy. After several months of further research, I've begun to refer to this feminist worldview as Fear and Loathing of the Penis.
You see this in the counterfactual "rape epidemic" hysteria on college campuses, with activists at Columbia University trying to frighten prospective students — high school kids — with protests about "gender-based violence on campus." Robert Tracinski at the Federalist examines the possibility that "rape culture" discourse represents "an attempt to create a scapegoat for the emotional dark side of promiscuity."
It is evident that these women's dread and contempt of masculinity arises from specific circumstances. Feminism does not cause women to hate and fear men; feminism is the political rationalization of these women's anti-male feelings, permitting them to believe that their own unhappiness is not merely personal. It is the explanatory power of feminist theory that attracts women who do not wish to consider themselves responsible for their misfortunes, disappointments and failures, offering them a convenient scapegoat for their problems: Patriarchy.
To give you an idea of what I'm talking about, consider this recent post on Tumblr.com by an Australian woman named Kate:
I think that most of the times I feel afraid of the world, it is because there are men in it.
Men who want to hurt women; men who don't want to hurt women but do not realise that they are doing so anyway; men who don't want to hurt women, but do not care when they do, because whatever they want from the situation is intrinsically more important to them.
Men who you can tell are bad just by looking at them or listening to what they say; men who you instinctively feel could be bad, but you second-guess yourself because you want to believe and trust that they are good; men who you would never guess are bad in any way — whose badness doesn't show for years, and when it does it is near-invisible to anybody else.
Men who make you feel threatened when they don't get their own way; men who lash out and shift the focus when they don't get their own way; men who spin every word when they don't get their own way; men who act like children and make you their mother figure when they don't get their own way; men who control you to get their own way, men who take what they want anyway when they don't get their own way.
Men who do not listen to women's words the same way they listen to other men's; men who turn you invisible unless they want to f–k you; men who only want to be your friend because they want to f–k you; men who call you 'intellectually dishonest' for using emotion and context to argue a point; men who back you into corners physically, emotionally, verbally.
Men who call you 'crazy'; 'hormonal'; 'irrational'; 'emotional', men who will not allow your anger to be recognised as a valid emotional response, or your sadness, your distrust.
Men who make you feel the most loved, safe, and cared for after they have abused you.
Men who make you question your reality by telling you with conviction that it is wrong.
Men who take away your sense of independence and self by controlling your every move, and by telling you a better way to do every little thing you've taught yourself.
Men who dissolve your self esteem by belittling and insulting you, and calling you names.
Men who tell you that your reasonable emotional reactions are abusive, and infringe on their rights to do whatever they want to do.
Men who do not stop whatever they are doing to you when you ask.
Men who look you in the eyes and lie to you every day to protect their double lives.
I am so tired of absorbing all of this.
Who are these men who do these things to Kate? We don't know.
She doesn't name them, but she is apparently surrounded by them, and we are thus unable to offer any advice or assistance to her. She is a helpless victim of men — men! men! men! — and it would seem she offers this catalog of masculine "badness" in the expectation that other women will recognize the pattern. Yet we might notice how Kate lists men's reactions when they "don't get their own way," as if she can't see that the entirety of her complaint involves her own dissatisfaction because she can't get her own way with them. Men don't behave the way Kate wants them to behave, men don't say and do things the way Kate wants things to be said and done, and their failure to live up to her expectations — their unwillingness to comply with the imperious demands of Queen Kate — is proof that she is a victim of male oppression.
She is inviting us to a pity party where she is the guest of honor. If men reject that invitation, this just proves how bad men are, because they "will not allow your anger to be recognised as a valid emotional response, or your sadness, your distrust."
Why wouldn't male contempt for her be "a valid emotional response"? Men are the way we are in part because we must be that way in order to be recognized as men, as responsible adults. Nobody wants to hear a man complain about his problems. Women can be especially merciless in their contempt for any man who expresses a sense of emotional suffering, and many women are deliberately sadistic toward men. Some women enjoy nothing better than to insult a man and then mock him as a "whiner" if he takes notice of the insult. Women who take pride in their own cruelty toward men are invariably the same women who complain when men fail to treat them with solicitude and kindness. Such women are never able to admit that they are even partially responsible for their inability either to attract good men or to sustain relationships with the men they do attract.
Fear and Loathing of the Penis — a paranoid resentment of men, characterized by irrational suspicion — is the underlying mental condition that feminism turns into a political ideology. What disturbs me, after months of studying this phenomenon, is that this madness is both contagious and incurable. Feminism is a sort of cultural virus that, once it takes hold in a woman's mind, makes it impossible for her to relate to men in a normal manner and, because misery loves company, she feels compelled to share her hateful anti-male attitudes with other women. If left untreated, the effects of this dangerous malady are well known.
