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OK so Sat was prolly the least exciting day (line-up wise) for me. There weren't any real must-see gigs, so I went along with an open mind to try and catch as many acts as possible.
Everything kicked off with Eskimo Joe, who rocked as expected. Played a couple of tunes from Girl, but most of it was from the new CD that I didn't know... Since I had no particular act lined up next, I was thinking of seeing Endorphin, but he was playing at the Big Top which I was avoiding whenever possible becuase of the horrible dust that goes everywhere as people dance around.
I'll just make a note about the weather here. First, it was FREEZING!! Sunday night was worse then Sat and Friday, but all days were bloody cold. Second, it was really dry and dust was EVERYWHERE. Specially when people started dancing you could see a column of dust rising into the air... mix that with all the smoke and, urgh! Horrible. I was really hoping for some rain to put the dust down, but nah.. my first music festival in aaages where it didn't rain. I missed the rain.
I discovered that there was a thing called APRA Songwriter's Sessions where APRA got musicians to talk about their songwriting process. Today was Lindsay from Frenzal Rhomb and Lior. It was really entertaining and interesting stuff, even for non-songwriter-person like me. Good to hear that I'm not the only person who thinks Jet (and all the other "new rock" acts) are boring as batshit and just ripping off 70's rock. Lindsay got into the story of how tsuna-you, tsuna-me was written as well as how Frenzal generally write their stuff (Jay used to get off his face, but now he writes songs "on his face", apparently).
Anyways, after that I headed to the main stage to see Juan de Marcos' Afro Cuban Allstars, who went OFF! Absolutely mad energy, big horn section and infectious sound. They were followed by Femi Kuti who was also great to watch and listen. The whole big-band thing is very cool!
The last act of the night for me was The Black Keys. I had heard a few of their songs on the js, but was pretty dissapointed with their live act. Didn't really catch me.. JC and Xtn headed to see Paul Mac afterwards, and I headed home... it was a pretty good day, but I was already looking forward to Sunday, with all that Clare Bowditch goodness.

subset: commoncrawl


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Field Judging Whitetails
Hunting for trophy whitetails can be a very exciting sport. It can also be a nerve-racking experience, with many highs and lows. The entire process tests a hunter's abilities to get within shooting range of a mature whitetail buck. Trophy hunting challenges the hunter to assess each deer to make sure it meets the criteria of being a true trophy for the area being hunted, as a personal trophy to the hunter or a book deer. If the deer is a trophy, the hunter must retain composure and put the animal on the ground. If the buck isn't a shooter, the trophy hunter must have the will power to pass up the animal, even if the deer is a respectable one.
Every season numerous whitetail hunters set out to pursue that trophy of a lifetime. For some hunters, success comes easily. However, for most successful hunters, their success is the result of hard work and excellent knowledge of whitetails. Unfortunately, most trophy hunters end the season disappointed, because the buck they elected to shoot turned out to be much smaller than they originally thought it was. The reason this is a disappointment is that most genuine trophy hunters would rather end the deer season without shooting a deer, than shooting one that is below their standards.
As for myself, I'm as guilty as everyone else in that I've ended several deer seasons by shooting "on the hoof" trophies that turned out to be average bucks when on the ground. After having this happen once too often, I sat down and started to think about why this was happening.
After much thought, I have determined that I've been field judging whitetails from the wrong angles and making assumptions about what the antlers look like. On other occasions, the decision to shoot was a snap decision based on what the deer was doing or where he was going. As a result, it is my intention to identify some trophy hunting field judging and shooting errors that I have made on previous hunts and give you suggestions that will help you to become better at field judging a whitetail on the hoof.
Making Estimates
My hunting partner, Pat McKenzie is an official Boone and Crockett scorer. Over the past few years, I've been able to stop by his house after the season and get a first hand view of some truly impressive deer heads that he's scoring.
Based on these viewings and in conversations with Pat, I've come to realize that it takes a combination of mass, tine length, long main beams and a good spread for a deer head to qualify for the Boone and Crockett record book.
Taking time to evaluate this buck allowed Pat McKenzie to take this nice 5X5 whitetail.
Judging antler mass is something that can be learned from looking at mounted bucks, pictures of deer and spending time afield. Over the years, I've developed a knack for recognizing the mass of a deer's antlers by comparing the rack's width to the width of the deer's ears. If the deer's antlers look spindly in comparison to the ears, the rack won't have much mass. If the antlers don't look out of place compared to the ears, it's probably got average mass. However, if the rack comes close to being similar size to the ears, it will have excellent mass.
Determining tine length can be made easier, by comparing a buck's tines to something that can give you a meaningful estimate. For such estimates, I usually use the buck's ear as a gauge, because on average, a whitetail buck's ear is approximately six inches long. When looking at tine lengths, I always make sure to look at the deer's brow tines as these two tines can really make or break a trophy deer head.
Most really big bucks that I've seen have main beams in excess of 25 inches. In order to make a quick main beam length estimate look at the deer's nose and main beams. As a general guideline, if the tips of the main beam extend to the tip of the buck's nose, his main beams will be approximately 25 inches.
As for estimating the width of a buck's rack, a quick way to estimate the inside spread is to look at the deer's antlers and ears. On average, the tip-to-tip distance between a whitetail buck's ears is approximately 16 - 18 inches.
Evaluating a Buck's Rack From Behind
When deciding if a buck is a trophy, don't base your decision solely on a rear view of its rack. Whitetail deer racks always appear wider than they actually are when viewed from behind. It is an optical illusion. The reason for this is that when we look at a rack from behind, we normally only get a look at the outside spread. There is usually no way to determine the inside spread. Thus an accurate estimation isn't possible.
If you think back to previous hunts when you've viewed deer racks from behind, you'll realize that one of the most common times is after spooking a buck. When those deer ran away from you, they probably laid their ears back as they ran away. The result is that the antlers which already looked wide from behind appeared even wider. If you shot such a deer, chances are you were very disappointed with the width.
As well, when viewing a buck from behind, it is difficult to get an estimate of just how long the main beams are, how heavy the main beams are or how many tines are on each beam. If your adrenaline is pumping and you think the deer is very wide, chances are you'll probably make dangerous assumptions about the length of main beams or the number of tines.
Try to View Both Sides of a Buck's Rack Before Shooting
Before pulling the trigger, try to get a look at both sides of a deer's antlers. This is especially important if you are hoping to harvest a buck with a symmetrical rack. Just because there are four or five tines on one side doesn't guarantee that the other antler has the same number of points.
Several seasons ago, I stalked in on a group of rutting bucks. There were four bucks and fifteen does in the group. Prior to making my stalk, I gave the bucks a quick glance with my spotting scope. One buck was considerably larger than the rest of the other bucks and received all my attention. I knew he was definitely a heavy 5X5 with nice long tines and I estimated he would score close to 160. As for the other bucks, I simply assumed they were all 4X4's and decided they did not need any further glassing.
After a long and painful belly crawl across a frozen wheat stubble field and through a rough slough bottom, I finally got myself into shooting range. The buck I was after was standing broadside 250 yards away with another buck staring him right in the face. The two bucks appeared to be frozen. As I waited to catch my breath, I double-checked to make sure I was watching the right buck. Sure enough, it was definitely him. However, as I looked at my buck, curiosity got the better of me. The other buck had to be impressive to hold his ground with the mighty 5X5. My compact binoculars wandered over to the other deer. He stood motionless nose to nose with the buck I was after.
He was directly broadside with his right antler towards me. The antler was very heavy and had two really long tines standing straight. With the brow tine and tip of the main bean, he had four points on that side. I couldn't see very much of his left antler. However, the way his head was tilted, it appeared as if he had a very long drop tine coming off his left antler, which would have made him a solid 150 class buck with a big drop tine.
I have a passion for nontypical and drop tine bucks and therefore, without thinking about getting a good look at his entire left antler, I instantly, dropped my binoculars and shouldered my rifle. With the crosshairs on the "drop tine" buck's shoulder, I pulled the trigger. The buck dropped to the ground and the big 5X5 ran away with the other deer. I was feeling real proud about my buck as I strutted across the field. However, when I got up to him, I was horrified. The buck didn't have a drop tine at all! He merely had a twisted main beam, with one brow tine and a sticker coming off the brow tine.
I had been badly fooled. The deer had no idea I was watching them and it would have only been a matter of time until I got a good look at the deer's disfigured rack. Had I taken the time to look at the left side of his rack, I would have never shot him. I would have taken the big 5X5 and my season would have had a happy ending. Instead, I got the booby prize for making a snap decision and memories of a hunt that will haunt me forever.
Try to Get a Head-on View for Width, Spread and Height
If you want to get an accurate estimate of how wide and how high the buck's antlers are, try to view the rack from a head on view before shooting. This is typically the way we see mounted bucks and photos of trophy class deer in magazines and on Internet websites such as www.biggamehunt.net. Try to compare the deer you are viewing to other deer you have seen. Use the deer's ears and forehead to help you get a ballpark idea of how wide the antlers are.
When a buck is standing and looking straight towards you, it is very easy to verify how high his tines are and how symmetrical they are. If you can see that the tines on one side are much longer than on those on the other side, the deer you are looking at is probably not a shooter, as it will have extensive deductions on the score sheet. However, if you were looking at this rack from a side view, it would be difficult to see this difference in antler length. The reason for this is that when a whitetail rack is viewed from the side, the tines often blend together and it is difficult to determine which side of the rack the tines are coming from.
This 200 class whitetail has it all; height, mass, width and lots of tines!
Never Make Any Assumptions About a Deer's Antlers
If you spot a deer with some good features, such as tine length, mass or width, don't assume that all the other measurements will be equally impressive. Remember, antlers do not always grow the same. If you are hunting in an area where the bucks have spindly frames with high tines, don't assume that a buck with heavy mass will possess those long tines. The buck may be from a different bloodline and he may have moved into the area to chase does or he may simply be the exception to the area. If you shoot a deer based on an assumption you'll probably be in for a real surprise.
Happiness is walking up to a buck and not getting any surprises.
Don't Shoot Too Quickly
This statement is much easier said than done! When most hunters see a buck running across a field or through an opening in the woods, their first inclination is to shoot. No one wants to see a trophy buck get away because they didn't shoot. Excitement and having to make a quick judgment on a running deer can quickly put a trophy hunter in next year country.
A few years ago, I was sneaking around the outside edge of a small willow bluff. A doe caught my scent and started running through the bushes. A buck quickly got up behind her and was hot on her tail. Based on the direction they were headed, they would clear the bush and enter a small clearing less than 100 yards in front of me. Once out of the bushes, the deer only had to cover 50 yards before they would be behind a hill and safely hidden from my view. I could see the buck had a large body, and his antlers appeared to be very high. When he hit the clearing, I fired one shot. Both deer disappeared behind the hill.
I followed up my shot and since there was a blood trail in the snow, I was confident that I had harvested a dandy buck. I quickly followed the blood trail and 75 yards behind the hill was my buck. Unfortunately, he wasn't a true trophy class animal as his tines were very short and nothing like I had imagined them to be. In my excitement to get off a quick shot, I had mistaken willow branches for his antlers. My snap decision to shoot made me feel very disappointed. I should have simply let the buck and doe run off to another area and then tried to catch up with them. But because I couldn't resist the urge to shoot, I ended up tagging a 120 class buck and had to endure a long wait until the next season.
Putting it Together in the Field
You're probably sitting there thinking that all this advice on how to field judge a trophy buck before shooting it is fine and dandy, but how do I use such techniques when hunting. The best way is to get away from the beaten path where other hunters won't disturb you or the deer. Once in the area, try using hunting methods that will allow you to view an undisturbed whitetail for long periods of time. For example, try calling with grunt tubes, antler rattling or sitting in a treestand over looking a staging area, feeding area or deer trails.
Hunting away from the crowds allowed me to find, evaluate and take this nice buck.
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How iLearn, How iWork - Upgrading Our Higher Education System for Today's RealitiesMike Hammer | Blended Workforce Solutions, SP3M Group
We still have a lot of doubting Thomas' or detractors, like it or not, who don't believe that we are evolving into a global economy and a global workforce. Far too many don't believe it will affect them, even if they are educated and well informed. Well, it does affect everyone at every cash register and with every credit card swipe.
"So what?", you might say. It's a free country. Yes, we are a nation which enjoys more freedoms than any on the face of the planet. However, if we don't fix our education process to be more relevant and provide teaching methods for our students to really learn and comprehend faster, those freedoms will be in jeopardy.
We have two choices. We can continue to let politicians, unions, and bureaucrats decide how best to educate us… or we can get involved and demand the results we need to maintain our standard of living and future opportunities.
It is not necessary to insert lots of charts and statistics to know that after pouring billions into our education system and instructors' salaries, we are rapidly falling behind 23 other countries in graduates in science and math. Only a fool would say this is working for us. Other developing counties now have growing populations of educated workers who can and will do minimum wage or repetitive work we used to call entry-level jobs at a lower cost.
In addition, technology and automation has eliminated many minimum wage or low experience jobs. None of this is NEW news, and it means the education bar has been raised as the needs for higher levels of knowledge are required of a knowledge worker society. Knowledge achievement retention and application remains a constant in the workplace.
That means you can never stop attempting to learn more that is relevant to the global needs in a global workforce. Why? Because it the free market rewards innovation. A society that continues to increase and expand the knowledge and its capabilities and capacities logically sustains the highest standard of living and distribution of wealth.
In less than six months, Americans will have to make their choice to keep throwing borrowed money at a broken education system which is losing ground to other nations more rapidly, or find new ways to provide the education process needed and change the course of our national debt.
Way back in 2005, then-Governor of Massachusetts Mitt Romney, stated, "There is no question we are affected by workforce outsourcing, as is every other state. Any job that leaves is a big loss for families and tax revenues. We want to fight for every job for the Commonwealth. Ultimately, how you compete with low-cost labor offered by other countries is by having a more educated, hard working and capable workforce. That means you make the right kinds of investments in two things: education and innovation."
It is long past time we got started with those RIGHT investments. Waiting for a "trickle down" economy isn't a solution. Throwing borrowed money at bad results isn't a solution. Hiring more mediocre educators who can't be fired without a "hold the institution hostage" contract isn't a solution. College and adult educators who teach a bias to an ideology or hide behind tenure is not a solution, etc.
This is not to say there aren't a lot of good instructors. My older brother was a good one for 45 years. If he were alive today, he would agree that we have done it to ourselves. Where's the innovation here? Certainly not from the academic community.
Author Perspective: Business


