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Are you an experienced dancer with a desire to perform? Perhaps your tango still needs refinement but your heart and soul are ready!
Would you love to be part of a company of tango dancers on call for special functions, parties and celebrations?
Then … join us for
TANGO MAGIC … Alma del Tango's 2014 production
Tango Magic, conceived and directed by Debbie Goodwin, explores the magical moments of the dance. That unspoken connection between partners, the music and the movement. Through mainly improvised dancing and some choreographies, the audience will discover how tango touches lives…and has the power to transform them. Like magic!
This year, instead of a theater production that disappears after four performances, we want to create something more lasting…a show that will allow us to say yes to the many requests we receive inviting us to perform at community and corporate events, as well as private parties and celebrations.
In order to do that, we need your talent and dedication to the project for the premiere showing.
What: Tango Magic
When: Feb. 14-16, 2014
Where: Alma del Tango studio
Training: Begins Sept. 1, 2013
The show will remain an integral part of the Alma del Tango program offerings. If you are unable to make these dates but still want to be a part of the training process for ongoing shows of Tango Magic, please sign up!
The Cast
We're looking for dancers of various skill levels:
- Professionals and very high level dancers (Contact Debbie for specifics, your requirements will be different from those of the general cast.)
- Advanced level student cast
- A cast in training who aspire to develop the skills to perform in Tango Magic
Emphasis will be on attaining a higher quality of improvisational dancing with connection and musicality … AND a show that shares the magic of tango in a powerful, intimate way.
Please read more about Tango Magic in the articles below.
Debbie and John are a treasure in the Marin tango community! Their commitment and generosity as teachers is deeply heartfelt. Their love, passion and dedication to the art of tango is inspirational and contagious! Their teaching style is fun and playful! Participating in their student production is an absolute blast! Through my participation in their student production, All About Tango, my dancing and technique improved immensely. The experience got me out dancing several times a week and connected with the local tango community. I definitely recommend studying with them, attending their various tango events, and participating in their student production! – Kat Sun
Quick Links: Available Roles | Commitments for General Cast | Commitments for Women's Choreography
Tango Dancers are needed for the following roles:
1. Ten Int/Advanced dancers for improvisational dance scenes
5 leaders, 5 followers for tangos, valses & milongas. The improvisational dancing will take place in a group and also as duets. This, along with the Tango Magic story, will be the main part of the production.
2. Three Int/Advanced couples for individual choreography – duets
The style, music and story line of the choreography can be adapted to each couple. One couple will dance a tango, one a vals, another a milonga.
3. Three to five couples for one group tango choreography
The choreography is a sleek contemporary piece that will illustrate to the audience "how to dance the tango."
4. Eight to 20 dancers for all-women's choreography
(All levels welcome – see description of women's choreography below.)
Ready to dance? If you are interested in joining the cast or still have questions, please phone 415-482-7588 or contact Debbie.
What will I need to do?
To make this production possible, a preliminary commitment is needed by September 1, 2013 from a minimum of 3 leaders and 3 followers of strong Level 3-4 ability or above. Everyone's level will definitely go up a notch if involved!
Please note how this can be a doable project for all concerned:
- Don't have the time? You can opt to be in parts of the show that only require once a week attendance Sept-Feb plus Jan & Feb rehearsal dates. If you wish to play a bigger role, your attendance may be required 2 -3 times a week.
- Not available to perform Feb 14-16, 2014? You can still sign up if you wish to be part of this company of dancers but cannot perform in the premier showing in February. You will train for the performance Sept – Feb and be all set to perform as we put the show on in the following months. We expect ongoing monthly performance opportunities for Tango Magic!
- Don't have a partner? You can still sign up and train Sept-Feb. That way, you will be ready when the right partner comes along or if we need an understudy in certain roles. A leader or follower can have multiple partners for Tango Magic to allow for more people to be able to participate and also helps with scheduling performances and creates an understudy role. When one partner is not available, perhaps the other will be!
- Not good enough yet? You can still still sign up and train to be part of this company of dancers even if your skill level is still not ready. You will train Sept- Feb so you will be ready for future shows when your skill level improves.
Commitments for General Cast
All classes, rehearsals & premier performances will be in San Anselmo. Future dates and locations of performances depends on bookings. To accommodate dancers' schedules, the cast will rotate.
- Attendance at Monday night and/or Wednesday night classes and /or Friday night classes (Sept-Feb). An average of 3 out of 4 weeks per month Sept-Feb.
- Attendance at Friday night Prácticas (Sept-Feb). This is where you will be able to practice your social style dance with your partner, potential partners and other cast members. An average of 3 out of 4 weeks per month Sept-Feb.
- Group Couples Choreography Rehearsals (Saturdays 1-2pm).
- Individual Choreography – Duets by private class appointment with Debbie. (Special reduced rate of $70/hour per couple instead of $85)
- Read and respond to monthly email updates. You will receive weekly and monthly dance goals to focus on in addition to important information for cast members.
- Sell or buy 10 tickets to family, friends, and co-workers.
- Volunteer for one of the production jobs. (Ex: Set up, clean up, ticket sales, program ads, set design etc. List will follow)
- Attend photo shoot. Jan 18 and/or 19, 2014 . (Minimal fees for photo shoot. Sign up sheet for 1/2 hour or hour slots closer to date. )
- Attendance at January Rehearsal/Audition.
Sun., Jan 18, 2014 2pm-5pm.
We will run through show format and determine which couples have made enough progress on their choreography to be in the show and for which performance. Depending on cast size, not everyone will be in every performance.
- Attendance at final month of rehearsals for improvisational dancers: Sundays, Jan. 5th, 12th, 19th from 2pm-4pm.
- Attendance at final month of rehearsals for everyone: Sundays: Jan. 19th, 26th, Feb. 2nd & 9th from 2pm-5pm
- Attendance at Dress Rehearsal & Performances (Tuesday-Sunday Feb 11-17: Tech Reh = Feb. 11th 7pm-10pm), Dress Reh = Feb. 13th 7pm-10pm) -Performances: Friday, Feb. 14 (Valentine Special), and Saturday Feb. 16th at 7pm & 8:30pm. Sun. Feb 19th at 2pm (Dancer's call is 1-2 hours before showtime = 6pm on Fri., Sat., and 12pm on Sun.)
*Cast Party Sunday after show
Regular class fees apply $15. (Discounted Monthly Passes Available- Couples $300/couple for unlimited group classes.)
Commitments for Women's Choreography
This year's women's choreography will be danced to Piazzolla's Leonora's Song featuring the beautiful footwork and adornments of the follower's role in tango. Prepare to be challenged as we work to refine body movement, balance, foot placement and coordination to create a stunning display of fancy footwork!
We need a minimum of 10 women signed up by Sept. 1st to make this happen. First class is Saturday, Sept 7th, 2013.
1. Attendance at Saturday morning Technique & Choreography classes. An average of 3 out of 4 weeks per month Sept-Feb. Cost is $25 for the entire morning (Only $20 if you have a 10 or 20 class package. If you have a monthly couples pass, add only $45/month for Women's Classes. )
11:30-12:30 Women's Choreography Class (All Levels)
(This is a closed class only available to those signed up to perform in Tango Magic 2014.)
Also required #'s 5-11 in Commitments for General Cast section above.