UPDATE: Welcome, Instapundit readers! As to envy, I have always thought Freudian psychology — "penis envy," "Oedipus complex," "castration anxiety," etc. — to be a lot of mythical pseudo-scientific humbug. However, Freud did say this:
"Women have but little sense of justice, and this is no doubt connected with the preponderance of envy in their mental life."
Like so much else Freud said about women, this seems insulting if read as a general statement applicable to all women. We should remember, however, that much of Freud's practice involved treating neurotic women, the unhappy wives and daughters of the upper classes. As a description of a certain type of woman, his statement is certainly true. Envy is a poisonous emotion, and is antithetical to a sense of justice. The characteristic rage of feminists — their angry insistence that every advantage enjoyed by men is an unearned "privilege," and that all women suffer oppression because of "male supremacy" — is entirely consistent with Freud's observation of how "the preponderance of envy" manifests itself in the behavior of neurotic women.
UPDATE II: Linked by That Mr. G's Blog, Brian Cragin and Doug at Daley Gator — thanks! — and our friend Doug apparently felt a need to pour salt in the wound. It should be sufficient to report facts and let people draw their own conclusions.


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- Safety Tape Solid Color -3 in. x 36 yd. Rolls
Solid Color Safety Tape is perfect for color coding, aisle marking, duct sealing, abrasion protection, joint sealing, pipe wrapping, decorating, light bundling, packing and safety marking. Water-proof and wear-resistant 5 mil. vinyl tape comes in two sizes: 2 in. x 36 yds. and 3 in. x 36 yds. in various colors. Apply self-adhesive backing to clean, dry, smooth surface. Easily applied by hand. Also can be applied with a floor applicator (not included).
Safety code designations for tape colors as recommended per OSHA 29 CFR 1910.144(a):
- Danger Red for Fire Protection apparatus and containers of Flammable Liquids
- Orange for dangerous parts of Machinery or Energized Equipment
- Caution Yellow for Physical Hazards
- Blue for warning against starting Equipment Under Repair
- Green for Safety and First Aid equipment locations


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What Are Debt Settlement Companies?
When conducting research for debt relief companies many consumers come in contact with a solution called debt settlement. While various terms apply to this method, such as debt reduction or debt negotiation, they follow the same premise. Here is how it works, so read along as we discuss it in the context of some helpful terminology.
Original Balance: This refers to the balances of your unsecured debts when you enter a debt settlement program. Because you will seek to negotiate with your creditors to reduce the amount owed, it's important to first add up all of your debt balances. It's common for people to enter a debt settlement program when they have at least $10,000 in unsecured debts. These don't include car loans, mortgages, or student loans.
Set Aside: People with credit cards and medical bills sometimes fall behind on their monthly payments. While unfortunate and stressful as this may be, this is what enables a settlement to take place. Creditors are not usually incentivized to negotiate to accept less on your behalf unless they don't expect full repayment. While we do not suggest or recommend that consumers purposely miss their payments, most people seeking debt relief are already behind. Your debt counselor will help establish an affordable "set aside" amount that is similar to a monthly payment. While this will not be dispersed to your creditors, it will go into a special savings account and accumulate until sufficient levels are there to then negotiate and settle your original balances if possible.
Settlement or Savings Rate: Every creditor is different, thus it isn't prudent to advertise or promise a specific rate that your debts may be settled for. However, it is very common for creditors to accept less than the original debt balances in light of receiving nothing in Chapter 7 bankruptcy or long-term default. Working with a qualified and experienced debt settlement company will help you navigate these waters and present the best possible offers to your creditors.
Settlement Letter: Once your debts are successfully negotiated and settled for less than the original balances, your debt settlement company will seek documentation in the form of a letter from your creditors. This is important because it provides a legal, documented basis in the event that your original debt is sold, which is a common practice among collection agencies. Should this occur, you have documentation that you have fulfilled your obligation to the original debt. This is also ammunition to contest any inaccuracies on your credit report.
Are you ready to explore debt settlement for yourself? If so, contact Debt Support Center today for a free consultation.


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Finding Inner Joy, Even When It's Cancer
Dear brothers and sisters, when troubles of any kind come your way,
consider it an opportunity for great joy.
For you know that when your faith is tested, your endurance has a chance to grow.
James 1:2-3 NLT
Tell me about your joy, Linda," I said to my friend.
"Joy! What joy? There is none," she said.
Although Linda has been in remission for almost three years—her treatments long past and her life back to normal—her diagnosis continues to trouble her.