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- Anonymous26 December 2012 at 19:56
Good Tune! Thanks for Posting!ReplyDelete
- Doctor Gaz27 December 2012 at 11:34
first time this has been on the web for 7 years! nice to hear it againReplyDelete
- Keith B21 January 2013 at 16:18
For me, this is about as good as it gets, and an awful lot better than it's A side, plus the drummer seems to have taken his medication this time. Just the mearest feel of one of Arthur's ballads or even a Bryan Maclean touch, but hard to describe as it is pretty unique. This is why so many of us follow your postings Colin, you truly do have the most far out sounds. As ever many thanks!ReplyDeleteReplies
- Jimmy Mitch Bentley21 March 2017 at 03:12
Hi Keith B, Thanks for the compliments this is a "Mysterious Man of Mystery"! what a cool surprise to see our old Songs posted on this site & YouTube! we recorded them in 67 or 68 (I forget!)Delete
Awosting is a town in North New Jersey,USA
check out my new stuff----Stockmusic.com/products/music_tracks_cd/western_state_of_mind


text: When doctors perform surgery, the goal is to fix or repair organs. Occasionally, a transplant is necessary, and surgeons take great care to ensure no unhealthy foreign substances go into the body. However, it is actually quite common for surgeons to leave behind medical tools, particularly surgical sponges, inside patients' bodies.


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Spicy Caponata Caviar
- Cook Time
- Prep Time
- 6Servings
- 1 large eggplant
- 2 tablespoons extra-virgin olive oil (EVOO)
- 4 cloves garlic, finely chopped
- 2 pinches crushed red pepper
- 2 ribs celery from the heart, finely chopped
- 1 small onion, finely chopped
- 1 Cubanelle pepperstemmed, seeded and finely chopped
- 1 roasted red pepperstemmed, seeded and chopped
- 6 oil-cured black olives, pitted and chopped
- 6 Sicilian or other large green pitted olives, chopped
- 1 tablespoon capers, drained
- Flat-leaf parsley, chopped (a generous handful)
- Salt and freshly ground pepper
- Sesame, garlic or plain melba toast, or sliced semolina bread
Preheat the oven to 450 degrees Prick the eggplant with a fork and roast until soft, about 25 minutes.
While the eggplant is working, in a medium skillet, heat the EVOO, 2 turns of the pan, over medium heat. Add the garlic, crushed red pepper, celery, onion and Cubanelle pepper and cook for 7 minutes. Stir in the roasted red pepper, olives, capers and parsley. Transfer to a large bowl.
Carefully peel the roasted eggplant. In a food processor, puree the eggplant into a smooth paste; season with salt and pepper. Stir into the veggies. Serve with the melba toast or bread slices.