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Where on the spectrum of loyalty and betrayal does song begin? And where does it end? I think each writer has to decide this over and over.
Sharon Olds
Pamela Cohn meets Michael Collins and Marty Syjuco, the partners behind Give Up Tomorrow, the documentary behind an international human rights movement.
For his first feature, the hugely ambitious documentary Give Up Tomorrow, director Michael Collins did not flinch when faced with an exceedingly complex story. An award-winner since its premiere at this past year's Tribeca Film Festival in New York, where it won the Audience Award, as well as a Special Jury Prize for New Director, the film also won an Audience Award at Sheffield Doc/Fest in the UK, and Best Activism in a Foreign Documentary at Michael Moore's festival in Traverse City, Michigan.
Collins and his partner and producer, Marty Syjuco, have just spent the past week with their main protagonist's parents, sister and cousin in Valladolid at the Seminici Film Festival in Spain, the country where Paco Larrañaga is currently incarcerated in a maximum-security prison serving a life sentence without the possibility of parole. Larrañaga was a student who—fourteen years ago, in July of 1997—was accused of the murder of two young sisters on the provincial island of Cebu in the Philippines. Give Up Tomorrow meticulously presents the gross miscarriage of justice Larrañaga underwent at the hands of the Philippine government, in addition to being tried and convicted by the tabloid press there before the court had even handed down a verdict.
The filmmakers are also spearheading a massive, international human rights campaign that has seen tens of thousands of people get behind Larrañaga's case, pleading for his release from the Spanish government. Using his Spanish birthright, Larrañaga's family was successful in moving the young man from the Philippines where his life sentence had been elevated to the death penalty. However, he is still sitting in prison patiently waiting for justice to prevail. Give Up Tomorrow is a powerful dissection of the events that led to Larrañaga's incarceration. It is an expertly produced piece of work, suspenseful, gripping and ultimately, heartbreaking.
Back in July, I had an opportunity to sit down with Collins and Syjuco for a long chat when the film played at Dokufest, the International Documentary and Short Film Festival in Prizren, Kosovo. Every long interview I've done in Prizren has been accompanied by ice cream, for some odd reason, and this time was no exception. As we sat over giant sundaes in a café near the riverbed cinema, the filmmakers talked to me about this extraordinary journey, seven long years in the making.
Pamela Cohn For a first film, Give Up Tomorrow has a lot of sophistication in its storytelling style. It's a very deep emotional journey, which is very hard to accomplish while swimming through an extremely complex set of circumstances. You had to craft a film that not only had to clearly explain the complicated details of a legal case, but also were tasked with trying to illustrate a profile of an entire culture.
Michael Collins The film really came to life in the editing process for us. Our approach for this was always, "We're making a film." Yes, this is an incredible injustice and an incredible story, but we did not really want to approach this as an advocacy film for this cause. We knew by making a good film, the truth would emerge and that people would align themselves; they would want to fight this injustice the same way we did. What we kept coming back to in the edit room was trying to return to that place that inspired us to pick up a camera in the first place. I felt a real personal connection with Paco, to be honest with you.
PC He is a protagonist that one connects with deeply almost immediately. He's a compelling screen presence.
MC My introduction to Paco was through a request to do some kind of animation project. I went to art school where I studied computer animation, photography and video art at Syracuse University [in New York] at the School of Visual and Performing Arts. I was an art director at a small communications company but was about to quit. Marty and I had been together a couple of years at that point. It was 2004 when Paco's sentence was elevated to death. Marty didn't really know much about what was going on, but from time to time he'd mention that something had happened to his brother's wife's brother. But it was really cloudy. No one really knew what happened but everyone was just waiting for the Supreme Court to fix it. It was a limbo period.
Marty had been living away from the Philippines for a long time, so he didn't really know the particulars and we didn't talk about it much at all. It was a very complicated thing to have to explain and the family was very quiet about it. But when Paco got the death sentence, his brother came to us, desperate. He asked me to create an animation for a web site that would illustrate some of the injustices that had happened during the trial. I needed to learn about the case and discover whether I felt that Paco was innocent or not, so asked him to send me some information. He sent me a letter from the "Unheard35," the witnesses who weren't allowed to testify who were with Paco the night of the girls' disappearance. This is what they had started to call themselves. Point by point, the letter describes what happened, whom they were with in Manila, the photographs that were taken. They went to court and the judge did not let them testify. They went to the media and no one in the press listened to them. And Paco is sitting on death row. I was sitting in a café in the East Village while reading this and I just started weeping because it was so heartbreaking, the way they described in detail the injustice of it all. Paco, at that point, was my age. He was 19 when he was arrested and this was seven years later. For the past seven years of his life he had been in prison and seven years before that moment, I had moved to New York City.
PC You had a sense of what that amount of time felt like.
MC Yes, the time I had grown and changed and what all that meant, being in your 20s and out in the world on your own. I told Marty we had to do something. No one's going to do anything; this guy is just going to languish in prison. We did some research and some soul searching, checked our bank account and our credit line, quit our jobs, bought a camera, and jumped in. Our first trip was to LA where two of those witnesses were living. After meeting with them, we just knew that this story had to be told. It was mind blowing, like a Kafka novel, the kind of thing you couldn't even dream up.
PC Marty, as the producer, when did you realize that this was going to be a very long-term project? When did you start to think about bolstering your efforts to go beyond self-funding the project? Even the most intrepid DIY filmmakers reach a point where they know that in order to craft the kind of piece that's envisioned, one has to think about other resources.
Marty Syjuco My background is more on the business side of film. I was working at Focus Features in distribution. During production, I knew that it was possible for Michael and me to self-finance. Our biggest investment was the camera and our travel costs. But I have family and friends in the Philippines, and we stayed with them, borrowed cars and equipment, getting by with the generosity of other people for the first couple of years. Once we had enough footage to assemble a trailer, we started including that with our proposals and thus began the process of fundraising. We had enough to solicit for funds and that, in and of itself, was its own journey. The whole ITVS process, to which we applied four times, really helped us since we were still finding the story, the path. As Michael said earlier, the story of Paco is so dense and complex. At that point when people asked us what the film was about, we still didn't know because it's about so many things.
In its finished form, it's the journey of this family and their struggle to find justice for their convicted son. It was a long exploration.
MC We were investigating. That was our approach. We could clearly pinpoint the injustices that happened during the trial but it was so much bigger than that—politics, corruption. The Philippines is a complex place. We did one entire trip where we just interviewed historians just to get a grasp. Even though we didn't use that in the film, it was such a vital part for me in deciding how to craft this. Marty is from there, but I had to take great care to understand the complexity. It all plays into what happened to Paco, this country being a post-colonial place, its history with Spain, its history with the US, what happened to the justice system there with Marshall Law under Marcos—all of those things are very important to understand.
PC Did you edit as you were shooting? It's told in a pretty linear way, which considering the complexity of it all is a smart choice. Instinctively, did you know from the beginning that you were going to go for this strong emotional through-line? The reason I ask is that the audience spends a lot of time with the mothers—the mother of Paco and the mother of the missing girls. These women are parallel touchstones in terms of the culture and the circumstances in which they find themselves. It grounds the film firmly in the realm of the family and this is one of its biggest strengths. Tell me a bit about growing your relationships with these women as they were going through immense trauma. You can only deal with pure emotion for so long; sooner or later, you have to contextualize it, otherwise it just becomes some sort of soap opera.
MC That was definitely the biggest challenge—how to have both a plot-driven film and a character-driven film. It's already heavily plot driven due to the complexity of the story. In earlier cuts, the film became so dense and informational—it was exhausting to watch. That's when we went back to our experiences shooting in the Philippines, those moments when I'd come home after shooting with these women and be emotionally exhausted, being around people who were so victimized, both families, the Chongs and the Larrañagas. If we've allowed people to experience walking in their shoes just for a bit, then we've done our job. We can list every single injustice that occurred and it would be upsetting and there would be an audience for that. But we hope what makes this film reach beyond that audience is the universal part of the story, the human experience that the families bring to it. And while they're both faced with extreme tragedies, in terms of how they deal with it and their singular experiences, they are very different. It was very delicate.
PC I think the delicacy, for the most part, probably stemmed from the fact that you were making this film believing in Paco's innocence. You then had to get close to a woman who was convinced that he was, indeed, the man that had raped and murdered her girls. The bedrock of Mrs. Chong's truth lies in the belief that Paco is guilty and that he should die for his crime. As a director, how did you separate? Exposing yourself to this time and time again over a course of years must have been difficult.
MC Yes, it was. It was extremely difficult for me to decide how to handle Mrs. Chong and be in her presence. I was editing samples over and over again for different grant applications while we were still shooting so I was already handling the material and handling her as a character. I was so wound up in this emotionally; it was extremely hard to separate. I was enmeshed in the archival and I would watch her categorically lie over and over again, seeing the damage that these lies had caused. There were people on death row! I had this real animosity towards her but I knew that I had to get over that. Part of my own journey was going and sitting with her, interviewing her and coming to the realization that she is the first victim. She didn't handle herself well through all of this. But her two daughters went missing and her reality was shattered. And then, her reality was built back up again in a way that was harmful to other people. It wasn't so much for me to judge, as it was for me to understand and try to represent that on screen. I have to see her as another victim in all this, not some easy villain we can hang all our anger upon. I had to represent her the way in which she represented herself to me.
Our general approach was to give people space to tell their truth, whether we agreed with it or not. The same held true for Mrs. Chong. I did ask some probing questions that had to be asked. But she would always deflect them in a somewhat whimsical way and go right back into her version of the story. Truthfully, I wasn't very confrontational or interested in ambushing her in any way. Aside from Mrs. Chong, we also interviewed members of the police force and the prosecutors, a lot of people who had a lot to hide and who were lying to us. We would gently confront them by telling them what we had learned and they would be dismissive. The media had never confronted them and they never thought this was ever going to come back to them.
PC Talk a bit about how complicit the media circus was in all this since this is an integral and key part of the story. Marty, being from that culture, you grew up with this kind of tabloid-esque way of handling criminal cases—well, in fact, we all have from whatever culture we're in. But there were serious breaches, the most staggering that of making and airing on national television a docudrama of the murder which fingers Paco as the perpetrator.
MS Yes, of course, the media was totally complicit. Paco and his co-accused were tried by the sheer publicity of all of it, including that docudrama. Before, I would read the newspapers and believe everything I read, before my experience with this case. The media goes unchecked, especially in the Philippines. It's a bit more complicated, however. There, the journalists are in danger. There is the highest incidence of journalists being killed there, second only to Iraq. One journalist in the film, the young woman who appears in the beginning, received death threats. It's a culture where media can be bought or bullied.
In this case, the complicity was even more pronounced because it was such a high-profile case. Having Paco on the front page sold a lot of newspapers. For that program we mentioned, the TV ratings were high; it starred a famous actor playing Paco and it took place during the trial—let me emphasize, before any decision by the judge, or any conviction was handed down. Before the defense had their say in court. So it shows someone called "Paco" raping and murdering those girls. They didn't have a chance.
MC Something about the media specific to this case was the President of the Philippines, Joseph Estrada, who had a very keen interest in getting these young men convicted. His personal secretary is Mrs. Chong's sister and she showed up at news stations. This was what one of the journalists we interviewed informed us. She told them that she was there on behalf of the President's office and she wanted the story to be reported favoring the Chongs. She boldly made that known. It was as good as a death threat from the leading administration. Now that's changed, of course, in the current administration, but that's the way it was then. The drug lords, the mob bosses are not outside criminal forces; they were on the government payroll. In fairness to some of the journalists, they were just purely afraid for their lives to report on the other side.
PC Paco is the central protagonist of this film for a variety of reasons, including the family relationship with you, Marty. What is it about this young man that he became this centrifugal force, not only for your film, but for the whole case?
MC Marty hadn't seen him since he was a kid and I had never met him. The first morning we were in the Philippines, we went straight to the jail to try and find a way to get in to see him. He was on death row at that point. After a couple of hours, someone came to get us and we were led into this type of dorm, which was pitch black since there's no electricity during the day. They brought us to the end of this hallway, up a staircase and into this room and there he was. Just being in his presence, you felt safe somehow.
He's the rock in the center of his family. That's why they've all lasted this long. He's been in jail for close to fifteen years; he's a survivor and he can take care of himself. In terms of his parents, who are so vulnerable and fragile, this is why Paco doesn't show a lot of emotion, particularly in front of them. He's the one that's always reassuring them that everything's going to be okay. He's the one that keeps them all strong.
MS Even though he's the one locked inside a prison, wrongfully convicted, this is his family. And they are suffering, too, and carry this enormous guilt.
MC Their whole community, the entire country seemed to turn against them. Paco's mother is a very proud person and also a very private one, honest, hard working. They've had to endure so much censure, lies, character assassination—it just goes on and on. Their livelihood comes from their farm in Cebu. They could only afford to go see him once or twice a year in Manila, which is only a one-hour flight.
MS The media was also responsible for misrepresenting who these people are. By no means are they impoverished; they're solidly middle class. But the media presented them as being rich, affluent, privileged. "The rich are trying to get away with murder," with Paco as the "scion" of this wealthy family, this clan.
MC They've been accused of paying off everyone, left and right, falsifying documents. Once you see the fragility of these people, you realize how absurd these accusations are.
MS They are, in fact, quite naïve. They trusted the system too much. I'm a Filipino and I know how the system works. It's not something to be trusted. Either you pay the police to make it all go away, or you flee. Paco had that option. My brother, Jamie, recommended that he do just that. But it was Paco's mom who convinced him that if he ran, he would always be branded as a criminal when he had no reason to run. She feels tremendous guilt and remorse about that.
PC For such an airtight piece, one can intuit how many pitfalls there could have been in putting something this complex and personal together. Now that you've started having encounters and responses from audiences, what do you know about this film that you might not have before?
MC I feel like we did our job. We were, essentially, pulling our hair out right up until the end of the edit, feeling like we'd failed somehow. It just wasn't working. And then in the last couple of months of the edit, it clicked. When I see people come out from viewing the film and they tell me that they relate to the family, that their hearts break for them—that, to me, is the most important thing. They can also say that this was an injustice and have been schooled in the facts of the case, but that's secondary.
We had really dense cuts of this film and I was attached to so much of the footage. It was really Eric Daniel Metzgar [an award-winning director in his own right] who helped pull some of that stuff out. He would tell me that there needed to be space for the emotional stuff, and while I never fought that, I was having a hard time finding that balance of exposition and emotion and that took two entire years to accomplish that. It couldn't have been done any faster. It's a fourteen-year story condensed into ninety minutes.
PC Well, I can say that after seeing this the first time, I walked out believing that this film might help to free this man.
MC We were with Paco two weeks ago [this past July] and we had an opportunity to get him a copy of the film so he could see it. After watching it, he turned to us and said, "That film is going to get me out of here." He also told us the next day that of the past fifteen years of his life, the night before—after watching the film—he slept the best he's slept since being arrested. Of course we want this film to help Paco and the other men that are accused in this case. I can't imagine having this film out in the world, one that shows such obvious injustice, that he can remain in jail.
MS Actually, we hope we can shed light on other victims of similar injustices and, eventually, the larger goal is to contribute to campaigning for the abolishment of the death penalty.
MC We wanted to make a film that would sustain itself over years. This case, while it's very specific to the Philippines in some ways, is universal in many others. It's about the media and what happens when it goes unchecked, when it doesn't do its job. I believe part of that job is to safeguard human rights. It's about democracy and what happens when the courts are corrupt. The police don't have the means to conduct a proper investigation. People are only safe as long as our institutions are above board. When there's corruption running rampant in those areas, none of us is safe.
We're launching a campaign called Justice For Paco, Justice For All. We're setting up partnerships now with Amnesty International, Fair Trials International, Reprieve. These organizations can use this film as support in the work they're already doing. We've been treading in unfamiliar territory since day one. Every chapter in this story, including all this stuff ahead of us, is part of the adventure. We're letting the film take us where it needs to go and making ourselves available for that. What's so nice about film is being able to spark conversations about things that are important to us all. There's no way to measure direct impact, but we can see people becoming more conscious, more aware, more apt to question what they might read in the newspaper or hear on television.
MS Paco is turning 34 this December. He was 19 when he was first arrested. That's a long time.
MC He's aged so much the past two years he's been in prison in Spain. The Spanish government knows he's innocent; that's why they brought him there. Yet, he's still inside. At least in the Philippines, he was around his family. He had some semblance of a life even though it was restricted to that compound. And now he's alone. So much has been taken from him. I don't know what else can be taken.
The Free Paco Now website is http://freepaconow.com.
For more on Give Up Tomorrow, visit the film's website: http://www.pacodocu.com*.
Pamela Cohn is a Berlin-based film producer, curator, freelance programmer and arts journalist.
Where on the spectrum of loyalty and betrayal does song begin? And where does it end? I think each writer has to decide this over and over.
Sharon Olds