Cancer and joy—the idea seems foreign. But joy is more than an emotion caused by pleasant things or events. It runs far deeper than mere happiness. We don't learn to walk by contemplating how it's done. We walk by trying. Most difficult things worth learning are learned by doing them. This includes finding inner joy during the cancer journey. But how?
Enjoy the Moment
Betty, takes long-term chemo. She says, "I realized I'll probably always have fear, and it may escalate at times, and there will be stuff in this cancer thing that I really don't like. I simply decided I would work through the tough stuff and give my best shot at inner joy."
Be Your Own Advocate
Distressful, sorrowful thoughts and feelings are normal. Hiding, ignoring, discounting, or denying them isn't wise. That won't help; it might even make matters worse. To be real, to experience and express our concerns, is of paramount importance. That doesn't mean we're weak, negative, or pessimistic. It means we are dealing with reality.
When we acknowledge our negative feelings, they lose their power. Release brings the relief we need to go on to other things. Sure, the negatives may return. But they are more manageable when we repeatedly respond to them this way. The unknowns, otherwise known as the what-ifs, can add anxiety we don't need. Fighting anxiety is one of the biggest challenges for a cancer patient.
Allowing our creative imagination to roam free can rob us of inner peace. We have the power and ability to contribute to our own well-being. We can relay to others what is and what is not helpful. We can set limits by effectively explaining those boundaries to our loved ones. At times, you simply need to express your thoughts and feelings. To be heard helps a great deal.
The unfamiliarity of being your own advocate can be a challenge. But keep trying. It will help you secure the support you need.
Find Your Happy Place
I'm not suggesting we negate the difficulty of going through cancer. It takes effort and energy to find inner joy. But it's worth the endeavor. We'll spend the same energy and effort in unhappiness, possibly more.
Give Joy
Your contribution can have a lasting impact. Pass it on.
Have Fun
It takes a little extra courage, effort, and thoughtfulness to find joy in a tough situation.
Draw from Others
Time becomes very important to cancer patients. Most of us have looked at death. We've learned that a large percentage of things we worried about were not as important as we thought. We feel an urgency to make every moment count.
Look Up
Our measure of faith is buoyed in various ways: a Scripture, a song, a thought, the beauty of nature, a kind word, or help from a loved one. Sometimes it's enough to look up, or around—to see God's creation and be reminded of His presence.
Because of God's promise—"I am with you"—His joy abides within us and holds our hearts true. Let His joy be your strength.
* * *
Your Turn
Join the conversation by adding your comments below!
How do you find inner joy in the midst of trials?
It's Cancer
by Venita McCart
Normal Price: 9.95


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The many hats of a PR pro
Jun 21, 2017
What does a public relations professional do?
On finding Refuge (in) Lansing
Jun 16, 2017
I am a white, middle-class, educated, cisgendered, heterosexual Midwestern woman. I am a wife, a mother, sister, daughter and friend. I own a car and am a soon-to-be first-time homeowner. There is more than $1,000 in my bank account.
Riding the creative block strugglebus
Jun 14, 2017
The past two weeks I've had almost total free rein on creative projects. And since I'm the creative strategist on the team you would think that sounds like the life, right?
The arts matter
May 3, 2017
Category: P&G culture
Services: Visual Storytelling
It's no secret P&G is a major supporter of the arts.
Beyond the Bling: Smart is better than nice
Apr 17, 2017
By: Kate Snyder, APR
We're words people here at P&G. And yet, when it comes to talking about ourselves, we don't always do the best job of using our words.
Small business owners: Parental leave isn't about you
Apr 12, 2017
By: Kate Snyder, APR
This week I had the privilege of chatting with Capital Gains about the unique intersection of entrepreneurship and motherhood.
When I started out as a public relations student strategist, I must admit I was nervous. Prior to joining, I'd only had brief experience in the brisk pulse of agency life.
What makes a great P&G student strategist
Feb 9, 2017
It's student strategist hiring season at Piper & Gold, which means we're gearing up for career fairs, sorting through applications and lots of interviews.
Our #Truths are our whys
Feb 2, 2017
By: Kate Snyder, APR
Earlier this week, the P&G family gathered to spend the day talking about our work, our goals and our company.
Story is the heart of it
Jan 24, 2017
Through my years in the PR industry, I've discovered that public relations is a murky concept for the masses.


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Issue 04 Contributors
Essay Issue 04: by Susan Andrews
Intention of the artist / photographer in making "work"
Aviv Yaron
Traces. Landscape and Memory
Damian Gillie
Exposing internal elements that once functioned but now lead nowhere
David Townend
The last search for George. A forensic portrait
Ian Atkinson
Reflections of the Past and the Present
Robin Grierson
An important part of Britain that vanished over night
Ulka Karandikar
A found photograph begins an investigation into an imagined archive
Aviv Yaron
In Another Place
December 2009 – I am standing on the ground of what used to be Simsim – until 13th May 1948, a Palestinian village with 1500 residents. In the far distance, beyond the fence which surrounds the vast site, I can see a farmer ploughing one of the nearby Kibbutz's fields. The day draws to its end – even the cattle are nowhere to be seen. I am on my own amongst this very traumatic, yet beautiful, landscape. I am surrounded by nature, washed by the golden light of a late afternoon sun aiming west.