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Club Rannalhi built on an Island of 5 hectors of luscious green land, with a beautiful beach right around and a house reef that is home to exotic fish and coral. Between the house reef and the beach is a lagoon which is ideal for swimming and snorkeling. To experience this you must first pamper your senses at Club Rannalhi, where the ambience draws you to discover the rarest pleasures.
Accommodation & Facilities
116 Air conditioned rooms with hot & cold water supply, mini bar, hair dryer, IDD Telephone, Restaurant, Bar etc. 16 enchanting luxurious water bungalows also include all the modern amenities. A spectacular setting with an incomparable view. There is no better way to enjoy the better things in life than literally stepping into the azure seas from your own water bungalows. Recreational Facilities: Fully equipped diving center, snorkeling, fishing, excursions, Deep sea fishing, Relax massage in a Spa.
Distance from Air port:34 Km
No. of Rooms:116 Rooms
Type of Transfer & Time:By Speed Boat, 45 Minutes.
Night Transfer:Available


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The Northstar Studies are global clinical studies being conducted to determine if the one-time gene therapy can decrease or eliminate the need for continued blood transfusions in people living with transfusion-dependent beta-thalassemia, while also being safe and well-tolerated. The goal of this investigational gene therapy treatment is to help patients make more beta-globin, which will in turn create more hemoglobin and produce healthy red blood cells.
The Northstar Studies require a commitment, lasting a little more than two years. At the end of the study, participants are asked to participate in a separate, 13-year follow-up study. Northstar Study participants will undergo many tests and procedures, which will be monitored closely by a team of healthcare professionals.
The Northstar Study (HGB-204), an ongoing Phase 1/2 study, is fully enrolled and no longer enrolling new patients. Early data from the Northstar Study shows that all non-β0/β0 patients followed for 12 months or longer have so far been transfusion independent. The study is going and patients continue to be followed.
The Northstar-2 Study (HGB-207) is currently enrolling and seeking patients living with transfusion-dependent non beta zero-thalassemia (non-β0/β0) at sites around the world.
The Northstar-3 Study (HGB-212) is now enrolling patients living with transfusion-dependent beta-zero (β0/β0) beta-thalassemia at study sites around the world. Approximately one-third of people with transfusion-dependent beta-thalassemia living in the United States or United Kingdom have the β0/β0 genotype, which means they have gene mutations that produce no beta-globin. More information about this study can now be found on the NorthStar-3 Study page.
A clinical research study is a scientific evaluation used to determine if and how a new medication or treatment may work in people. Through clinical research studies, physicians may identify new and improved ways to prevent, detect, diagnose, manage and treat different diseases.
Before a physician can prescribe a medication or treatment, it must be proven to be safe and effective in people. Testing of a potential treatment is done in people who volunteer to participate in a clinical research study and understand that unknown risks and benefits are associated with the investigational treatment and participating in a clinical study.
People participate in clinical research studies for many reasons. These include the opportunity to take an active role in their healthcare and to help others with the same disease in the future by contributing to medical research. Additionally, clinical research studies may provide additional treatment options for people living with chronic conditions or other diseases.


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News Item
- Pinnacles Modifies Fire Restrictions - Trails and Road to Bear Gulch Re-open
(posted: Oct 10, 2020)
Most trails and climbing routes in Pinnacles National Park and the Pinnacles Parkway to Bear Gulch will re-open today
GMP (General Management Plan) Approved!
posted: July 30, 2013
Sometimes it seemed like this day would never come, but here it is. The GMP has been approved.
The following is the entire text of the notice, as posted by the Superintendent on the NPS Web site:
Pinnacles National Monument General Management Plan and Environmental Assessment
The National Park Service (NPS) is pleased to announce the completion of the Pinnacles National Park General Management Plan (GMP). The Pacific West Regional Director approved the Finding of No Significant Impact (FONSI) for the GMP on June 26, 2013. This FONSI documents the decision of the NPS to adopt Alternative D: Link People and Resources, the preferred alternative, as presented in the Draft General Management Plan and Environmental Assessment (DGMP/EA), and the determination that no significant impacts on the quality of the human environment nor impairment of park values are associated with that decision. The FONSI and attachments can be found in the document list section.
The Selected Alternative: Link People and Resources
This selected alternative celebrates Pinnacles within its regional context in the Gabilan Mountains ecoregion, engaging a broad range of visitors in the enjoyment, understanding, and stewardship of natural and cultural resources of the area. Pinnacles NP will focus on ways to connect diverse audiences and resources, to acknowledge the interrelationship between natural and cultural values, and to protect, preserve, and restore ecological communities and processes.
Thanks to everyone who participated in the planning process. The NPS efforts were enlightened and enhanced by the comments and insights of the public at large and key stakeholder organizations. This document will provide thoughtful guidance to park leadership as they preserve and protect the resources un-impaired and provide for visitor enjoyment of Pinnacles National Park into the future.
Karen Beppler-Dorn
Contact Information
Karen Beppler-Dorn:
(831) 389-4486 x 233
Jean Boscacci, Project Manager:
(415) 623-2312


text: 'Brahmin Bulls': LAAPFF Review 6:18 PM PDT 6/11/2014 by Justin Lowe FACEBOOK TWITTER EMAIL ME LAAPFF Brahmin Bulls Film Still - H 2014 Striking an ideal balance between humor and sentiment remains challenging for this understated family dramedy. TWITTER Mahesh Pailoor's debut feature co-stars Roshan Seth and Sendhil Ramamurthy as estranged father and son facing the prospect of reconciliation. Instead of presenting familiar themes of cultural assimilation and intergenerational conflict within Indian-American families, filmmaker Mahesh Pailoor substitutes a polarized father-son relationship that turns essentially on issues of loyalty and betrayal in Brahmin Bulls, an accomplished first feature that doesn't quite achieve its initial promise. A planned theatrical release later this year could potentially stir interest among niche audiences, although digital formats may draw more interest. Thirtyish Los Angeles architect Sid Sharma (Sendhil Ramamurthy) faces unwelcome challenges on multiple fronts. His attorney wife, Ellie (Cassidy Freeman), has decided to move out in a trial separation arrangement while she considers a divorce. His position at a trendy firm has become increasingly perilous due to his arrogant behavior and inability to deliver designs that clients favor. And the home remodeling project that represents his primary creative outlet is barely on the drawing board, even after years of tinkering. STORY: 'The 50 Year Argument': Sheffield Review So when his estranged father Ashok (Roshan Seth), a widowed engineering professor at a tweedy Boston university, arrives in town for a professional conference, showing up unannounced at Sid's door despite their minimal contact over the past five years, the timing could hardly have been worse. Under the pretense of mending fences with Sid subsequent to the emotional fallout following his wife's death several years previous, Ashok settles into his son's place for a week's visit and isn't shy about leveling criticism regarding Sid's chosen lifestyle, which involves frequent self-indulgent moping and solo pot-smoking. Their shared love of tennis primarily serves to demonstrate their still simmering rivalry, but it's Ashok's revelation that his motivation for traveling to LA isn't so much a visit with his son as it is an attempt to rekindle romance with a former flame that sets Sid on edge. Although she's married now, Helen (Mary Steenburgen) still has feelings for Ashok, who also seems eager to reconnect. When Sid discovers their prior history however, events from his father's past threaten to derail their nascent reconciliation. Pailoor and co-writer Anu Pradhan's family dramedy also doubles as a coming-of-age metaphor. Even if Sid and his father are well past adolescence, both still have some growing up to do in order to come to terms with one another and their own shortcomings. Pailoor and Pradhan convey this situation with gentle humor and a minimum of melodrama, amply demonstrating that age is no assurance of maturity. STORY: 'This Is Not a Ball': Film Review British film and TV veteran Seth manages to switch smoothly between withering disapproval and maintaining a defensibly constructive concern for his son's welfare. When emotions intensify and certainty falters, Seth is on shakier ground, however, as if he can only really deliver when his character is the more dominant. The restraint of Ramamurthy's performance, dictated primarily by the script, is the source of some low-key humor, but doesn't muster sufficient friction for a satisfying conclusion, since linking the resolution of Sid's various personal issues to a potential reconciliation with his father tends to oversimplify both the characters and the situations they're confronting. Fortunately, the film's economical style and Pailoor's functional directorial choices best serve the narrative and characters without resorting to unnecessary embellishments. Production company: Philote Factory Cast: Sendhil Ramamurthy, Roshan Seth, Mary Steenburgen, Michael Lerner, Cassidy Freeman, Justin Bartha, Monica Raymund Director: Mahesh Pailoor Screenwriters: Anu Pradhan, Mahesh Pailoor Producer: Yoshinobu Tsuji Executive Producers: Shannon Akegarasu, Cary Lin, Sendhil Ramamurthy Director of photography: Ben Kutchins Production designer: Maya Sigel Music: Gingger Shankar Editor: Cary Lin No rating, 96 minutes FACEBOOK TWITTER EMAIL ME Justin Lowe email@example.com @thr


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Cruises from Seattle
The coastal city of Seattle is a busy seaport and welcomes cruise ships from various lines throughout the year. The city is synonymous with popular TV shows like Grey's Anatomy and Frasier. You can't help but love that skyline! Some of the biggest names in the cruise line industry such as Celebrity, Holland America, Princess and Norwegian Cruise Line all use cruises from Seattle as a starting point for many of their ocean adventures.
South Pacific Cruises
These cruises from Seattle are longer in nature and travellers will need to set aside just over a month (at least) in order to enjoy such a trip. South Pacific cruises make their way from Seattle to Vancouver and all the way across to exotic locations like Honolulu and Majuro before heading for Singapore with even more fabulous stops along the way. Round trips are also available but, for obvious reasons, these itineraries will mean that you need to be prepared to travel for almost two months. The added advantage is that you will be returned to your port of origin and there are plenty of stops at exotic island ports along the way!
If you are fortunate enough to have all the time in the world to travel, then why not pack your bags and head out on a luxurious cruise for a couple of months or more? Starting in Seattle, make your way across the grand Pacific Ocean and stop in the island paradise of Honolulu before continuing to Fiji, Vanuatu, Sydney, Brisbane, Cairns, Bali, Perth, Melbourne, Eden and so many more!
For those who don't have two and a half months at their disposal, there are shorter itineraries that travel across the Pacific from Seattle to Australia while still offering passengers heaps to see and do.
Seattle is a popular starting point for round trip cruises to Alaska. Depending on how much time you have, options include one week trips and there are longer itineraries for those with extra time to spare. Some of the main stops offered on various cruises include Victoria, Ketchikan, Anchorage, Homer and Kodiak. Cruising through the Tracy Arm Fjord and viewing the Hubbard Glacier are two of the main attractions offered by certain cruises. Not all cruise itineraries will include both of these attractions but you can be sure that, not matter which trip you choose, you will have plenty to see and enjoy!
North America
Seattle is a great place to start if you wish to cruise all the way to San Francisco and back! These cruises usually include more sea days than stops but it this is why passengers are encouraged to set aside some extra time to roam around and explore Seattle after their cruise. Do some last minute shopping and sightseeing before returning home.