subset: commoncrawl


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Thursday, April 19, 2018
Grucci Room, 102 Burrowes Building
On Thursday, April 19, 2018, Justin Joque (University of Michigan) delivered a lecture titled "Deconstruction and the Weaponization of Knowledge."
Description of presentation
Russia's attacks on the 2016 US election brought cyberwar to the forefront of American politics and demonstrated that this new type of warfare expands far beyond merely destroying infrastructure. These attacks yielded a rush to find technical solutions and appropriate political responses — all tempered by domestic beneficiaries of those attacks — but many of these responses underestimate the philosophical and epistemological depth of cyberwar. These types of incursion target the very fabric of our institutions and our collective ability to know the world, complicating any attempt to respond.
The Russia intervention touches on the nature of our twenty-first century technologies and on what Jacques Derrida calls the autoimmune nature of democracy — the proclivity for its structure to attack itself. This talk will rather argue that it is through theory, especially the work of Derrida, that we can begin to understand what is at stake in cyberwar. It will situate Russian interference in the 2016 election in the broader history of cyberwar and attempt to provide a frame for understanding cyberwar's destabilizing effects in the context of Derrida's later writing on democracy and reason.
Speaker bio
Justin Joque is the author of Deconstruction Machines: Writing in the Age of Cyberwar (University of Minnesota Press, 2018) and the visualization librarian at the University of Michigan. He completed his PhD in Communications at the European Graduate School and holds a Master's of Science of Information from the University of Michigan, with a focus on machine learning and data analysis.


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Loan Servicing Specialist/Customer Service
Job Description
Who we are
Shellpoint Mortgage Servicing (SMS) is America's 5th-largest third-party mortgage servicing company. What is mortgage servicing? Our clients are businesses that own mortgage loans (such as banks and real estate investment firms); on their behalf, we manage (or "service") their loan portfolios: We collect homeowners' mortgage payments, pay homeowners' tax and insurance bills, and help homeowners in default to get current.
The Loan Servicing Specialist is responsible for supporting the Special Servicing Division by researching and resolving customer disputes, complaints, and inquiries. They will also provide account maintenance and administrative support, responding to written correspondence, and allowing other areas of the division to focus on recovery efforts.
- Review and address emails from other members of the Special Servicing Division, process changes and account updates.
- Review and address emails and faxes from borrowers and attorneys, make the appropriate updates/indexing to accounts.
- Retrieve faxes from MERS and process legal documents/update lien information.
- Pull tasks from the Loan Servicing Share Point site and process requests/update accounts.
- Set up ACH plans when authorization forms are received.
- Mail sorting/ processing/ distribution.
- Research and respond in writing to non-mortgage disputes/ complaints/validation of debt/ACDV's
- Research and respond in writing to qualified written requests (according to RESPA), for Mortgage accounts
- Retrieve and record voicemails
- Maintain knowledge of escrow and be able to assist Collectors/CS agents with questions regarding escrow.
- Assist with inbound and collection calls when needed.
- Advanced understanding of Mortgage and Consumer finance a plus
- Intermediate knowledge of MS Word, MS Excel, and MS Access needed
- Familiarity with ILS/DMS and AMCS needed
- Excellent work ethic, high productivity, and acute attention to detail needed
- Must possess a short learning curve related to assimilation of new skills and tasks
- Superior written and verbal communication, follow up skills and a strong sense of accountability a must
- Superior organizational skills needed
- Ability to multi-task as well as quickly adapt to changing work assignments
Educational Requirements:
- College degree preferred but not required
Application Instructions
Please click on the link below to apply for this position. A new window will open and direct you to apply at our corporate careers page. We look forward to hearing from you!Apply Online
Posted: 10/22/2020
Job Status: Full Time
Job Reference #: job_20200924202730_OMA7Y1IGYQJTOUYR


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Caring grannies turns into a real prostitute when her grandren go home! You must see how this mature slut can take two dicks at the same time while two other guys fuck her soft hairy pussy and old ass.
Take a look at these mature sluts with hairy pussies! They will show how porn was made in old days. Dirty shameless bitches fucks young boys while there husbands are away. Who taught her these techniques?
Shocking gallery with mature sluts showing their old pussies in public dreaming of a huge and cock in her ass and put her hand deep inside her vagina! These grannies know how to deliver the best blowjob ever!


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Thought I'd do a follow up post of my vlog with @kiinnnyyyy : If you haven't already watched it I've embedded the video below.
I've always wanted to do actual street shots but I've always chosen a wall and stood in front of it. I really like how these pics turned out because I was able to capture the street too.
Most of my outfit is from Zara apart from the top which is from Primark. I don't know if you can tell but I got it in size 12 so I'd get the exaggerated sleeve look.