In 1948, Israeli military forces expelled the people of Simsim to the Gaza Strip. Kibbutz Gvar'am, which was established near Simsim in 1942, later took over the village's lands. '…What had once been the centre of the village, including the remains of about 345 buildings, a desecrated cemetery, dry wells and a destroyed mosque, is currently fenced off as the "Kurkar Gevar'am Nature Reserve" and used for the kibbutz cattle…' [A tour of SimSim]. There is not even a sign to commemorate the memory of the life this place had and its native inhabitants. The memory of all that was then is eradicated from the 'here-now'.
The 'decisive moment' marks for me both spiritual and psychological peaks. It captures a state of presence which resonates with, or reflects upon, an inner state of being. The photograph is a decisive moment frozen in time. It records the present in the past – '…the photograph's moment was now…' [Ann Banfield, Camera Obscura, 24, September 1990 p.75]. Barthes's 'punctum' and Freud's 'the uncanny' open up a reading of the photograph which is beyond the possibility of it invoking reminiscence. Here, the photographic experience and the photograph as its product, transcend past reality and the 'now-then' to provide a metaphor for the viewer to resonate with in the 'here-now'.
The photographic 'now-then' and the uncanny that goes with it, do not necessarily invoke memory of, or longing for, that which is missed. The chemical treatment used in this body of work is not an integral part to my photographic experience and the moment of capture. Yet strangely, it links landscape and memory and creates the notion of past time. The chemical effect on the photographic material – the integrated 'damages' – suggest the juxtaposition of an internal memory with the photographic process. In this body of work, it adds the feeling of real time and with it the longing for that which is no more, or for the memory of it. It creates the illusion of the photograph being an authentic representation of the 'now' as it was 'then'. However, the captured reality is eradicated of all physical traces to its past; the chemically overlaid markings provide a sense of loss, and a memory of the 'then'.
Further Reading:
Website Aviv Yaron
Damian Gillie
The Mill
This project was originally entitled 'Foster to Rogers', a reference to the names of two great British architects and also the name of the original owner of a Victorian flourmill situated in the centre of Cambridge, England.
Built in 1895 for the Foster family, the mill changed ownership 3 times before being closed by Rank Hovis in 2000. For the next ten years it remained unaltered, its swirl of internal piping disconnected but left in situ.
On 27 March 2010, the original silo was destroyed in a massive fire, and the mill itself was badly damaged. At the time of writing, the future of the surviving building remains unclear. The rest of the twelve-acre site is being developed as new office space and housing, the main tenant being Microsoft with a new HQ for their research arm. The master planner and chief architect is Lord Rogers.
I had no idea as to what lay behind the walls of this massive battlemented edifice, much of it bleak and windowless. What I found was a tangle of pipes and cables almost impenetrable in places. Still with the strong odour of the ingredients, which were processed here, the atmosphere was one of a giant, sunken vessel, silent except for the constant sound of dripping water and the occasional fluttering of some unseen creature.
The subject matter intrigued me for its resemblance to a giant internal organ with its inexplicable arteries and tubes once connected and fully functioning but now dissected and leading nowhere. I thought of the strange irony of how these extraordinary shapes were soon to disappear forever, to be replaced by the designs of an architect well known for exposing many of the internal elements of his buildings, particularly pipe-work, on the exterior.
However, I changed the name of this book to 'MILL' because I wanted the concept to be as simple as possible: a place that had once been designed to the minutest detail for industrial efficiency is now explored as an abstract, sculptural space.
Further Reading:
Website Damian Gillie
David Townend
George's Place, Los Angeles, 2010
George died a week before his 97th Birthday in the house he had lived in since the 1940's, when he moved there with his wife. She died in 1969, and George lived there for 41 years on his own, until his own death in 2010.
In George's world I was a late arrival…I met him in 1997. As I got to know George it struck me that he must be one of the most fiercely independent, mentally active, unassuming gentlemen I was ever likely to meet. Even in his 90's, he refused to accept domestic help, and even went so far as to deal with troublesome teeth by his own means at home, rather than visit a dentist.
At each meeting I would learn something new. I remember him telling me about his days working in New York in the 1930's for Benton & Bowles, an advertising agency (later to become DMB&B).