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Arrest Warrants in Fort Worth
Call Our Skilled Warrant Defense Lawyer
An arrest warrant is a legal document issued to law enforcement officials that allows them to immediately arrest the individual cited in the warrant. They differ from bench warrants, which are not allowed to be pursued immediately.
Most arrest warrants result in an arrest in a very short period of time, as it is usually the law enforcement agency itself that requested the warrant, and they act with no delay upon receiving it.
If you have an outstanding arrest warrant, you can be apprehended at any time in any situation, even if you are innocent of the crime you are being charged with. The best way to protect yourself is to contact a Fort Worth criminal defense lawyer who can assist you in your case and speak on your behalf.
An Experienced Attorney Can Help
It is important to know that if you have been arrested by way of an arrest warrant, you are best served by remaining quiet until you can obtain the services of a competent attorney. Anything and everything you say after your arrest can be used against you to prove your guilt in a court of law. By waiting until you are able to speak with an attorney, you can ensure that you are represented fairly and accurately, and can avoid making statements that my incriminate you.
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Contact our firm today if you have an outstanding arrest warrant, and we can assist you in ensuring your rights are protected.


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Fashion During The Late 19th Century
( Originally Published 1926 )
A new element was entering into the fashionable world, that of the spa, or watering-place. With the improved methods of travel, society became more restless, more desirous of seeing the world, and sojourns at spas, where the water was supposed to contain medicinal properties, or at the seashore, became the objective point of the social leaders of all nations. This meant that oostumes must be designed with this especial end in view, and fashionable women carried full trunks, as it was not considered the thing to wear the same gown twice. When the Empress Eugenic went to the opening of the Suez Canal, an absence of two or three months, she carried 250 gowns with her!'
In this country Saratoga Springs, Virginia Hot Springs, and White Sulphur Springs were the most famous, the first one even giving its name to a certain type of trunk which was used to carry the large number of gowns that were necessary for a stay of a month. In Europe, Baden-Baden and Weisbaden were the favorites, although Bagore, Biarritz, Dieppe, Trouville, and Compiegne were close seconds. The most reckless extravagance was carried on, and one fashion followed the other in rapid succession, each lady trying to outdo her neighbor.
Materials.—A comparatively new material was coming to the fore ; wool had been used for costumes, in light-weight materials, such as cashmere and barege, but its. use in the heavier forms of woollen and worsted cloth had been limited to outer garments, and clothing for men. At this time it began to take its place with silk and cotton for dresses. It was introduced first from England in the form of an under-petticoat, to take the place of the many white skirts worn; the upper skirt being raised in scallops over it for ease in walking. Gradually the entire dress was made of wool, one trimmed rather elaborately with guimpure cost i,000 francs in 1864.
Alpaca, poplin, and mohair were some of the favorites in woollen cloths, and foulard, light-weight silks, tulle, tarlatan, velveteens, raw silks, or pongee, batiste, and linen were still in use. Fur for trimming was very popular, even on evening dresses. Sable was used on yellow velvet, and astrakhan on pink moire antique. Skunk, now known as Alaska sable, was introduced from Leipzig in 1859, and small muffs of Russian sable were carried with the costumes of 1870. They were very expensive, being made of the tails of the animals.
Women's Dress.—The crinoline was passing away gradually; the upper wires were removed from the hoop-skirts first, and only those at the bottom retained; this gave opportunity to make the skirt tighter at the top by means of gores and to enable the lower part of the waist to fall more gracefully over the hips; and to add to the desired slimness, the skirt terminated in a train.
At a later date the first Princess dress, or "Gabrielle," appeared; this was an innovation, as it was in one piece from shoulders to hem, and was fitted to the form by means of seams which ran the entire length. Great stress was laid on cut and line in these gowns, and it needed an artist to make them successfully.
For walking, dresses became shorter; they were looped up over an under-petticoat of a different material and color; many inventions were made to facilitate this arrangement, as they seem to have been the long skirts drawn up for convenience. An elastic band called a "page" and the II porte jupe," invisible strings, inserted in four or five places in the skirt, which when drawn raised it in four scallops, were the most popular. This fashion for short dresses lasted only a few years.
The type of trimming was changing, flat gimps, beads, laces, and ribbons and braiding taking the place of ruffles. The bodice was still high in the neck and closed in front with buttons. It often extended quite a distance below the waist, forming a peplum. Tight sleeves were replacing the pagoda sleeves of the last decade.
By 1870 the skirt had become so tight and scant that ladies of extreme fashion were obliged to bind their knees together when they walked.. Draperies had been added on the sides and at the back, similar to the panniers of Louis XIV, and a bustle held the dress out at the back.
The costume of this period was overloaded with all sorts of trimming, heavy plaitings, puffs, bows of ribbon, and ruffles of lace.
The skirts were long and had trains, and several kinds of materials, as well as various colors, were used in the same costume. Most of the decoration was placed on the skirt, and in consequence the bodice looked very short and small. The sleeves were long and fitted the arm ; sometimes they were decorated with puffs between bands of velvet; a ruche of lace filled in the neck and stood up at the back, inside of a rather low "Medici" collar.
The hair was arranged high on the head, with curls in front, and was topped by a small bonnet ornamented with standing feathers and flowers. The entire costume was most exaggerated and overelaborate, and was one which seems most ludicrous at the present time.
For the period of the Franco-Prussian War little attention was paid to fashion by the women of Paris; they were too busy with war work to give a thought to what they should wear. Dress became very simple and inexpensive, and the publishing of fashion papers was discontinued. Wealthy women gave their diamonds and laces to be sold, that the proceeds might be devoted to the care of the widows and orphans. All manufacture in Paris virtually ceased, and the merchants were nearly ruined.
From this time woollen and worsted materials became more popular for entire gowns, and they were used in combination with silk and velvet for trimmings. A great deal of black was used, but it was not strictly mourning, as it was ornamented with jets or lace.
The "polonaise" was worn over a kilted or flounced skirt of silk; it was a garment which was fitted in front from the shoulders to about the knee, and had two Watteau plaits, which were looped up to form a large bustle in the back. It was buttoned straight up the front to the neck, where it was usually finished with a standing collar and a ruche; the sleeves were tight and long. A great deal of attention was paid to the fit and cut of this garment, and the fashionable figure had a very small waist and high bust-line.
Many amusing tales are told in connection with the bustle. An American woman who had married a German and was living abroad had a little maid who was much surprised to see her one day without her bustle. She confided to her that she thought all high-born ladies were born with them,and only the poor peasants without. Another tale is told of a lady living in Washington who had just acquired a very beautiful red velvet gown in the latest style with a huge bustle. She wore this gown to church one day and noticed every one looking at her, but thought they were admiring the costume. When she reached home, however, she discovered that one of her children had placed a small toy rooster on her bustle and she had carried it there all the way to church and back.
Even the manner of walking was changed and the Grecian bend, as it was called, became the style.
Kid shoes with rounded toes and high heels, after the fashion of Charles IX, were worn in the house; they had low vamps and were ornamented with a square buckle set with rhinestones or cut steel.
For outdoor wear the dolman, a wrap shaped somewhat like the polonaise, but with circular open sleeves, was the style, and with this was worn the small bonnet, similar to that worn in 1870, except that strings had been added.
These same fashions continued for the next decade, changing only in the added amount of trimmings, which cost fabulous prices. Some gowns had fifteen and twenty flounces, and buttons of all kinds, bronzed, oxidized, and chased, were used indiscriminately. All principles of design were violated in these creations, and probably many of hygiene as well. All dresses had long trains, and to protect the material from the dirt of the streets, a white muslin, lace-trimmed ruffle, called a balyeuse, was basted inside the hem of the skirt.
To add to the uncomfortable dress, great quantities of false hair were piled on the head. So great was the demand for this that the hair-dressers of Paris sent agents through the provinces in the spring to trade gay-colored cotton prints for the hair of the peasant girls. The street-sweepings of Paris were searched, and agents were even sent as far as Egypt and Hindustan in search of hair.
By 1880 the styles show quite a decided change. This was the period of the jersey and the kilted skirt; it was adopted from England, where it had been originated by Lily Langtry, the "Jersey lily," as she was called, to show her beautiful figure; it was worn by practically every woman and child.
Dress was more sane for a few years, as very little trimming was used and that in the same shade rather than a contrast.
This was also the beginning of the "tailor-made" for women, which practically revolutionized outdoor dress. In its early years it was fitted snugly to the form, the object being to look as though the figure was melted and poured in, and the tailor who could fashion a waist or coat without a break or wrinkle might consider his fortune made, for only men's tailors were considered fit to make these costumes.
By 1890 a decided change in the size of sleeves and the width of the skirt revived the fashions of 1830. Leg-o'-mutton sleeves held out by reeds, and skirts with "godets," i. e., a gore slanted off on each side and lined to the knee with haircloth, changed the silhouette to the hour-glass once more. Fortunately the hoop-skirt was not brought back, but the ridiculous hats were, balanced this time on a huge pompadour of hair.
The principal change for the next ten or twenty years seemed to be in the size of the sleeve and the fulness of the skirt, the former growing larger at the top or larger at the wrist or tight all of its length. Skirts remained practically plain, but sometimes they were extended at the bottom, sometimes at the top, by means of drapery ; they were short, and they dragged on the floor with long trains, but not on the street. Women were beginning to study the principles of cleanliness and health, and this was having an influence on costume for the first time.
Late in the '90s our corset-designers made the first straight-front corset, which was a decided innovation, and meant comfort and better health for women. The kimono sleeve was introduced from Paris about 1910, and that, with the open neck, have added much to the comfort of the modern costume.
All nations are still looking to Paris to set the fashions, but each country is now adapting them to their individual needs, and even the French designers realize this and make special designs for each.