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Sizzling Priyanka Chopra in 'Badmaash Babli' from Shootout At Wadala
Sizzling Priyanka Chopra in 'Badmaash Babli' from Shootout At Wadala
Mar 13, 2013 – mybollywoodpost.com
These days, item numbers have become the most important part of any movies. We have already seen hit item songs like Munni Badnaam, Sheila Ki Jawani, Chikni Chameli and Chammak Challo which proved the important and the most talk-able point of the movies. Now the latest item song of this elite list is 'Badmaash Babli' featuring Priyanka Chopra.
The new item song 'Bamaash Babli' of upcoming Bollywood movie Shootout At Wadala' will be released very soon by the makers of the movie but the song is already making lots of news. Priyanka Chopra will be seen in this song. The hot and sizzling look of Priyanka Chopra in 'Badmaash Babli' song is revealed by the makers. The makers of Shootout At Walada have revealed a picture of Priyanka Chopra in twitter with a line "She's ELECTRIC as Badmaash Babli! Check out Priyanka Chopra's EXCLUSIVE look in Shootout At Wadala! Badmaash Babli itni badmaash hai ki badmaashon ko bhi badmaashi sikha de."
Babli Badmaash song is sung by Sunidhi Chauhan. Anu Malik has given an energetic music to this song. From the first look, Priyanka's look in this item song looks a sizzling 80′s type. She has weared a black dress with LED lights fitted to it. If you remember it, Amitabh Bachchan had also weared dress with LED light in Yaarana movie song. Babli Badmaash song will be released next week. Till than we need to wait for this song.
Related Posts
« Desi girl Priyanka Chopra signs Disney's animation film Planes | Priyanka Chopra set for second music video after In My City »
Category: News & Feautures, Video Gallery | Tags: Anu Malik, Badmaash Babli, Chammak Challo, Chikni chameli, item song, Munni Badnaam, Priyanka Chopra, Sheila Ki Jawani, Shootout At Wadala


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Ford Super Duty is First Produced
The Ford Super Duty is a line of commercial trucks (over 8,500 lb (3,900 kg) GVWR) introduced in 1998 for the 1999 model year.
The F-250 to F-550 Super Duties are assembled at the Kentucky Truck Assembly in Louisville, Kentucky. The F-650 and F-750 Super Duties are assembled at the Blue Diamond Truck plant in Mexico.
The Super Duty trucks are larger, heavier built commercial/industrial series pickup trucks with heavier-duty body-on-frame steel ladder frames, axles, springs, brakes, transmissions, more powerful engines, and all other heavier/bigger components (with much higher payload and towing capacities) than the older traditional equivalent F-250, F-250HD (Heavy Duty), and F-350 Ford truck lines. In appearance, the Super Duty line might look a little similar to but does not share any of the design or build characteristics of the F-150. An F-250 Super Duty would surpass the older traditional F-350 in most categories.
For the 1999 model year, Ford dropped the regular (now to be considered the 'light duty') F-250, F-250HD (Heavy Duty), and F-350 truck lines only to introduce all-new F-250 and F-350 Super Duty trucks. By using two separate but related platforms for F-Series trucks, the inevitable compromises inherent in offering a wide range of load-carrying capacities were avoided. The main competition, General Motors, liked the idea so much that for the 2001 model year, the Chevrolet Silverado HD and GMC Sierra HD were introduced.
These trucks were styled distinctly different for the first time from the smaller F-150 half-ton pickups. They did not share components with the F-150 platform at all (excepting V-8 gas engines), even though it was still considered an F-series truck. Instead of the aero look, it was more boldly angular with a raised hood and lowered fenders, somewhat like fender / hood medium truck style pioneered by the 1994 Dodge Ram pickup. As an industry first, 2 big massive complete ring-style front tow hooks were included. The side windows went lower forward in the door like a commercial medium to heavy duty truck (similar to a Kenworth "Daylight Door"), and the grille was also narrower and tall as if from a larger truck, and in 2001, optional manual telescoping Trailer Tow (TT) mirrors became available.
There were three cab options: Standard (2-3 passengers) with two doors, SuperCab (5-6 passengers) with 2 reverse-opening small rear doors (4 doors), and the crew cab with 4 full doors and seats for 4-6 people. The Super and Crew cabs came with 6 ¾-foot and 8-foot (2.4 m) full-size bed options, but the Standard cab was only available with the 8' bed. The F-250 Super Duty would also be the base platform for the short-lived Ford Excursion which was the only passenger SUV larger than the Chevrolet Suburban and its twin, the GMC Yukon XL.
The Ford F-250 and related F-4000 were built in Brazil from 2000 to 2006. Brazilian trucks were widely exported to Australia(F-250), South Africa and Argentina (where they were sold as the F-100).
Sometimes, a regular coffee just won't do it. You need something on the order of a double cappuccino to get the job done -- something with more kick, more muscle. For pickup truck buyers needing a similar boost, there's the Ford F-250 Super Duty.
There are a number of reasons for Ford's popularity in this niche segment. Chief among them is the fact that Ford has typically offered a mind-boggling variety of body styles (regular cab, extended cab, crew cab), powertrain options and trim levels to choose from. This wealth of options allows everyone from small business owners to wealthy ranchers to find an F-250 Super Duty that suits their needs. Another reason that Ford's heavy-duty hauler is a fave is that it can handle massive payloads while also being easy to drive and comfortable to ride in.
Recent improvements have yielded a stronger turbodiesel V8, even better ride and handling dynamics and a redesigned cabin with higher-quality materials. Still, there are a few other choices to consider, as Chevy and Dodge also offer worthy choices in this powerhouse field.
Current Ford F-250 Super Duty
The current Ford F-250 is available in three body styles (regular cab, extended cab, crew cab) and four trim levels (base XL, midlevel XLT, off-road-oriented 4WD-only FX4 and plush Lariat). Many options are available to further customize the F-250, including a fancy King Ranch package and a Tow Command system that integrates the control of the trailer brakes with those on the truck.
A trio of engines sees duty in the Ford F-250 Super Duty: the standard 5.4-liter V8 (300 horsepower and 365 pound-feet of torque), an optional 6.8-liter V10 (362 hp and 457 lb-ft) and the 6.4-liter Power Stroke turbodiesel V8 (350 hp and 650 lb-ft). Transmission choices consist of a six-speed manual or a five-speed automatic. Buyers can choose either two- or four-wheel drive across the board.
In reviews, we've found much to like about the F-250, commenting favorably about its refined ride and handling and high feature content. One downside to this Ford is the base V8's lack of power relative to competing trucks' base V8s.
Used Ford F-250 Super Duty Models
The Ford F-250 Super Duty was last redesigned for the 2008 model year. Compared to earlier F-250s, it has revised styling, a stronger frame, better handling dynamics, a nicer interior and an improved turbodiesel engine.
The previous-generation Ford F-250 Super Duty ran from 1999-2007. The debut of this version marked the first time that Ford gave its heavy-duty pickups their own style. Compared to the soft contours of the F-150 of the time, the angular Super Duty with its massive grille looked every bit the square-jawed brute that it was under the skin.
Initially, the typical trim levels of base XL, decently-equipped XLT and plush Lariat were offered in standard, extended and crew-cab body styles. Engine choices included the standard 5.4-liter V8 as well as the optional 6.8-liter V10 and 7.3-liter Power Stroke turbodiesel V8. A five-speed manual was standard, with a four-speed automatic optional.
If you're looking for a used Ford F-250 Super Duty, there are a few year-by-year changes to be aware of. In 2001, updates were made that included standard four-wheel ABS for all trims, an available reverse parking sensor, heated seats for the Lariat and more power for the Power Stroke engine. The following year brought a six-speed manual, new seats and the option of power-adjustable pedals.
For 2003, the FX4 off-road package debuted, as did (for crew cabs) an optional power moonroof and the King Ranch edition. A smaller, yet more powerful, 6.0-liter Power Stroke replacing the 7.3-liter version debuted that year as well. (Buyers should be aware, however, that the 6.0-liter diesel engine has a poor reputation for reliability.) For 2005, the big news was a new five-speed automatic transmission, an upgraded front suspension, a new grille and headlight design and increased towing and hauling capacities. The next few years saw just minor changes to feature and package availability.
In our review of this generation Ford F-250 Super Duty, we found it to be a strong performer. Even with a 15,000-pound trailer hitched to the back, acceleration was smooth and linear thanks to the diesel V8. The firm suspension provided a compliant ride along with relatively crisp handling. We also felt that the integrated trailer brake system is a great idea, as it links the trailer brakes to the truck's electronic ABS system for smooth emergency stops.
Although the cabin's fit and finish was unimpressive in our XLT-trim truck, the seats were supportive and the interior was mostly quiet (though under hard acceleration there is a fair amount of powertrain noise) and rattle-free. Overall, this F-250 Super Duty makes for a likable companion on a long haul.
Previous to 1999, the F-250 (it wasn't called the Super Duty yet) was visually virtually indistinguishable from the F-150. However, with available muscle that included a 7.3-liter V8 and the Power Stroke turbodiesel, it was obviously up to much more demanding towing and hauling tasks.


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How Emotional "Dis-ease" Becomes Physical Disease
Scientists have proven that negativity literally makes cancer grow inside the body
The Following is an extract from my upcoming self-help book Ketheric Well-Being: The Four Dimensions of Chnage
Our body can express some of the more painful memories as aches and pains, which can develop into dis-eases such as diabetes (lack of sweetness or joy in life), hypertension as the name suggests: prolonged unaddressed tension in our lives; etc.
I suggest that you browse Heal Your Body, The Mental Causes for Physical Illness and the Metaphysical Way to Overcome Them, by Louise Hay; if you have not done so already. I have had excellent results with my clients who have come aware of what their physical symptoms mean, and changed their beliefs about life has helped them resolve quite a few of their physical symptoms sometimes instantaneously!
"Our intimate relationships, more than anything else, are a testing ground for our feelings and emotions. They are the catalyst that can make us feel on top of the world or in the depth of depression. How do we cope with these strong feelings and emotions? Our intimate relationships are a mirror of our general level of consciousness; they show us how well we are able to manifest our ideals in everyday life[1]".
We have a choice, either to suppress our emotions, and hurt our body; or turn these suppressed and ignored emotions into feelings of guilt, fear or anger without even realising that we are doing so. The better alternative is, of course, to address our feelings, look them in the eye; and to try and understand their message. This understanding can bring new insights and possible resolution to a life situation through which we can grow.
In her discourse, "Taking Charge", Caroline Myss writes "Emotional energy contributes to the formation of cell tissue, and forms an energy language which carries literal and symbolic information. In this way, your biography–that is, the experiences that make up your life–becomes your biology. Your body contains your history–every chapter, line and verse of every event and relationship in your life. As your life unfolds your biological health becomes a living, breathing biographical statement that conveys your strengths, weaknesses, hopes and fears."
The Case of the Diplomat
During the first few years of my practice, I met a very intelligent and charming client who was in her early sixties and had a remarkable career in the diplomatic corp; until her husband divorced her and married her secretary! Naturally she felt angry and resentful.
Over several sessions, and no matter how much guidance she tried to receive, her focus remained on how to avenge herself. Her anger and bitterness did not allow her to contemplate a better future for herself without her ex-husband.
From her point of view, she felt and strongly believed that she was socially rejected and irreconcilably humiliated. Although she moved countries and tried to start a new life, her shame, anger and probably the fear being able to build a better (or different) future, slowly consumed her body. Within seven years or so of her divorce, she sadly developed cancer and died.
Over the years, I have to come to recognise an unfortunate "emotional dis-ease" pattern with several of my clients, including family members. When repressed emotions are ignored over a prolonged period of time festering feelings of stress, anger, revenge or a "sense that life is unfair"; they will affect the chemistry of our body and eventually turn into a disease such as cancer.
Scientists have proven that negativity literally makes cancer grow inside the body[2]. "Let us start with the impact of staying angry, being frustrated or feeling negative about an event. Dr. Steven Standiford, chief of surgery at the Cancer Treatment Centers of America, says that holding onto these negative emotions creates a chronic state of anxiety. This produces a predictable excess of adrenaline and cortisol, which deplete the production of natural killer cells. These cells are your protection against cancer. If you refuse to forgive, it not only makes you sick but can keep you that way… If you think of an old memory of being mistreated, hurt, or offended you automatically start to feel unwell. The fact is that there are immediate emotional and/or physiological responses that occur when you are having these memories. These responses include:
- Your blood pressure increases
- Your muscles tighten
- You start to swell
The improvement of blood pressure and cardio-vagal tone is yet another benefit of forgiveness. Researchers have been able to show that forgiveness has a cardio-protective effect on the heart. While anger, is cardio-toxic, which damages the heart muscle."
It is time to let go of past grievances and to feel lighter. By freeing yourself from the past; you can create space for a brighter present!
[1] Discourse: Healing Social Relationships, by Walter Last.
[2] Article by Dr. Andreia Horta, ND and Dr. Emily Lipinski, ND; http://theheartysoul.com/negative-feelings-cause-cancer/
© Sahar Huneidi SaharHuneidi.com ps-magazine.com ketheric.com