On another occasion, he described watching with his mother from an upstairs window at his father's tailoring business in Cleveland Ohio, the US soldiers returning home from Europe after the First World War in 1918. He was 4 years old.
When I visited Los Angeles, we used to take him out to a restaurant and talk about 'things'. With George anything was game, but cinema was big. And he really knew his European Art House Cinema. I don't know any other man in their 90's who'd effortlessly reach into their bookcase, hand me a book on Tarkovsky, saying with a glint in their eyes "I thought you'd like to keep this."
George was quality. Pure and Simple.
In life, George was pretty successful at avoiding my camera. I did take some 'interesting' candid portraits of him, but these moments of connection with the camera were fleeting. The images in the series "George's Place" are one last search for George. In Absentia. A Forensic Portrait.
It felt very special and a privilege to be there quietly walking around the house that George had imprinted himself on. Time really did feel like it had stood still. Now he has gone, his things will be cleared up, and the clock may start again.
Further Reading:
Website David Townend
Ian Atkinson
The Reflective Moment
This work represents a reflective moment; how we are all interrelated with our past, present and future selves and how our lives revolve around these factors. A significant element of this work is the poster within the frame, which reflects the ability of photography to capture a real moment in time and suspend it, making it the focus of our memories.
Within this work the poster stands as an iconic representation of the past, alongside the other apparently more tangible figures who have in truth, also been torn from the continuum of time and photographed. The viewer is encouraged to consider the multiplicity of other moments between those judged as significant that have not been recorded and question the nature of our attachment to the still photograph.
Further Reading:
Website Ian Atkinson
Robin Grierson
Photographs of Fishburn Coke Works
I grew up in Fishburn, a coal mining village in County Durham. Fishburn Pit opened in 1910, and closed in 1973, when I was eleven years old. The adjacent coke works were built in 1954 and during their thirty five years of working life, a battery of fifty verticle ovens carbonized coal into coke (a smokeless fuel), Town Gas and various coal tar byproducts. Alternating ovens worked continually, 365 days a year, until their closure in 1988. They were hastily demolished in 1989.
Fishburn was a small village, with that huge industrial plant butted up to it, where many of the villagers worked. Like it or not the 'cokies' distinguished our home from any other humdrum place. As you approached the village on the main road you went right past its large structures made of reinforced concrete and steel, with blackened chimneys blowing out sulphide and steam. The smell was notorious in the region. People from neighbouring villages called it 'smelly Fishburn'. Those thundering black ovens resembling a massive organ were part of our consciousness. Glowing coke and ash emptied from charged ovens every few minutes, turning the night sky orange. As a small child, sometimes I imagined that the world was about to end in some terrifying disaster.
Many of the villages in County Durham were mining villages; their dark iron lift shaft wheels silhouetted against the skies, their dark grey slag heaps outgrowing the natural terrain; and chimney stacks, and mine heads a common site on the horizon. But if you go there today, you would never know. All traces have been extinguished, replaced by neatly landscaped fields of sheep and conifer plantations. Most former pit yards now have sterile looking industrial units erected on their sacred grounds. It is sad and strange, that this important part of Britain seemed to vanish overnight.
My father's bus garage sat at the edge of the pit yard, and shared an entrance with the adjoining coke works. One of my photographs shows my father seated, with the last of the coke works' chimneys looming precariously in the distance. Friends and I spent our formative years roaming the pit heaps to find birds eggs, hunt with air rifles and ride our ramshackle motor bikes. I took the photographs at various times not really thinking that much about the future of the place.
Further Reading:
Website Robin Grierson
Ulka Karandikar
from 'The Pattern Book' – exploration of a personal archive
The Intention of the artist / photographer in making "work"
Essay Issue 04: by Susan Andrews
Maybe the connection between truth, image and reality is more dependent on the context of the photograph rather than the technology
Recently, I've found myself wondering about the motivation and intention of the artist/photographer in making "work" and what sets this "work" apart from the plethora of images that confront us on a daily basis. What is it that makes the photographs of such practitioners different from the profusion of images found for example on Flickr or Facebook, if indeed they are different, or do these new sites simply represent the inevitable forward trajectory of the history of photography? After all, are we now not all photographers? It is estimated that 250 billion digital photographs were made in 2007 and photographic libraries such as Getty regularly trawl sites such as Flickr for photographs, whilst agencies such as Reuters suggest that the general public could all be their stringers.