The industry of ready-to-wear clothing has increased tremendously in the last fifteen years, due probably to the fact that women have entered the business world to such an ex-tent that they no longer have the time to waste on custom dressmakers, or in making their own clothing. The demand for costumes to suit all occasions has been met by the designers, who are being trained in this country.
Several standard styles have developed that have little or no connection with the dress of bygone years, but designers still return to those for most of their inspiration.
There has been a movement on foot to revive the decorations and cut of the garments worn by the aborigines in this country, whose attempts at decoration on pottery, baskets, and even clothing are now preserved in the museums. Very beautiful effects in color and design have been obtained in this way. We are also encouraging our talented girls and boys to take up the profession of designing for materials as well as costumes, and exhibits are held each year and prizes offered for the best results.
Many efforts have been made to establish a standardized dress for women as well as men; so far not much has really been accomplished, as woman is not yet willing to discard her coquetry and caprices and desire to charm. get its name? Discuss it from the viewpoint of its modern successor, the sweater.
Fashion, like an impressionistic picture, must be looked at from a distance in order to get the effect that the artist desires to convey. But fashion, unlike the picture, does not always improve when looked at from a distance, that is, a period of time.
Uzanne says that "an ancient fashion is always a curiosity, a fashion slightly out of date is an absurdity; the reigning fashion alone in which life stirs, commands us by its grace and charm, and stands beyond discussion."
A chapter on modern modes is apt to become a dead number in the time that elapses between the writing and the printing; therefore, all that can be done is to give a resume of the definite styles which have lasted a decade or more.
In what way may the term style be differentiated from fashion in regard to dress? Style is usually applied to a mode that has stood the test of time, and has been used mere than once; fashion to the fads of the moment. Fashion is fleeting, style more stable and lasting. We revive certain styles, we speak of the style of the Empire, of the Directory, or of the Middle Ages. The dress-designers use these over and over, often once in a decade, with slight changes to bring them up to date.
In looking back over the designs of costume for the last ten or fifteen years, two things seem to stand out as having had a strong influence on modern dress—the motor-car and the entrance of women into the business world.
The motor car has revolutionized head-gear especially. Who does not remember the way in which all the women tied themselves up in veils, or disfigured themselves with motor-hoods in order to keep their hats, which surmounted huge pompadours, from flying off into space, and perhaps carrying some of the puffs and curls which made up the chignon with them ? Contrast these with the bobbed hair and tight, close hats of the present day, which fit well down on the head like a man's hat and seldom require even a pin to keep them on.
With the entrance of women into the business world, the demand came for comfortable dress which did not hamper the wearer in any way, and would hold its own no matter in what situation its owner found herself. It must have lasting qualities as well, for the business woman, like the business man, must not be bothered with constant repairs. It must be easy to put on. The designers set to work and the one-piece slip-on gown was the result.
During the World War, when our boys went into khaki, our girls put on overalls or trousers, assuming the costume of the men as well as their responsibility. Women found this mode of dress so well fitted for certain occupations that they were loath to give it up, and it is no uncommon sight to see groups of women and girls in trousers or bloomers on hiking parties, in girls' camps, and taking part in other athletic sports.
The sport costume might also be traced to the advent of the motor-car. Distances have become as nothing, and the country has been brought to dwellers in the cities. This exodus to the country necessitated a different style of dress, for it meant an entirely different set of pleasures outdoor sports, country clubs, Southern winter resorts. What could be more appropriate than the silk, flannel, or knitted sport suit, or the one-piece dress, that the designers have provided !
Then enters the flapper. Will she be handed down to history as the product of the early twentieth century ? She seems to have made her entrance with the signing of the Armistice. Exuberant youth, breaking over the traces of authority is she the result of too much individuality in early training or just the result of the aftermath of war ?
History repeats itself; after every great disturbance there seems to follow a period of license and fast living, and modern society is almost an exact replica of French society in the first decade of the nineteenth century, even to the excess in dancing and the scarcity in clothes.
The term "flapper" was used originally in England to designate the girl between fourteen and seventeen years of age. And as the name implies, it meant the awkward age, before she had acquired poise and dignity. She was supposed to need a certain type of clothes—long, straight lines to cover her awkwardness—and the stores advertised these gowns as "flapper-dresses."
How the term fastened itself to the modern flapper, with her sophisticated air, her "Ponjola" bob, her painted lips and cheeks, her tight, short dress, with low neck and short sleeves, and her high-heeled, cut-out slippers, is a mystery. Suffice it to say she is here, perhaps to stay, but more probably to fade away like all the fads and fancies of other days.
Many things about modern dress seem sensible and likely to last, but who can say; certainly dress is much more comfortable, and all clothing is lighter in weight than it has been for some time. The dress with the open neck has lasted nearly fifteen years, quite a period for one style. In that time it has changed in shape often, and there have been efforts on the part of the designers to bring back the high collar, but the majority of women have decided against it each time, on account of the discomfort.
Sleeves have run the gamut—long and short, large and small, just enough change to make last year's gown look out of date. Skirts have been full and long, full and short, scant and long, and scant and short. When they were scant and long, it was necessary to design the stepless car. So many women had accidents in trying to get on and off, that the street railroads had to protect themselves in some way.
Materials and colors are very beautiful at the present day. The textile designers are trying to outdo each other in kind and pattern. The chemists have done some marvellous things with the ugly aniline dyes of twenty years ago. They have also perfected the manufacture of artificial silk, which means many new fabrics at prices under those of true silk, and within the reach of nearly every woman.
It is difficult to predict what will happen in the next decade, but it seems probable that if the general public continues to be educated from the standpoint of good design, color, hygiene, and the economic side of dress, that the designers of ready-to-wear clothing will provide styles which meet these requirements, and a safe, sane type of dress will be the result. Already they are putting on the markets styles suitable to the different figures, and "stylish stouts" have become a term in general use in the trade. Most of the best shops also have a department called the "Petite Shop," where the small woman may purchase costumes suitable to her figure, and not be obliged to wear clothes that were designed for the flapper.
The ready-to-wear costume seems to have come to stay. It is no longer necessary for any one to stand for hours while the experienced or the inexperienced dressmaker puts in pins and takes them out again. Only the woman who wishes something entirely different from any one else will go through these tortures and waste of valuable time. Women have too many other interests at the present day to spend hours at their dressmaker's when they can buy the thing they want all ready to put on.


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Minneapolis, MN (PRESS RELEASE – February 17, 2009) – Yugma, the leading web conferencing service that lets people connect and collaborate instantly using the Internet, announced a new version of their affordable service that allows Skype users to instantly and easily host or attend online meetings, share their desktop and fully collaborate with multiple users.
The new Yugma SE (Skype Edition) Skype Extra desktop sharing and web collaboration module allows users to register and log in to the Yugma instant web conferencing service using their Skype Name. The Skype Certified Yugma SE module, which supports the Windows and Mac versions of Skype, is available for download at the Skype Extras Web site. Additional information about Yugma SE can be found at the Yugma website.
This announcement further strengthens the existing partnership between Yugma and Skype under the Skype Developer Program.
"With our new Yugma SE plug-in, any Skype user can sign on with their Skype Name and enjoy the benefits of Yugma when they need to instantly conference and collaborate with others. Yugma Free allows up to 20 Skype users to simultaneously meet and share desktops online," said Vas Bhandarkar, Chief Executive Officer of Yugma. "Skype users can also upgrade to the Yugma Pro service and benefit from these robust web conferencing features: full interactive collaboration with whiteboard and annotation tools, mouse and keyboard sharing, the ability to instantly change presenters, a shared file space feature to distribute files between users securely, webcast recording and sharing and an optional Webinar service at attractive prices."
"Yugma is one of the most popular web conferencing and online collaboration tools available for use with Skype," said Antoine Bertout, Skype Partner Relations Manager, based in Skype's London office. "We are delighted that Yugma has enhanced its popular Yugma SE application to support simpler sign-on for our users who can now simply use their existing Skype Name to collaborate online using Skype."
"The new Yugma SE plug-in brings the benefits of web conferencing and collaboration to millions of Skype users worldwide," said Vas Bhandarkar. "They can easily enhance their Skype communication experience by instantly using Yugma's desktop sharing and interactive collaboration tools between multiple users on multiple systems – Windows, Mac or Linux."
About Yugma, Inc.
Yugma is the leader in affordable instant web conferencing solutions. Yugma provides Free, Professional, and Enterprise web conferencing software-as-a-service (SaaS) solutions to individuals, small businesses, and large enterprises across a diverse range of industries. The core Yugma product technology is a secure, easy-to-use, feature-rich, web conferencing and collaboration software service that allows users to host or attend online meetings using Windows, Mac, or Linux computers at a fraction of the cost of comparable technologies. Yugma technology is scalable from 1-to-1 desktop sharing to conferences for 500+ attendees.
Popular uses of Yugma include hosting webinars, developing and presenting proposals, product demonstrations and sales presentations, enhancing online sales calls, conducting training programs, delivering customer service, holding team meetings and reviews, improving remote support and troubleshooting, facilitating study groups or personal tutoring sessions, hosting virtual clubs or social events, and providing spontaneous collaboration by artists, writers, and designers. 'Yugma' is a Sanskrit word meaning 'confluence, meeting or state of togetherness'. Yugma, Inc. is a privately held company headquartered in Minneapolis with offices in Silicon Valley and New Delhi, India.