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Kuwait reported its first two cases of the deadly MERS coronavirus on Wednesday, the fifth Gulf Arab country where the strain has emerged since the outbreak began in neighbouring Saudi Arabia last year.
A 47-year-old man is in a critical condition, Kuwaiti state news agency KUNA said, citing a statement from the Health Ministry. It gave no further details.
A second patient, a 52-year-old Kuwaiti citizen, recently travelled overseas, KUNA said in another report later on Wednesday, adding he had no contact with the first patient.
The Middle East Respiratory Syndrome Coronavirus, or MERS-CoV, can cause coughing, fever and pneumonia. It has been reported in people in the Gulf, France, Germany, Italy, Tunisia and Britain. Oman reported its first case last month and the patient died on Sunday.
Saudi Arabia, where the vast majority of confirmed cases have been recorded, has confirmed 127 cases of the disease, of which 53 have died, since it was discovered in the kingdom more than a year ago.
Cases have also been reported in Qatar and the United Arab Emirates.
The World Health Organization said in August the number of confirmed infections worldwide in the year from September 2012 had been 102. Almost half of those infected had died.
Scientists say they believe dromedary camels in the Middle East may be the animal "reservoir" that is fuelling the outbreak.


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Use the tools below to refine your search by only displaying reviews with a certain number of star ratings or to only show reviews from a certain time period. Eg click on '1 star' to just display the reviews we have which received a 1 star rating click or 'Within the last month' to display just reviews posted over the last month.
Written on: 03/11/2013 by ShaunWatson (4 reviews written)
I remember buying Fallout 3 about 5 years ago and i still play it to this day, must have played through it over 20 times with a combined play time of at least 500 hours. Without doubt the best game ive ever played, i can't see anything beating it anytime soon (maybe Fallout 4!)couldn't recommend this game enough to anybody who likes RPG's… Read Full Review
Written on: 04/01/2012 by themaninthevan2001 (121 reviews written)
Seriously Bethesda is up there in the best RPG makers ever. With there huge success with the Elder Scrolls series, they created another instant classic. First off this game takes place in a post apocalyptic world that went through a nuclear war. And you are born in a Vault. You later leave the vault due to family and conspiracy reasons. Once your out your all on your own and you need to find your father. Let me tell you once you step out of the vault and see the world the graphics are just… Read Full Review
Written on: 16/02/2010 by shadowdeen (4 reviews written)
A lot of games make a big deal out of player choice, but few in recent memory offer so many intricate, meaningful ways of approaching any given situation. You fulfill or dash the spiritual hopes of an idyllic society, side with slavers or their slaves, and decide the fate of more than one city over the course of your postapocalyptic journey through the Washington, DC wasteland. Your actions have far-reaching consequences that affect not just the world around you but also the way you play, and… Read Full Review
Written on: 15/02/2010
This is simply one of the best games ever made, stunning graphics and hours upon hours of brilliant game play.
I have only ever come across one negative thing in the year I have owned this game which is walking across the wasteland can become extremely tedious, especially when walking long distances, at times I have had to switch the game off because it was that boring - that aside when you arrive at your destination you can be assured of exciting endless game play once again!… Read Full Review
Written on: 06/10/2009
Fallout 3 is an amazing game that is very addictive i have completed it many times and each time a start again i find new things to dou discover more places and secrets and weapons i find new companions and new weapons. fallout 3 is mostly a first person shooter game with a massive variety of weapons and armours but if you dont like first person you can easily change to 3rd person so all in all fallout 3 is amazing and if you are thinking about buying it well stop thinking and start doing… Read Full Review
Written on: 06/08/2009
Fallout 3 is a simply spectacular game that not only can amaze players with a seemingly infinite storyline, but also gives me stuff to talk about with friends and family, for example my father wanted to know where the alien crash site was in the game, and I havent yet discovered it, I have been playing for about 3 weeks now, starting a new game as I have completed the main storyline and expansions multiple times, but this game still keeps me guessing because there is just so much I never… Read Full Review
Written on: 04/08/2009 by mysterious1984 (2 reviews written)
One of the few games that have ever been designed that exceeds every boundary of gaming and creates a few more along the way. There's so much to do in Fallout 3 that you'll be lost in time choosing where to go or what to do next.
Considering the size of the game, the graphics are crystal and everything in the Capital Wasteland has been created with a passion and flare. Theres thousands of places to visit from underground railways to cities atop of motorways and battleships!
… Read Full Review
Written on: 06/07/2009 by reviewkitten (295 reviews written)
Fallout 3 is a very addictive game set in post nuclear America with ghouls, super mutants, raiders and plenty of other horrific foes to battle against. The landscape is impressive with a vast playing map. You can spend hours simply walking about the Fallout 3 world exploring every area and still not uncovered everything. The storyline is great with plenty of side quests to keep you busy and this increases the depth of your character. You can choose to be good, neutral or evil and pick perks and… Read Full Review
Written on: 31/05/2009 by NINEmmDeathWish (3 reviews written)
Fallout 3 is a great game, best storyline ever, game of the year by far… Read Full Review
Written on: 17/11/2008 by DELTAGOLF (39 reviews written)
Fallout 3 is a massive and ambitious game. It is an action/RPG game in the mould of Oblivion (coded by the same team: Bethesda Softworks), which sets you loose in a post -apocalyptic devestated Washington DC. The game involves a main quest-line, however there are several other side-quests and opportunities to advance in levels and generally explore.
The playing area is massive and meticulously designed. You really feel as if you are in the wastes, and continuously look over your shoulder in… Read Full Review
Written on: 02/11/2008 by blade 93 (10 reviews written)
You have got to have your head screwed on right to finish this game.
Some good things about fallout 3 are:
- that you don't have to play any of the other fallout games to be able to follow this epic storyline which by the way has an brilliant cimax.
You must experience the genius of fallout 3 for yourself, truly a masterpiece.
This is one the best RPG games ever made, BRILLIANT!… Read Full Review
" Cool " Read More
Written by Umpas
" Good but it all seems the same... " Read More
Written by BitSaturn64167
" A great game! " Read More
Written by BitSaturn64167
" Let's dispell the myths... " Read More
Written by MartenR
" Xbox Microsoft don't know what they are doing Too Expenssi " Read More
Written by Debedeb


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[JURIST] The US Court of Appeals for the Seventh Circuit ruled [PDF text] Wednesday that former Illinois Governor George Ryan [defense website; JURIST news archive] could not remain free on bail while he appeals his sentence of corruption and fraud charges. Judge Diane Wood delivered the opinion of the court which said, in part:
Appellants here have shown neither a reasonable probability that the Court will grant certiorari nor a reasonable possibility that this court's decision will be reversed….
The voluminous record here demonstrates that the appellants were guilty of the crimes with which they were charged. Although they would undoubtedly like to postpone the day of reckoning as long as they can, they have come to the end of the line as far as this court is concerned.
Ryan's legal defense team is expected to file a motion with the US Supreme Court [official website] seeking an order allowing Ryan to remain free on bail pending a final decision on the future of the case.
Ryan's trial began in 2005, and in 2006 a jury found him guilty [JURIST report] on multiple counts of corruption and fraud [indictment, PDF] in connection with a bribes-for-licenses scandal that occurred during Ryan's term as Illinois Secretary of State. Ryan made national headlines and won praise in some quarters in January 2003 when just before leaving office he commuted the executions of all Illinois inmates then on death row [CNN report; Ryan speech]. A lower court judge has ordered Ryan to report to prison by November 7 [JURIST report]. Reuters has more. The Chicago Tribune has local coverage.