Predictably, there are opposing schools of thought relating to the path that photography has taken in the digital era; on one hand, it should be celebrated that the medium has become truly democratic in that it is available to everyone, (at least in the first world, though fewer than 4% of Africans are connected to the web – Ritchen 2009) but at the same time in this explosion of imagery there is a sense that something has been irrevocably lost. However, any commercial photographer will tell you that finding work is increasingly difficult and remuneration for any such work is in serious decline but of far more concern in the broader sense, is the actual devaluation of the meaning of the image through both its overproduction and overuse, and equally of the consequential inattention of both photographer and audience. Fred Ritchen states in the preface to his book After Photography "We no longer think, talk, read, listen, see the same way…. We appear to be on a mission to wallpaper our sightlines with deracinated images of so little value that they render us numb whilst simultaneously telling us that we can now see."
Of course, there are many benefits associated with digital technology and the web offers new means of communication and dissemination, providing artists/ photographers with a potentially worldwide audience. In addition, the radical changes brought about by online publishers, such as Blurb, have led to a revolution in the industry, providing everyone with cheap and readily available access to the book publishing market. With the convenience of digital storage, there has also been a growing interest in building photographic archives, making these important resources readily accessible to a wider public.
In 1966 Szarkowski said, "More convincingly than any other kind of picture, a photograph evokes the tangible presence of reality. Its most fundamental use and its broadest acceptance has been as a substitute for the subject itself – a simpler, more permanent, more clearly visible version of the plain fact." Currently, it could be argued that digital technology has afforded new freedom to photographers, liberating them from their assumed role as documentarians, breaking the accepted link between photographic representation and reality, and consequently affording them the freedom formerly afforded to the painter, to imagine and suppose. Indeed, artists such as John Goto, rather than lamenting the crisis of the real, have readily explored the possibilities of digital imagery, "investing the electronic operations themselves with meaning." (Nancy Roth 2007)
On the basis of such evidence, one would envisage a fertile environment in which the artist/photographer would thrive, but the fact remains that despite all the promise associated with these benefits, the proliferation of imagery has led to an associated reduction in the value and meaning of the photograph. It is now worth little either in financial terms (with the exception of the fine art market) or as a representation worthy of time, thought and scrutiny. It appears that in society's quest for more and faster and slicker, integrity has been abandoned. There is simply too much imagery and photography has become ephemeral and disposable, like tinsel and dust.
Inevitably, despite this general surfeit of photographs there does, of course, exist work that resonates conceptually, visually and psychologically. Maybe the word "work" is a key starting point in evaluating the significance of a photograph – a purposeful effort, a photographer's practice, something that is entered into with attention and reason. Ritchen talks about numbness in relation to the over-proliferation of photographs and the term "image fatigue" is frequently used in relation to documentary photography but could equally apply to other genres. Such observations seem to suggest that it is becoming more difficult to recognize a "meaningful" or "interesting" image as viewers become both desensitised through over-exposure and conditioned to the short attention spans required for most online photographic viewing.
It is somehow then both intriguing and significant that a collective of photographers should choose to start a printed broadsheet quarterly to explore new work. Th publication, Uncertain States, publishes work outside the mainstream commercial and amateur markets and in unfolding the paper one is invited to sit down with a coffee, read, look and consider. The photographs are consequently required to have meaning and value that withstands closer inspection. However, it is also the role of the viewer to take time and look; the relationship is symbiotic. Whether the photographs are made digitally or with film and traditional processes is of little matter in itself, rather it is the intention of the photographer in making the work that is important. These photographs are meant to be considered, their layers of meaning unwrapped, one might term this an "analogue approach" to making work, where both the making and reception of the work requires our careful attention.
In this issue of Uncertain States the photographer Robin Grierson shows a selection of photographs he made during the 1980s of the Fishburn Coke Works in County Durham. He has recently revisited this work with a view to making a book entitled, John Laidlaw that tells the story of the time, place and people. Today all signs of the coke works have vanished from the landscape but these photographs provide a trace that marks its existence. Grierson says that when he took the photographs he didn't really know what they meant but through a process of revisiting the work over time, their significance has become apparent to him. It is the photographer's relationship with the place that he grew up in, along with an astute "eye" that makes these images resonate both with loss and integrity. The black and white photographs of dilapidated edifices haunt the landscape like great dying beasts, some images reminiscent of the topological work of the Beschers, but in this case there is no detached gaze, here is the eye of someone who was intimately involved. These are images resurrected from history, highlighting the injustice that marked the demise of the once thriving community that surrounded the works. Today, if people in the district have work, they are employed in diverse places and the kinship that once marked the community is gone.
Sometimes it takes time to understand the significance of work and how that work should be made. Maybe it is also significant that this photographic work should resurface in another era of uncertainty for many communities, when swathes of spending cuts threaten the stability of the lives of ordinary people, as attempts are made to repay the country's deficit. As such, Grierson's powerful work, rendered authentic as history, has become both timely and current.