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I've been told that I'm a fomo. There are worse F-words to be called, but for some reason it still doesn't quite sound like a compliment. The "Fear of Missing Out" (F-O-M-O…get it?) often causes me to engage socially when I'd really rather stay home, or even just be by myself. Even though my introverted nature causes me to get easily worn out by large groups, I can struggle to pull myself away from a group of people that I enjoy, even when what my body and spirit needs is just to be alone. Heaven forbid people could have a good time without me there! I don't want to miss out on the fun, connection, and life that I easily assume others are experiencing when I'm not around them.
My fomo tendencies play out in other areas of my life as well:
I say yes to invitations to get drinks with girlfriends when I'm exhausted because I don't want to miss out on an opportunity to spend time with women I love and crave connection with.
I commit to projects I don't really have time or energy to complete because I don't want to miss out on the chance to use my passions and gifts to accomplish something significant.
I'm currently putting a ridiculous amount of pressure on myself to choose just the right preschool for my daughter because I don't want her to miss out the best schooling experience she can possibly have. (Are you kidding me? It's preschool. It. Doesn't. Matter.)
My fear of missing out on the life I hope to live often causes me to miss living fully in the life I'm actually living.
I went on a short hike yesterday with a few beautiful friends who I rarely get to see. We spent the weekend gathering together in hopes of learning to be still and listen to the voice of God in all its creative forms. I'm a closet hiker—I don't ever do it, but when I do have a chance to walk through nature, my soul feels alive. (Side note: why don't we do the things that bring our souls to life more often? Like, all the time! We need to fight for the things that bring us back to life, and relentlessly cut out the things that kill our souls…but I think that's a topic for another time.)
There is a long staircase built into the side of the hill where we were staying, with a resort at the top. (I know what you're thinking…who gets to stay at a resort with girlfriends for the weekend?! Seriously, I'm the luckiest girl ever. I'm aware.) As I was walking down this beautiful staircase taking us down a steep hill to the river below, I kept finding myself looking at my feet to make sure I wasn't going to trip on the next step. There was a handrail on both sides, and I started to grab it so that I could keep up with my friends at the same time as I looked out at the majestic view of the valley all around me. I had to choose either to walk fast enough to keep up or to be present in the wonder that surrounded me.
In that moment, as I was torn between grabbing the handrail to be able to look out at the view and looking at my feet to keep from falling down the stairs, the thought came into my mind, "If you slow down, you won't miss a thing." At a time when I'm learning to trust those life-giving answers to my internal questions as the voice of God, I decided to listen. I let the people behind me pass by as I slowed to a pace that allowed me to walk without holding on, while also having the freedom to look up and notice what was right in front of me. There were animal footprints pressed into the cement in the stairs, there were tree-covered mountains surrounding us on every side, the air was fresh and clear, the sun was shining brightly without wind, there was a peacefulness about the morning—and I was able to just drink it in because I wasn't in a hurry to get down the stairs.
My life has been far too hurried in the past couple months. Maybe I'm just that much more aware of our frenzied pace because of its sharp contrast with the time were able to slow down as a family while Corey was on sabbatical this winter. Maybe I'm just afraid that if I say no to opportunities that excite me today, there won't be another chance to live the life I hope for in the future. (There's that fomo thing again. Dang.) Either way, I think there is deep truth that God is showing me in my tiredness from trying to fit too much into too little time: winning the race does not require running it fast.
There is beauty that constantly surrounds us and we can't see it if we're sprinting full steam ahead—instead, all that we notice is how tired we feel. We become consumed by keeping up with (or beating) those who are running beside us. We focus more on getting to the end than enjoying the race, because taking time to look around during a sprint might cause us to lose our footing and even collide with those who are also trying to run as fast as they can. I sensed God telling me during this past weekend spent with others who yearn to live the life they are created for, that faster isn't better, Jillian. Slow down so you don't miss a thing on the path you're walking. Just enjoy the scenery and delight in the process of "going"—don't be in a hurry, just be on the lookout.
I'm writing this as a reminder to myself, because I am painfully aware of my forgetfulness. I forget things daily, from the things that weren't on my grocery list to what I was supposed to be grabbing from the other room—I even legitimately forgot my own age a couple weeks ago! (I thought I was way too young for that…but my husband reminds me often and lovingly that I am not as young as I think I am.) Yet, I don't want to forget these moments of utter clarity, where I am able to see my life and purpose in a way that changes the way I want to live out my days. I don't want to forget God's sheer goodness, to me and in who he is. I don't want to forget that I am created to reveal God and his love to the world, that his beauty is everywhere, and that I'll explode if I keep what I see of him to myself!
May we all have eyes to see the beauty and goodness of God displayed in the world he created, the people he placed bits of himself inside, and in the endless creativity of all the ways he reveals himself to anyone willing to look.


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Actually everyday I am seeing more and more problems with this new format.. Think of solved problems for example.. To find problems which I started solving, I need to go through all those solved problems..
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I am not sure if this is particular to me, or maybe I am missing something about the changes, but since the switch to the continuous news feed style of problem dispensing, I have noticed that the site seems less rewarding and less social. Before, problems would have a focus for a week and in that time solutions could be posted and discussed with the knowledge that those problems had the stage, so to speak. Now it seems that once a problem is solved, it is more or less forgotten and it is on to the next one. Maybe this will change with time but I feel much less inclined to write out a solution when there seems to be less discussion. There are good things about the feed style such as having more problems to solve but it would be great if there exists a way to have a kind of stickiness for problems to promote discussion.
Another issue, and again I am not sure what is involved with this because I don't know how problems are chosen for each users feed, it seems that being ranked in the highest levels for a topic is a very lonely problem solving place to be at. There seems to be much less discussion and solution posting than there was in the old system. In the old system, level five people would still get problems that were shown to the lower levels and therefore correspond with users in the solution thread, but now I'm only shown problems that are deemed challenging enough for my level. They are definitely more challenging on average but it also makes a kind of barrier that previously didn't exist.
Are there plans to make search functionality on Brilliant?
Also, are the old solutions from the pre-news feed era lost to history? I put quite a bit of time into writing some of my old solutions but never thought to archive them on my computer, assuming Brilliant would hold onto them. Is there any way to get them back? Could profile pages feature the solution history of users?
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Alimony Investigations are becoming more a more popular each and every day. These investigations could pay dividends tenfold. Many times in a divorce alimony is imposed and in some cases it could be indefinite. However what most people do not realize is that Alimony can be reduced and even eliminated if there is a change in circumstances. There is something referred to as Co-habitation. What that simply means is that if it is more likely than not that your ex is residing with someone else, despite the fact that they might each have separate residence, then you can petition the court to reduce or eliminate Alimony.
I guarantee that if your spouse is legitimately co-habitating with someone, and if you follow our recommendations, then we will provide you with the proof you will need thus saving you tens of thousands of future dollars.
– Owner, Christopher Halscheid
You must remember however that it is not the duty of the court to investigative your suspicion that the your ex is co-habitating with someone. It is your responsibility to prove your suspicions to the court. The good news is that you do not need to prove it beyond a reasonable doubt. The standard is- preponderance of the evidence which merely means that if you show that it is more likely than not then you have proven your case. Most Matrimonial attorneys throughout New Jersey and Eastern Pennsylvania retain our services because of our outstanding reputation of providing results where it was thought to be impossible. Even opposing attorneys from previous cases hire us on their next case because they learned the hard way just how good we are; that in of itself should tell you something.
It is important to build a solid case because you will only have one chance in court; if you fail to prove your case because the case was not build soundly then you dramatically diminish your credibility with the courts and a favorable future outcome is slim. An agency that specializes in such cases is the key ingredient needed for success in these types of cases; the next important ingredient is patience.


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New Employee System Setup
Bring all of the steps of the onboarding process into one location for the hiring manager and service providers.
New Email Address
When a name change happens in HR, trigger an automated step in the process to update the employee's email address, complete with forwarding of their old inbox so nothing falls through the cracks.
Application Access
Who needs to approve a new license request? Do you have an available license on hand?