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Morteza - Bio
Morteza was born in Tehran where he spent his early years. Finishing primary and secondary education, he studied architecture and engaged in graphic design. During the years of living in Iran, he worked with several advertising companies as a designer.
By the age of 16, Morteza started singing firstly in Iranian movies. In 1969 he sang at a festival in Mikhake Noghreh i (Silver Carnation), a famous TV show which was performed by Fereydoon Farrokhzad. The show broadcasted from Iran's national television for the first time, and Morteza went on to eventually win the competition. This was the beginning of his professional singing career.
Until the Islamic Revolution of Iran, Morteza sang about 180 songs while cooperating with many famous Iranian songwriters and composers. He also sang about 50 songs for Iranian movies.
In 1981 he left Iran for the United States and settled in Los Angeles.
He continued his artistic activities in the United States by attending to Iranian folk music. Despite financial pressures at the time, he recorded two albums named "Dayeh Dayeh" ("nanny nanny") and "Anar Anar" ("pomegranate") both of which were well received and greeted by the Iranian society.
Morteza is of the few singers who has performed songs pertaining to political events. His most outstanding song, which is also bilingual, is called "Hamishe ba Neda" ("united for Neda"). Composing the mentioned piece of music, he was accompanied by Dariush, Sattar and some of the other famous Iranian artists, such as Shohreh Aghdashloo, Parviz Sayyad, and some American artists.


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will the miniMad export my movies when I use madmapper with softedge? (in my case vertical-softedge?)
If not, any suggestion to overcome this issue? (beside syphon recorder)
Thanks in advanced.
Ivoo3D wrote:Many thanks for the detailed answer!
I always learn something.
Currently, managed to solve my problem with pre-rendered soft-edge and masks, and the 2 miniMad works well in sync. (or I couldn't notice any frame-delay)
Anyway some mask support would be nice to have in the forthcoming miniMad and having 'perspective transform' function with triangle surfaces (like with the quad surfaces in madMapper).
Cheers, Ivo
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|Sighting Report
|Occurred : 8/13/2007 00:25 (Entered as : 8/13/07 0:25)
Reported: 8/15/2007 10:54:22 AM 10:54
Posted: 10/8/2007
Location: Dallas, TX
Shape: Unknown
Duration:10-15 seconds
|Its bottom appeared as three dimly illuminated elongated octagons, one in front of two in tandem.
8/13/07 UFO Sighting, Dallas, Texas On Monday morning, August thirteenth of 2007, I was lying on my back on a lawn lounger cushion up on top of my carport about midnight, prepared to spend the next five hours watching the second night of the meteorite shower. I had a cut-out cardboard box around my head to block out the street & residential security lights in the neighborhood, making my view of the clear but hazey sky quite clear.
I had laid there admiring shooting stars when at about 12:25 AM a small airplane flew North over me in Oak Cliff, a suburb of Dallas, Texas. Its North-South trajectory was about a few blocks to the West of my position. I imagine it to have been following the path of Westmoreland Boulevard. Before I could see it, I remembered the noisey little airplane by its distinctive sound, since it flies North and/or South over our house frequently at night, always disturbing my sleep. It triggered the usual question: why aren't such airplanes required to muffle their noise, especially at night? As it passed over my line of sight, I noticed something following it. I first thought the plane was towing something behind it, because the object behind the airplane was traveling the same speed and at approximately the same altitude. It was so dimly illuminated it was hard to see. It's image area was about six to eight times larger than the small airplane's image area. All I could see of it was three elongated octagons (rectangles with the corners cut off). Their lengths ran the direction the craft traveled. The octagons were in a common plane, two in the back and one in center front, evenly spaced apart in a triangular formation. It was about one to two hundred yards behind the small airplane and slightly to the West of the airplane's trajectory. It flew in a straight, level line without deviations.
Either the small airplane was making so much noise that I couldn't discerne the object's sound. Or, the object was making no noise at all. The object's three elongated octagonal panels were either very dimly: but evenly illuminated, or they were finished with a non-reflective or ultra-flat coating that evenly diffused their reflection of the city's ground lights over their surfaces. No sharp ground lights were reflected off of them as it passed over. And, I don't know if it was a single craft or three individual aircrafts flying in continuous and perfect formation.
I stood and turned around to continue watching it and the airplane as they flew away from me, to the North toward Love Field. As they dissappeared in the misty distance I couldn't descerne anything about the object's shape. As the three panels became flat in the distance, the whole thing seemed to dissappear. But, I could still see the airplane's blinking lights and barely still hear the airplane's noisey exhaust.
I immediately went downstairs to write down and sketch what I'd seen. Just after one o'clock I called Love Field Tower. A recording gave me a night phone number. I called that number at 1:10 AM. Someone named Gary answered the phone. I briefly described what I'd seen. He said he was on the field and to call him back in twenty minutes when he'd be back in his office. I called him again at 1:30 AM and again told him what I'd seen.
He said he'd talked to the tower and they'd heard nothing from anyone else about it. I reminded him that the tower's nightn phone number isn't even listed, so the public couldn't have called the tower unless it was a relative or other airport official who already knew the tower's night number, deducing that HE would be the only one to have recieved any calls about it. He completely ignored that.
It seemed as though he was partonizing or attempting to placate me. He didn't seem genuinely interested, failing to ask for my name, phone number or any information about the sighting that I hadn't volunteered. I asked him if there is an official phone number where such sightings are supposed to be reported. He said, "No," that I'd "called the right number." So, I appologized for bothering him with such ridiculous nonsense and hung up. I was left feeling disgruntled, unsatisfied and embarrassed.
Now, that I know the National UFO Reporting Center is listed in the FAA Manual as the correct place to report unusual sky sightings, I'll call ole "doubting Gary" back tonight to provide him with the NUFOREC's phone number, remind him to read his manual and give him a free piece of my mind.
I saw a similarly unusual flying object many years ago (I'm bad with past chronology) several miles East of Tyler, Texas. It was deep in the dark piney East Texas forrest. The night was clear and the stars were amazingly bright. The thing appeared to be a sharp triangle, only distinguished by it's blocking out the star's light behind it as it passed over me heading East. It was moving too slowly, in my opinion, to be an airplane. It didn't exhibit the three elongated octagonal shapes on the bottom. If it was the same type craft, I suppose this was because there was no ground light to illuminate them. It was exactly the same color and intensity of the background night sky. It, too, made absolutely no sound. And, I was alone then, too. I seriously doubt these craft were man-made. And, I no longer have any doubts that we are NOT alone on our God-forsaken, bloodthursty, demockery-cursed, predatory little planet. So, perhaps there is hope for Us good Earthlings, afterall!


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Reprint as at 16 November 2017
Judicial Salaries and Allowances Determination 2017: revoked (with effect on 1 October 2017 and after expiring on 30 September 2017), on 16 November 2017, by clause 8 of the Judicial Salaries and Allowances (2017/18) Determination 2017 (LI 2017/280).
Changes authorised by subpart 2 of Part 2 of the Legislation Act 2012 have been made in this official reprint.
Note 4 at the end of this reprint provides a list of the amendments incorporated.
Pursuant to sections 12B(1) and 19 of the Remuneration Authority Act 1977 and,—
in relation to the Chief Justice and the other Judges of the Supreme Court, the President of the Court of Appeal and the other Judges of the Court of Appeal, and the Chief High Court Judge and the other Judges of the High Court, to section 9A(1)(a) and (b) of the Judicature Act 1908:
in relation to the Chief District Court Judge, the Principal Family Court Judge, the Principal Youth Court Judge, the Principal Environment Judge, and the other District Court Judges, to section 6(1)(a) and (b) of the District Courts Act 1947:
in relation to the Chief Judge of the Employment Court and the other Judges of the Employment Court, to section 206(1)(a) and (b) of the Employment Relations Act 2000:
in relation to the Chief Judge of the Māori Land Court, the Deputy Chief Judge of the Māori Land Court, and the other Judges of the Māori Land Court, to section 13(1)(a) and (b) of Te Ture Whenua Māori Act 1993:
in relation to the Associate Judges of the High Court, to section 26F(1)(a) and (b) of the Judicature Act 1908:
in relation to the chief coroner, to section 110(1)(b) of the Coroners Act 2006,—
the Remuneration Authority makes the following determination (to which is appended an explanatory memorandum).
This determination is the Judicial Salaries and Allowances Determination 2017.
This determination is deemed to have come into force on 1 October 2016.
This determination expires on 30 September 2017.
The salaries payable to the judicial officers specified in the Schedule must be paid at the respective rates set out in that schedule.
Principal allowances for general expenses must be paid to the judicial officers specified in the Schedule at the respective rates set out in that schedule.
This clause applies if the Chief High Court Judge—
has his or her primary place of residence in Auckland; and
owns or rents on a continuous basis residential accommodation in Wellington (the secondary residential accommodation); and
uses the secondary residential accommodation in lieu of overnight accommodation.
If this clause applies, the Chief High Court Judge must be paid, as a principal allowance for the secondary residential accommodation, the amount of the actual and reasonable expenses incurred by him or her in relation to that accommodation.
The maximum yearly rate of the principal allowance payable on and after 1 October 2016 is $20,000.
If a District Court Judge holds the office of chief coroner, he or she must be paid a principal allowance at the rate of $10,000 per annum in addition to the salary and principal allowance set out in the Schedule.
The Judicial Salaries and Allowances Determination (No 2) 2015 (LI 2015/322) is revoked.
cls 4, 5
Dated at Wellington this 24th day of February 2017.
Fran Wilde,Chairperson.
Geoff Summers,Member.
Len Cook,Member.
This memorandum is not part of the determination, but is intended to indicate its general effect.
This determination, which is deemed to have come into force on 1 October 2016 and expires on 30 September 2017, sets the salaries and principal allowances for the Judges of the Supreme Court, the Court of Appeal, the High Court and District Court benches (including the salary and allowance of a District Court Judge who currently holds the judicial office of chief coroner), the Employment Court, and the Māori Land Court.
The Remuneration Authority (the Authority) is required to have regard to the following when setting judicial remuneration and allowances:
the need to achieve and maintain fair relativity with the levels of remuneration received elsewhere; and
the need to be fair both—
to the persons or group of persons whose remuneration is being determined; and
to the taxpayer; and
the need to recruit and retain competent persons.
In addition, the Authority must take into account—
the requirements of the position concerned; and
the conditions of service enjoyed by the persons whose remuneration is being determined and those enjoyed by the persons or members of the group of persons whose remuneration and conditions of employment are, in the opinion of the Authority, comparable with those of the persons or members of the group of persons whose remuneration is being determined.
The Authority must also take into account any prevailing adverse economic conditions, based on evidence from an authoritative source, and may determine the remuneration at a rate lower than it would otherwise have determined.
In setting the remuneration for the judiciary for the year from 1 October 2016, the information that the Authority considered included—
submissions that were received from the various benches; and
remuneration data made available to it in respect of private sector legal remuneration of groups with comparable skills and experience and from which groups it can be expected that the Judges could be recruited; and
growth in the New Zealand Consumers Price Index and labour market statistics as published by the Government Statistician over the previous year; and
information on the recruitment of Judges from a range of sources, including the Attorney-General, the Chief Justice, and Heads of Benches; and
remuneration data for senior positions in the public sector; and
conditions of employment enjoyed by members of the judiciary; and
prevailing economic conditions.
Against that background, the Authority has made an increase of approximately 1.7% (rounded) in salaries across all courts.
The salary increases for the Judges in this determination are broadly in line with the adjustments made by the Authority during the last year in respect of other groups and senior positions in the public sector for which it sets remuneration.
The Authority this year reviewed the principal allowances applicable to each judicial position and has left them at their current level. However, all allowances, remuneration, and superannuation benefits are currently under review by the Authority, which is also considering any changes that may need to be implemented when the Senior Courts Act 2016 and the District Court Act 2016 come into force on 1 March 2017.
Issued under the authority of the Legislation Act 2012.
Date of notification in Gazette: 2 March 2017.
This is a reprint of the Judicial Salaries and Allowances Determination 2017 that incorporates all the amendments to that determination as at the date of the last amendment to it.
Reprints are presumed to correctly state, as at the date of the reprint, the law enacted by the principal enactment and by any amendments to that enactment. Section 18 of the Legislation Act 2012 provides that this reprint, published in electronic form, has the status of an official version under section 17 of that Act. A printed version of the reprint produced directly from this official electronic version also has official status.
Editorial and format changes to reprints are made using the powers under sections 24 to 26 of the Legislation Act 2012. See also http://www.pco.parliament.govt.nz/editorial-conventions/.
Judicial Salaries and Allowances (2017/18) Determination 2017 (LI 2017/280): clause 8
Judicial Salaries and Allowances Determination 2017 (LI 2017/41): clause 3