The artist Ulka Karandikar also re-examines a photograph from another era but in this case it is a found image and one of her father. The photograph shows a young man sitting face on to the camera as he stares back at the photographer and viewer alike. It is a simple head and shoulders shot probably taken in a small studio in the seventies and maybe made for some official purpose, like a passport, but we cannot know and in the context of this work it is not relevant. It is merely a simple photograph from the past that allows the artist the recognition of time, moment and history. She sees herself in him, maybe for the first time, but she certainly sees him now as a man her age, her time-travelling contemporary and she connects with him. The photograph offers us the unique, and historically recent, opportunity to see our parents when young and in so doing it proposes empathy with the dreams and desires of another generation; we look like them, they look like us, and maybe they also think like us.
Karandikar's beautifully written thoughts, triggered by the rediscovery of this photograph, take her to a point of recognition and understanding of the man that is now her father but wasn't at the time of the photograph. Between then and now there is a gulf that she fills with words from the present. This thoughtful work, which uses image and text so effectively, considers familial relationships and the potential for understanding between the generations. However, it essentially reflects on a characteristic quality of the photograph, in this case specifically made for an unknown purpose, which has the ability to act as a metaphor for each viewer and to elicit in each a personal response; we receive the message, recognize it and are touched by its authenticity.
It was the work Zen in the Art of Archery by Eugen Herrigel concerning the author's experience of learning Zen from a master, which inspired the photographer Cartier Bresson to develop his concept, "the decisive moment." Commonly understood as the right moment to press the shutter, it has aesthetic, conceptual and spiritual dimensions. In many ways it is about "paying close attention" to framing and content and understanding one's medium so well that it becomes artless, giving space for a spiritual connection in the present with the external world. Aviv Yaron's work is rooted very much within these ideas and his work is a consequence of intense thinking and careful watching. In the work In Another Place Yaron is looking for signs of a different time, a Palestinian village, the remains of which is now used for cattle from the kibbutz. Here Yaron uses analogue technology to explore his ideas. Indeed, it is essential to the aesthetic and meaning of the work that it is shown traced with chemical marks from its processing that allude to another time but also refer to the physical and emotional scars left by years of conflict. An interesting aspect of this technique is that it draws our attention to the artifice of the photograph. This image after all is merely a depiction of reality, a filter that re-directs and re-presents; it is simply a point of view that carries a message, but is so convincing because of its connection with reality at a given moment in time. Yaron's message is also compelling as it quietly asks us to consider "the other" and their history. However, beyond the specific, this haunting work contemplates all the losses that can only partially be rescued by photography.
In the work Mill, extracted here from his book, Damian Gillie has also tuned his attention to transitions brought about by the passage of time and changes in society. It was the impending destruction of the redundant flourmill in Cambridge that drew Gillie to photograph its threatened interior before it disappeared forever. In many ways a photographer is a collector of moments, arresting the flow of time, often keeping the photographed as a proxy for the real for succeeding generations. Underscoring this, Walter Benjamin suggested that the true collector was one who liberates things "from the bondage of utility" and through the act of photography the transformed and re-contextualised subject is freed from its original significance and other meanings are made possible. Gillie seems to embrace this fact and the photographed object seems less a representation of the real and more a metaphor: the redundant and disconnected tubes of the mill are the entangled, giant innards of a once living organism; a slashed, blood-red sheet suspended in time, testament to an abrupt end; the curling tubes of colour suggestive both of violence and sensuality. Gillie's powerful photographs resurrect significance for the superfluous space that once heaved with life.
In the work George's Place, David Townend is also motivated to preserve for posterity. While the subject matter refers to the long history of a man's life, these intense colour photographs are undoubtedly contemporary. The camera is a tool to make a posthumous portrait of George through the careful scrutiny of his home and belongings and in so doing we are invited to look vigilantly as if the evidence were forensic. Townend systematically reveals an extraordinary life: a photograph of piles of books bathed in golden Californian light – a man of culture and learning; another photograph of extracted teeth put on one side but not discarded – a collector; the shocking photograph of a very old man's deathbed, a man who has lived for too long alone, that so starkly reminds us of our own inevitable death. Townend is looking for the detail. His photographs are intimate yet unsentimental, they are something to keep safe; they are his story.
Ian Atkinson however, is interested in bringing particular instants in time together. His carefully constructed photographs, reflecting issues arising from the potential of digital photography, depict several generations taken from different points in time within a single image. This work however, is made on film and is the product of an extended process of thought and planning. As with the work of Karandikar, the viewer is encouraged to make links between different times and generations and we are asked to contemplate, in the words of Jeff Dyer, "the ongoing moment", here brought together within a single frame. Atkinson's images, full of doors and windows – open, closed, sometimes blocked – seem to suggest all the possible paths the inhabitants of the photographs might have taken, but framed and moderated by the expectations and conventions of the society and times that each occupied. Perhaps also, these photographs reference our changing relationship with photography and a more developed awareness of the multifaceted function of the photographic window in our framing of the world.