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Golden Knights
All you need to know about
"Golden Knights" chess club.
Puzzles Database
Practice as if you are the worst
Perform as if you are the best
Valer Eugen Demian
Direct links to online articles by Eugen
Club News
Aiden Leong (D10) is Club Champion 2019
Zhengyu Chen and Justin Tian (D12) are Rookie Champions 2019
Final results are posted HERE
Learning chess is fun and easy with the iOS app!
Chess Blog
Interactive games and puzzles,
news, articles and much more.
Correspondence Chess News
Coming soon.


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The Safe Motherhood Project is a group of Canadian and Guatemalan nurses, doctors, midwives, traditional birth attendants, and volunteers. We provide education and training to rural Mayan midwives and traditional birth attendants throughout Guatemala. Over the years, the Salmon Arm Daybreak Rotary Club has supported this project financially and in 2016, two Rotarians joined the medical team to help support in a more practical way.
Guatemala has one of the highest maternal mortality rates in the world, 30 to 60 times higher than in Canada. Hemorrhage, eclampsia and infection are the major causes of death of women during childbirth. Seventy per cent of women in rural Guatemala give birth at home under the care of a traditional birth attendant, or "comadrona," who in most cases has no formal education or training. Often the closest hospital is several hours away.
Since 2003, a group of Canadian volunteers and a team of Guatemalan midwives have travelled annually to rural Guatemala to teach comadronas emergency birthing skills. The course runs for four five-hour days. At the end of the four days, each comadrona who completes the course receives a kit of birthing supplies. The course has been well received. Each year there has been increasing enrollment and more and more communities are requesting the course.
You can read a more about the project and what they teach on their website www.safemotherhoodproject.org


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Regular price $ 80.00
FREE SHIPPING. Always. No code necessary.
great for travel - lightweight - eco friendly - great traction
At 1/8" thick, the Jade Travel mat is great for yogis on the go, and for those who like closer contact with the ground, along with a little cushion! Even better? The Jade Travel Mat folds up to fit easily into your luggage, allowing you to take your practice with you everywhere.
Jade mats are made in a sustainable manner with natural rubber tapped from rubber trees, a renewable resource. Unlike other mats, Jade mats contain no PVC, EVA or other synthetic rubber, and are made in the United States in compliance with all US environmental, labor and consumer protection laws. And, Jade Plants a Tree for every mat sold – with over 1,000,000 trees planted so far.
Yoga Mat details & care
- standard mat size: 24"W x 68"L x 1/8" thick
- light track texture for easy grip
- made with natural rubber from rubber trees
- no PVC, EVA or other synthetic rubber
- spot clean with damp cloth, for a deeper clean wash with water & vinegar; dry flat
- avoid sun for extended periods
- made in USA
- by Jade Yoga


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Alain Gagnol and Jean-Loup Felicioli, "Une Vie de Chat / A Cat in Paris" (2010)
Some kitties are happy to spend their hours traipsing from one household to the next getting free feeds but here's a pussy that lives two of its nine lives in parallel: by day it's a little girl's companion and by night it roams the roof-tops of inner-city Paris with a cat burglar! Yes, in this slim animated family film, the cat Dino leads a double life straddling both sides of the law as accomplice to abseiling thief Nico and beloved pet of Zoe, a lonely child traumatised by the death of her police officer father. Her mother Jeanne, a police superintendent, is on the trail of the killer Costa. Little does Jeanne suspect that the nanny Claudine she hires to care for Zoe is in fact in league with Costa and his team of hapless gangsters who themselves are part of a team of workers moving a priceless museum antique known as the Colossus of Nairobi which Costa wants for his own collection.
The film starts a bit slowly but gets going once Zoe decides to follow Dino on his nocturnal rounds and she falls into the clutches of Costa and his thugs very quickly. Dino and Nico rescue the child but Costa's determined pursuit of Zoe draws everyone into a continuous action thriller plot that ranges through the streets and across the roofs of Paris, culminating in a stand-off involving Costa, Nico and Jeanne at the Notre Dame Cathedral in sequences that pay homage to Alfred Hitchcock films like "To Catch A Thief" and "Vertigo".
The film is most notable for its animation style that harks back to surrealist and minimalist modern art styles used in the 1950s when animation cels were painted. Characters look a bit crude but there are moments in the film where the surrealism is effective, especially in those scenes where lights are blacked out and one character puts on night goggles. The plot is a Hitchcockian story that features a McGuffin object (the Colossus) and two characters who may be in search of love and who are brought together in the most unexpected way. I'm not sure that the plot is all that suitable for children to watch: it is quite violent in parts (the running gag with the barking dog is funny but unnecessary) and for all his bluster Costa is a very sinister and malevolent figure. His henchmen on the other hand are clowns and buffoons, and one gets the impression that the film is trying to satisfy too many expectations and audiences and is failing at achieving any of its ambitions. Few of the characters are at all convincing and they are very one-dimensional.
In all, this is a very pleasant film which could have been a major children's animation classic but falls far short. The film could have done with another half hour to flesh out its characters and develop the plot into something a bit more realistic while still remaining whimsical.


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Seriously, in between all the running, jumping, swimming and sprinting, the Olympic organisers can't spare one measly minute to remember 11 men murdered for daring to compete for their country?
You mean to tell me that there's no room for a brief interlude during Danny Boyle's opening extravaganza – not even when the rain is coming down from his fluffy fake clouds? Or during one of the minor events, the ones the organisers are practically giving away tickets to?
It is 40 years this summer since Ankie Spitzer's husband, Andre, then a promising fencer, was murdered along with 10 other Israeli athletes who had come to Munich with dreams of medals, not massacre. In Olympic history, the terrible events of September 1972 remain a dark day in a back catalogue of glorious achievement.
Earlier this year Spitzer launched an appeal for the IOC to support a minute's silence at the games in memory of the 11 who died, as happened in Vancouver as a tribute to another athlete who died in tragic circumstances.
Some 87,000 have backed her petition, as have myriad politicians and public figures, among them the German government, the US Senate and shadow Olympics minister Tessa Jowell.
Yet the IOC says no. Jeremy Hunt, the culture, media and sport minister, has refused to give his two pennies' worth. Meanwhile Lord Coe, chair of the London Organising Committee, displayed extraordinary tactlessness in his response to Spitzer, inviting her to a memorial event she herself is organising. He has now agreed to hold a "personal" memorial during the opening ceremony, but it's a concession that has taken far too long to make.
The Olympics are fundamentally about bringing people together, not dividing them along political lines, which is why Syrian show jumper Ahmad Hamsho can compete, despite his proclaimed loyalty to a government that is steadily butchering its people.
It's why the Olympics were held in China, a country not known for its all-round dedication to human rights. It's why the Saudis get to field a team, despite their reluctance to give women their turn. It's why Iran's hopefuls – a number of whom have in the past outright refused to compete against Israelis – get the benefit of the doubt and can still go for gold.
Now it would be naive to presume an international competition, even one that is supposedly above the rivalries of state governments, could be held in a vacuum. Athletes will arrive later this month at Heathrow, bringing with (assuming Britain's airports can cope) more than just the baggage of their sports equipment.
Still, the Olympic charter is clear on prejudice, namely, that "any form of discrimination with regard to a country or a person on grounds of race, religion, politics, gender or otherwise is incompatible with belonging to the Olympic movement".
But what is the IOC's stubbornness if not discrimination? What if the athletes killed in 1972 had been American, or French, say? Would we still be having this debate?
It seems clear that the IOC is worried about rocking the boat, angering Arab nations by honouring men who were killed by Palestinian terrorists. It's afraid to take Israel's side; it does not see it as a gamble worth the cost.
There doesn't have to be pomp, there doesn't have to be ceremony. Just 60 seconds of quiet. Usain Bolt could run the 100 metres 10 times over, but the rest of us wouldn't get much done. It's such a tiny symbol, negligible in the many, many moments that will make up the Olympics.
Yet it could be an opportunity for the Olympics to live up to its lofty ideals, to promote tolerance and educate a new generation about one of the bleakest points in the competition's history. And, ultimately, it could come and go, making a difference to those who care, but offering a tea break for those who don't.
The Olympic charter claims that the games "are competitions between athletes in individual or team events and not between countries". So let's follow that lead, and remember 11 men, not as Israelis, but as athletes.
• Follow Comment is free on Twitter @commentisfree