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All research, teaching or testing that involves animals requires review and approval by the Animal Welfare Committee (AWC). The use of animals for research, teaching and testing is a privilege, one that comes with important responsibilities:
- to ensure that good science is conducted;
- to meet ethical responsibilities for ensuring that every animal is treated humanely and not subjected to unnecessary pain or distress, and;
- to work within the accepted standards for experimental animal care and use.
The University adheres to the national standards outlined by the Canadian Council on Animal Care (CCAC). When animals are used in science or other activities, the primary concern of the University is to minimize the discomfort to the animals, and ensure that their care and use be in accordance with the guidelines of CCAC. Some of CCAC's core values are embedded in the "Three Rs" policy concept of replacement, reduction, and refinement of animals. The Three Rs stipulate that harm be minimized when animals are being used for scientific pursuits.
The CCAC program is based on scientific peer review, policy making, and responsibility at the institutional level, and they monitor compliance through their assessment program. The University of Lethbridge holds the CCAC Certificate of Good Animal Practice, indicating that it is in compliance with these national standards set by the CCAC. For projects funded by CIHR, NSERC, and SSHRC, the University also complies with the conditions of the Agreement on the Administration of Agency Grants and Awards by Research Institutions.
For research involving animals, contact the Ethics Officer or contact the University Veterinarian:
Dr. Keiko McCreary, Ethics Officer
Office of Research Services
B627, University Hall
University of Lethbridge
Lethbridge, AB T1K 3M4
Phone: (403) 332-4433
Fax: (403) 382-7185
Email: firstname.lastname@example.com
Dr. Isabelle Gauthier, University Veterinarian
EP1147, Canadian Centre for Behavioural Neuroscience
University of Lethbridge
4401 University Drive
Lethbridge, AB T1K 3M4
Phone: (403) 394-3995
Fax: (403) 329-2775
Email: email@example.com


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A Designed to Blossom participant shared about an experience she had, where she signed up for a course largely because she got swept up in the enthusiasm of a dear friend. But then, after some time experiencing the course for herself, she could feel that the fit wasn't right for her. So, despite moments of self-doubt, guilt and a little shame, she allowed herself to leave the course, and felt great relief.
Here's my response, in case you have ever found yourself in a similar situation.
As someone with the 3/5 Profile, I have a very deep appreciation for the trial-and-error learning process. Actually, I don't even think we can truly understand what it feels like to live authentically, if we don't at times go against the grain of our Authorities, or give into pressures, or get swept up by another's enthusiasm, or attempt to please someone, or lose our way.
How else are we going to know what 'our way' is, what it looks and feels like, what its boundaries are, what a good fit feels like, and what a bad fit feels like, etc.? It's all wonderful grist for the mill. It's all a worthy part of the process of discovery.
And when we approach our life with this kind of a curious, permission-giving, always-ready-to-learn-something attitude, every decision we make (even the ones that on one level aren't 'right') has the potential to become 'right'.
Had you not had this experience, you might not feel as motivated as you do now to take more time during your next decision-making experience. You might not have as much insight into the kinds of situations (ie. feeling excited when someone you care deeply about is excited, and your genuine wish to go on a journey with someone you respect and enjoy) that tend to encourage impulsivity in you. You might not have shared this story with the rest of us, and you might not have realized that the courage it took you to say 'no' to something you had already said 'yes' to is actually appreciated and applauded by others. That there's no shame in it, that most of us can relate to it, and could use a little permission to have a few more wobbles in our own lives. And we might not have benefitted from the lesson you learned.
I wanted to share something that is written in the Generator material in the program here, where I encourage people to go on a 'Should Binge'. I think this applies to everyone, no matter what the Type.
Take a day to totally push yourself to do all sorts of things you really don't feel like doing, with people you don't feel like being with. Really push, initiate, pursue, keep pursuing, regardless of whether you feel a flow or received or resisted. Ignore your body's signals as much as you possibly can. (For Projectors, ignore whether you've been invited or not, or whether you feel genuine love for the activity, or genuine connection with the person, or not.)
And see what happens!
There is so much to be learned from this experiment. And it's not always clear-cut. It can take a long time to get a feel for how your own response system (or Authority, for other Types) works.
Some people — when they try to ignore their body's clear messages — end up having obviously horrible days & learn how important it is to trust their body's yes's and no's.
Others realize that they have no idea what their bodies are telling them, so they don't even know whether they're ignoring their bodies' messages or not. They learn that they need a lot more practice at simply understanding and communicating with their bodies.
Others have particularly confusing days — where some 'pushed-through' actions don't feel good at all, but others feel surprisingly good. (i.e. Someone really doesn't feel like going to a party, or a dance class, but once they're there, they have a great time.)
It can really take time to learn how to discern between resistance that comes from fear, and the genuine 'no' — or 'uhn uhn'– arising from the body.
Sometimes our bodies actually have energy to do something, but our minds have us convinced that doing it is dangerous or wrong. So, we experience an internal 'holding back' that could easily be confused with a lack of belly response. (Or lack of our Authority's blessing or Strategic harmony)
So when we decide to take a day where we push ourselves to do things we have resistance to, we can learn something about the source of the resistance. If we genuinely enjoy something we pushed through, chances are that there was a genuine response (or rightness) in there somewhere… and we may be dealing with an area of our life where our genuine energy (or love, or rightness, or truth) has been habitually suppressed. This can lead to a very juicy inquiry… and further experimentation!
Similarly, sometimes our bodies seem driven to do something, but really, it's just an addictive pattern, driven by fear and/or survival coping strategies that have been operating in our lives for a long time. In these cases, the true response is overridden by the habitual behavior.
So patience and compassion and experimentation are key here.
LET YOURSELF LEAVE (Let "Oops!" be a legal word!)
Give yourself permission to stop doing something you've started, if you're not into it. Even if you sign up for a class and have paid for it… If you show up a few times, and you just aren't enjoying it, leave. If you go to a party, and you're not that into it, leave. Even if it feels forbidden, and scary.
This is especially (but not only) true for Manifesting Generators.
One last thing, in answer to someone's question. The Sacral Center (or gut) of Generators is said to have a consistent voice. It doesn't always express itself in words. It's more likely to come out in sounds, or in surges of energy. The thing about the particular voice of the Sacral Center is that it can really only say one of two things, "YES" or "NO". In other words, "Yes, I've got energy to do this right now." Or, "No, I don't have energy to do this right now." If nothing's happening in the Sacral Center, it means that whatever happens to be in question, the Sacral Center just doesn't know yet.
So we often encourage Generators to have others ask them "Yes and No" questions, so that they can learn what it is that they have energy for, and what they don't. (Often, the Sacral doesn't agree with the mind, so its answers can be surprising.)
It's ideal for Generators to be asked by someone else, someone they trust, and someone who isn't at all attached to the particular answers. When we Generators attempt to ask ourselves these questions, our answers aren't always quite so accurate, because our own minds are asking the questions, thus directing the exploration.
That said, we don't always have people around us to ask questions. So there are ways to learn (over time) how to check in with our own bellies. We can get very good (just as someone with Emotional Authority can get good at recognizing when enough clarity has been reached, or enough 'distance' has been achieved, and what that feels like, just like someone with Splenic Authority can learn how to detect that subtle Splenic hit) at sensing when our bellies are genuinely turned on, or when they're being subtly cajoled into action.
Sometimes I write a list of Yes/No questions for myself, if there's something I want to know, and I don't quite trust myself to facilitate my Sacral process. Then I have someone else ask them of me. There have also been times when I've created general lists of questions for myself to look at in the morning, to help me align with my energy body. (i.e. Are you in the mood to go for a walk? Is there someone you'd like to connect with? Would it be right for you to think about… deal with… etc.)
As with everything, it's all an experiment. And we're all so different.