Garry Winnogrand once commented "I photograph to see what things look like when photographed" and Flusser observes that photography is a projection rather than a record. He suggests that Dorothea Lange's photograph of the Migrant Mother is no longer just a photograph of Florence Owen Thompson taken in 1936 in California, but "a depiction of any one of us, now or in the future, facing possible suffering with possible dignity." Both comments recognise the transformational aspect of photography, which has always existed; a photograph is not merely a simple depiction of the subject in the real world. So it seems strange that in the minds of many, the digital revolution should create such a crisis for photography. Wim Wenders has stated "the digitized picture has broken the relationship between picture and reality once and for all." This popular view seems to overlook the fact that photographic manipulation has been a part of photography since its inception, take for example Rejlander's, The Two ways of Life made in 1857 and composed of a combination of at least 30 images. Maybe the connection between truth, image and reality is more dependent on the context of the photograph rather than the technology.
However, there is undoubtedly a crisis both for photography and for photographers but it seems this may be more concerned with the meaning and reading of the photograph. The millions of images in existence today have over-saturated our senses and the consequence is that many photographs are made and viewed in ways that require little attention to construction or meaning. In this way, we are perhaps losing the ability to discern, reflect, edit and understand the highly complex, coded system involved in the production and reception of the photograph.
/ 04 Article by Susan Andrews 2010
Senior Lecturer in Photography
Sir John Cass School of Art, Media and Design, LMU
E-mail firstname.lastname@example.com


text:
Lib Dem position on Brexit is the sensible choice
- Credit: PA Wire/PA Images
The Lib Dems have stepped back from the Brexit cliff-edge.
The party, voting with its head rather than its heart, decided to retain the policy it's had since June 24 last year – calling for the people to have a say (via a referendum, including an option to remain in the European Union) on any deal Theresa May comes up with at the end of the current negotiations.
The alternative – you'll be relieved to hear – wasn't some conversion to support Brexit but, rather, a motion calling on the party to harden its position, to oppose Brexit at any cost.
Though that may have pleased readers of The New European and would warm the hearts of the overwhelming numbers of my party's rank-and-file, it would be political suicide in vast swathes of the country which overwhelmingly voted Brexit and who would then believe that – to Lib Dems at least – their vote last year counted for nothing and was being discounted by a political elite 'that knows better'. The political version of a high-minded headteacher looking down at little Johnny and telling him not to worry his head about all this politics business and to leave it to the adults instead.
To have any chance of returning to the land of the political living – from its current quasi-Zombie like state, where the heart is still beating thanks to the sterling efforts of the last leader Tim Farron – is to have a strong message which can appeal to the left behind and disenfranchised parts of our society who voted overwhelmingly to leave the EU.
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Those people may never agree with our current position on the EU, either, but hopefully by saying we respect the current process and are merely asking that the electorate get another say at the end of it, they will at least be prepared to hear us out on other issues such as the need to ensure we have a mixed economy where the private and public sectors both matter, investing in our schools and hospitals, defending our civil liberties and fighting climate change.
To have had a position which patronised Leave voters would have been to all but ensure they never trusted us again – and we'd have deserved it too.
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With Vince Cable now at the helm of the Lib Dems – a wise, statesmanlike and widely trusted political figure – we have a real opportunity to build a narrative which is all about rebuilding and reinvesting in many of the Leave communities who have felt like no one in politics understands their needs, their frustrations and their anger.
We Lib Dems are as far from populist as it's possible to be, but – from the pragmatic centre/centre-Left we can show that, with local activists across the country including the former industrial heartlands of the North and the Midlands, we are rooted in the concerns and aspirations of these communities. We get them.
Brexit is, indeed, a perilous high-wire tightrope for all political parties to navigate.
Indeed, as we see played out before us in the media day after day, Labour and the Conservatives are split asunder on the issue.
The Lib Dems, at least, agree on our overall position, we'd prefer the UK to stay in the EU but recognise that we're in a process which acknowledges the will of the people while also calling for the people to get a chance to be heard at the end of the process.
The debate we had at conference in Bournemouth is about the means not the end. I was proud to vote for the principled but also pragmatic choice of reaching that end. Proud that the Lib Dems trust its membership to make its policy.
Proud that, despite the setbacks of recent years, we never give up. When we fall, we pick ourselves up, we dust ourselves down, and we fight again for our values. That is the Liberal way.
• Mathew Hulbert is a former Lib Dem Councillor in Leicestershire. He tweets at @HulbertMathew
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