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Scientists have developed a system that detects whether or not milk has gone sour. The system's made up of two parts, a small metal ribbon that's placed inside milk containers and an in-store detector. The detector is actually a magnetic field that causes the ribbon to vibrate. If it vibrates too slowly, then you can bet that the milk has gone all sour and lumpy. Conversely, if the ribbon vibrates too quickly, you can assume the milk has been tainted with Staphylococcus aureus, which makes the milk thinner.
The system is actually fairly inexpensive and would cost less than one cent per container, but then you'd have to convince all the relevant parties to sign up.
Note that this won't help you once the milk makes its way to your refrigerator. Once you've taken it home, you'd best drink it quickly, or just cut it from your diet altogether like me. No fuss, no muss.
The alarmed widget to tell you if your milk is off without having to 'smell and see' [Daily Mail via Switched]


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Gerard Butler has joined the cast of director Curtis Hanson's real-life surf drama Mavericks.
The story will follow Jay Moriarity, a Santa Cruz surfer who set out to conquer the dangerous Northern California breaks known as the Mavericks. During the winter, the wave swells can get up to the size of a five-story building. Gerard Butler will portray surf instructor Rick "Frosty" Hesson, the man who trained Jay Moriarity for over a year to beat the Mavericks. The two formed a strong bond in the process.
Though Jay Moriarity survived the massive swells, he later died at the age of twenty-two during a diving accident. His youthful demise in the face of danger helped coin the phrase "Live like Jay." And the surfer is still an inspiration to young sports enthusiasts today.
Kario Salem and Brandon Hooper wrote the screenplay. Curtis Hanson is seeking a young actor to portray Jay Moriarity. Sean Penn was at one time attached to the project, presumably set to play the role of Rick "Frosty" Hesson. There is no mention as to why he dropped out.


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A 12-year-old boy from the city has become the youngest person to qualify for the second round of the International Biology Olympiad (IBO), mainly attempted by students of Class XII.
"Jeevesh is the youngest student to clear the first round of IBO. Seven years ago, a Class VIII student had cleared the exam," said Vijay Singh, former National Coordinator of the HBCSE and a scientist at Ramaswamy Research Fellowship.
He added that there were 15,000 students who appeared for the examination conducted by Homi Bhabha Centre for Science Education (HBCSE), out of which only 3,000 were selected for the second round, Jeevesh being youngest among them.
There are five rounds to be cleared for the medal in the prestigious International Biology Olympiad, mainly attempted by students of Class XII.
"Being a student of Class VII, Jeevesh could not opt for biology as his subject but he succeeded in qualifying for the IBO," said Brajesh Meshwari, director of the Kota institute where Jeevesh has been studying with his sister Harsha, an AIPMT aspirant.
Hailing from Noona Mazra, a small village in Jhajhar district of Haryana, Jeevesh has previously achieved many laurels, including an All India Rank 1 in National Maths Talent Contest (NMTC), 5th rank in National Maths Olympiad, 14th Rank in National Science Olympiad, Rank 25 in Cyber Olympiad and Rank 50 in National Level Science Talent Search Examination (NSTSE).
"I would generally study the biology books of my elder sister in my spare time and that helped me clear the National Science Exam of Biology (NSEB) and qualify for the next rounds of IBO," said Jeevesh, son of a Delhi policeman.
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Sachin's early supporter watches Test from home
Over the past few weeks, everyone with the faintest of interest in cricket wanted tickets to watch Sachin Tendulkar's 199th Test here.
However, one cricket-loving Kolkatan chose to watch Sachin Tendulkar's last Test here from the confines of her living room even though she could have easily procured a ticket to the club house through her contribution to the game here and elsewhere.
Jyotsna Poddar is publicity shy and it takes a few phone calls and a certain degree of persuasion to get her talking about Tendulkar, a player whom her trust sent to England way back in 1988 so that he could get a feel of English conditions.
"In those days, our trust - Young Cricketers Organisation - identified talented players across the country and nurtured them so that they could become better players," Poddar told MiD DAY. The trust was an initiative undertaken by Poddar, legendary opener Sunil Gavaskar, stylish batsman Abbas Ali Baig, late Raj Singh Dungarpur apart from other eminent people.
Speaking about Tendulkar, Poddar recalled: "We had heard a lot about his exploits in Mumbai cricket. Sunil and Raj Singhji suggested we sponsor his trip to England (with Star Cricket Club) so that he could get first-hand experience of how counties and clubs play there."
Former Rajasthan fast bowler Kailash Gattani, who spearheaded the Star CC tours, told this newspaper recently that Tendulkar's airfare for the 1988 England trip was Rs 13,600. The Mumbai stalwart was part of the 1989 tour as well.
The following year, he was in England as part of the Indian team. The trust had also sponsored Sourav Ganguly. "He used to train at the Eden Gardens and was known to be a very talented player. We sent him to England as well," said Poddar.
There were a host of other players whom they sponsored but they could not live up to their promise. Nevertheless, Poddar (63) is very modest about her contribution to the game and even though she could not make it to Eden, she wished Tendulkar all the luck.
In 1987, she compiled a book called 'Cricketing Memories' in which some of the game's most famous personalities penned their funniest stories. She got Sir Donald Bradman to write the foreword for the book.
"I approached him with a request for the Foreword. He was initially hesitant but nevertheless obliged me," she said.
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This unique original Handmade Dessert Tutti Frutti Soy Candle from Bella Candle Factory is made to look and smell like a real dessert. Jar desserts have existed for a number of years, candle desserts add sweetness style to every corner of the room. They look good enough to eat, smell like the real thing, are incredible sweet looking and melts fascinatingly and they make a great gift for anyone. The unique candle design makes this a great gift for women and men, boys and girls.
- Scent: Strawberry
- Sweet Home Decor, tabletop
- Gift for any occasion and any reason
- Glass jar comes in a box
- Burn time approximately 35 hours
- Put the candle by the bed to wake up to sweet morning
- Natural vegan Soy Wax
- The scent made from natural fragrance oil
- Net Weight: 16 oz
- Jar Size: 5" H x 3" W x 3" L
- 100% Cotton wick
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National Quilt Museum Poinsettia Block Quilted Throw
Original Price $83.95
Current Price $59.26
The floral poinsettia has been used for many purposes from ancient medical salves to cherished dyes. The long-standing tradition and utility of this valued floral is the inspiration of the 60x50 Poinsettia Block Quilted Throw. Red poinsettias are set in four khaki blocks, peek out from the inside of green leaves, and then are finished with a plaid and green binding on the border. 100% cotton, hand-quilted, reverses to solid khaki. Back features a rod pocket to allow for hanging as a decorative wall tapestry.
- Stitch in the ditch and echo hand-quilting on festive red, green, and tan plaid and solid fabrics
- Stenciled red and green poinsettia motifs in each block accented by deep green sashing
- Straight edge with .5" deep green plaid binding on the bias
- Reverses to solid khaki cotton fabric
- Features a 3.25" rod pocket for decorative hanging
- Patchwork: Hand-quilted, Machine pieced
- Dimensions: L60"xW50"
- Weight: 2.9 lb
- Material: 100% cotton shell, 100% cotton batting
- Colors: khaki, poinsettia red, deep green
- Manufacturer Country: India
- Care: Machine wash separately, front load commercial washer. Cold water, gentle cycle, no chlorine bleach. Do not tumble dry. Do not dry clean without first testing a small portion. This product may not withstand commercial cleaning chemicals or process due to the fragility of fabrics and handmade nature.


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Heavily influenced by the Abstract Expressionist movement in her formative years, she has returned to the genre and focuses primarily on non-representational paintings in acrylic. Being freed from reproducing recognizable objects, her paintings have become more intuitive and authentic. Often Templeton's work is composed of organic shapes and strong calligraphic lines. The process and application of her medium is applied quickly using color, value, and movement to create an engaging composition.
Templeton was born and raised in Minnesota and studied art at several colleges. She currently works out of her studio in downtown Fargo. She has exhibited her work at Plains Art Museum (Big Country: FMVA Scale the Plains, Landmark: Views of the Moorhead Power Plant, and several Spring Gala auctions), the Spirit Room Gallery, Underbrush Gallery, the Jamestown (N.D.) Art Center, and several group shows in Minneapolis. Templeton is also a member of the Lake Country Pastel Society, the Pastel Society of America, and Fargo Moorhead Visual Artists.


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Affected Organ Systems: Respiratory (From the Nose to the Lungs)
Cancer Classification: EPA: Not evaluated. IARC: Not evaluated. NTP: Not evaluated
Please contact NTP, IARC, or EPA's IRIS Hotline with questions on cancer and cancer classification.Chemical Classification: Inorganic substances
Summary: Tungsten is a naturally occurring element. It occurs in rocks and minerals combined with other chemicals, but never as a pure metal. Elemental tungsten is a white to steel gray metal (depending on the purity) that can be used in pure form or mixed with other metals to make alloys. Tungsten alloys tend to be strong and flexible, resist wear, and conduct electricity well. Tungsten is used in products such as x-ray tubes, light bulbs, high-speed tools, welding electrodes, turbine blades, golf clubs, darts, fishing weights, gyroscope wheels, phonograph needles, bullets, and armor penetrators. Tungsten is also used as a catalyst to speed up chemical reactions. Chemical compounds of tungsten are used for many purposes. Cemented tungsten carbide is a hard substance used to make grinding wheels and cutting or forming tools. Other tungsten compounds are used in ceramic pigments, as fire retardant coatings for fabrics, and as color-resistant dyes for fabrics.
Community Members
Fact sheet that answers the most frequently asked questions about a contaminant and its health effects.
Summary about a hazardous substance taken from Chapter One of its respective ATSDR Toxicological Profile.
Provides an ongoing assessment of the exposure of the U.S. population to environmental chemicals using biomonitoring.
Toxicological and Health Professionals
Succinctly characterizes the toxicologic and adverse health effects information for a hazardous substance.
Addendum to the Toxicological Profile for Tungsten (June 2015)
Quick reference guide providing information such as chemical and physical properties, sources of exposure, routes of exposure, minimal risk levels, children's health, and health effects for a substance.
- Page last reviewed: March 3, 2011
- Page last updated: March 3, 2011
- Content source: Agency for Toxic Substances and Disease Registry
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