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Alexandria Events, Coupons, Reviews!
Walt Disney World Resort Orlando, FL 32830
May. 1st - Dec. 31st
SAVE on Tickets to WALT DISNEY WORLD - ONLINE ONLY - Tickets starting at $42 - You cannot redeem this coupon at the entrance or ticket window. You must go to https://www.orlandofuntickets.com/Magic-Your-Way-Tickets/ to receive your discount and purchase your tickets.
Expires: Jan. 31st, 2020
Sep. 28th
Girls Leadership is a national nonprofit that teaches girls to exercise the power of their voice. Our 1-hour online talk addresses the new challenges our girls are facing. Raising Resilient Girls at Home means raising girls experiencing increased anxiety and stress and spending more time online navigating relationships; it also means modeling for our kids 24/7 without an end date in sight.
Girls Leadership's New York Board Chair & Educator Crystyn Wright offers a reflection on how you can use this parenting moment as an opportunity to lay the foundation for wellness, voice, and influence.
This is a free community event. If you are able to support our mission we ask for a suggested donation of $10. Your support helps us teach girls and their adult influencers the social-emotional skills to come through this time more connected, resilient, and more powerful than ever before.
Please email firstname.lastname@example.com with any questions and register for the event by visiting https://girlsleadership.org/parent-education/
Oct. 1st - 31st
"ABSOLUTELY HALLOWEEN is ABSOLUTELY GREAT!" raves showmag.com. "An absolute family treat!" exclaims The Tolucan Times. It's the classic Family Theatre Halloween musical for Kids 2 to 102 - On-Demand so you can watch it right in your own living room, kitchen, den - wherever and whenever you like. It's the heartwarming Rudie-DeCarlo tale of the aptly-named Candy, a sweet young girl who learns some surprising lessons about life, love, laughter, and sugar, from a delightful array of characters who take her on a magical All Hallow's Eve adventure. Help Cattypuss, Patty Patches, Stuffy Steve, Lester the Jester and Fifika the French Fortune Teller happily save Halloween for one more year.
ABSOLUTELY HALLOWEEN is one in a series of original Rudie-DeCarlo fairy tale musical comedies that make up the award-winning Family Theatre Musical Matinee Series for Kids 2 to 102 now celebrating its 51st year as it cuts across the imaginary generation gap by providing an experience the entire family can enjoy.
Helmed by Graham Silbert from Chris DeCarlo's original direction, with book, music & lyrics by DeCarlo, Evelyn Rudie & Matthew Wrather, ABSOLUTELY HALLOWEEN features Celeste Akiki, Tiffany Haile, Sarai Jimenez, Mei Tam, Rodney Walker, with special guest Cate Johannessen from the UK and Silbert as everybody's favorite feline Cattypuss. The ingenious costumes are created by Silbert and award-winning designer Ashley Hayes, with production and graphic design by The Attic Room. What's the one holiday show you absolutely cannot miss? ABSOLUTELY HALLOWEEN of course! October 1-31 only!
Santa Monica Playhouse is supported in part by the City of Santa Monica and the Santa Monica Arts Commission, the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture, the Ahmanson Foundation, the Rotary Club Foundation, and Playhouse PALS.
Oct. 10th - Dec. 27th
Free Mini Photo Session with A Local Photographer
Free to book! Capture you and your loved ones (furry ones included!) with fun 30 minute photoshoots with vetted local pros.
Sessions available every Saturday and Sunday. Multiple locations to choose from. Select the date, location, and time slot that works best for you.
Book your session here: http://bit.ly/FamilyPhotoShoott
Sessions are complimentary to book and last 30 minutes.
Receive a digital gallery of 40+ high-res photos to choose from 3-5 business days after your session.
Pay only for the ones you love at $15/photo with package deals of $120 for 10 photos or $240 for your entire gallery of 40+ photos. All photos in your gallery will be adjusted for color, lighting, and cropping.
Rated 4.98 Stars on FB, Google & TripAdvisor
About Shoott
Shoott is a female-run company that seeks to make professional photography more accessible to everyone. Shoott offers "Insta-worthy" 30-minute outdoor photo sessions that are free to book and allow customers to pay only for photos they love at $15 per photo or less. We're able to provide quality at this price point because of how we work with our photographers.
Oct. 12th - 16th
Delicious Dinners : Cooking American Family Style
You are purchasing a ONE Week Virtual Cooking class that begins at 4:30pm on Monday, Tuesday & Thursday. This session begins October 12.
The ingredient list is attached for what you'll need for every class.
Each class is step-by-step cooking instruction that ends with dinner on the table. Each Monday, is a plant-based dinner that encourages a balanced diet.
Classes are approximately 90 minutes. Many classes will have supplemental videos to support your weekly classes.
Week 6:
- Monday: Mushroom Walnut Bolognese, Focaccia
- Tuesday: Sausage & Shrimp Gumbo
- Thursday: Cincinnati Chili
We have attached a daily ingredient list for you to take inventory of your pantry and refrigerator. The PDF attached once you purchase the class will give you policy information including: Daily Ingredient Lists, Member Access, Webex, Allergy, and more.
CANCELLATION POLICY: No refunds will be given once class has been assigned to pre-paid customers, or once it has been purchased by new customers.


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Earlier today I posted a massive panorama from Hong Kong that I took over the weekend. Instead of attaching my panorama process on that post I thought it warranted a completely separate post (mainly so I can link to it from future posts instead of typing it out every time…#lazy). As a reminder, here's the image.
To take panoramas I strongly recommend purchasing a pano head for your tripod. I strongly recommend that to myself also but I've yet to buy one (the one I want is expensive), so I just use my regular Mefoto Globetrotter tripod head, which works decently well, although a pano head and L bracket are next on my Gear to Buy list. I had my 90mm lens on my Sony a7rII for this pano.
The Process
The process I typically go through (using the above pano as an example) is as follows:
- Position the tripod as level as possible.
- Turn the camera into portrait/vertical orientation. Why vertical if I'm shooting a horizontal scene like this? I need as much room above and below the subject of the image as possible, knowing I'll lose some of it because I don't have a pano head for my tripod. If I shoot a vertical panorama I similarly orient the camera horizontally.
- In aperture priority, set the camera to the ISO and aperture (f-stop) that I'd like (in this case, ISO 50 and f8).
- Slowly pan the head of my tripod across the scene and note the exposure time my camera calculates, which will vary throughout the scene. In this case it was reading 5 seconds in the brighter areas and 8 seconds in the darker areas. Knowing that 8 seconds would be way too much for the brighter areas I settled on a 5 second exposure time, knowing I'd be safe across the entire scene.
- Change the camera into Manual mode, set for a 5 second exposure at ISO 50 and f8.
- The Globetrotter has a panning head, which makes the next part easier. Starting on the right, I took an image, panned the tripod left until about 30% of the first image was in the frame, and took another image. I went from one side of the scene to the other, trying to overlap about 30% with each image, and it took 5 shots to cross the skyline (you can do this part handheld as well, just not with long exposures).
- I take the raw files into Lightroom and apply my typical edits to one of the images (I usually pick the brightest image), highlight the other four images, and sync the edits across all five (note: do not apply Lightroom perspective correction before this step).
- Once the files are ready, I highlight them, right-click, and go to the Edit In menu and select Merge to Panorama in Photoshop, or something like that (I do not use Lightroom's panorama functionality very often, most of the time I just use it to preview how the image looks before sending it to Photoshop).
(Note: if you aren't comfortable with Photoshop and would like to use Lightroom's Panorama tool, available in versions 6/CC and later, to accomplish this, skip the next few steps)
- Photoshop will blend the images together. There are other programs that do a better job than Photoshop (PTGui comes highly recommended from others) but I find Photoshop is usually good enough for me.
- Once the images are all set, I'll flatten the image into a single layer. Some would say to not do this and just make a merged copy of all the layers, but my file sizes are massively large as it is (over a GB before I start adding layers) so I flatten everything out.
- To ensure all of my verticals and horizontals are right I use the Adaptive Wide Angle filter (Filters -> Adaptive Wide Angle). This brings up a dialog box that attempts to adjust the image for me but gives me some powerful manual controls. Lets take the Bank of China building in the panorama above (it's toward the left, the one with all the white diagonal lines on it). I know the sides of that building are supposed to be vertical. What I do is hold down the Shift key, click on the top of the building, and drag that line to the bottom of the building using the zoom window to the right. You'll notice the line may bend as you're dragging it, that's expected. When I let go of the mouse, the filter will make whatever the line covered completely vertical. I'll spend 10 minutes or so finding any easy to access vertical lines in the image and make sure they're adjusted, then try and find an obvious horizontal line (in this case, the shoreline) and do the same thing.
(Note: if you merged the panorama in Lightroom, we're back!)
- Once I have a good image that has good verticals and horizontals I crop the image to the desired composition. Without a pano head on your tripod you'll end up losing quite a bit of the images on either end of the image due to the parallax effect. Lightroom has a new feature called Border Warp but I've never been a fan of distorting the borders unless absolutely necessary (your mileage may vary, which is fine).
- Once everything is cropped and level I proceed with my typical workflow, usually involving Nik Color Efex Pro 4 and maybe some sharpening on top of that.
- Finally, I post to my favorite travel blog ever 🙂
Still with me?
Whew, that got a little nuts! If nothing else I hope it helps give you aspiring photographers some ideas and opens a door to something you may not have known was possible with the tools you have today. I know it sounds a little complex but it's pretty easy once you try it a few times, typically the longest part of the process is waiting for Photoshop to take the files from my camera and merge them together (which is why many like the Lightroom function, it works a little quicker).


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The Carius and Disouther Labs are boss encounters located at Rope Isle.
You need Crom Citizenship and a Disouther Permit to access the labs.
You need Disouther Fuel to summon the bosses.
The Disouther Lab bosses drop materials for making level 91/94 Fine armor.
Crom Citizenship
Third-grade Citizenship
You need Third-grade citizenship to access the Carius Lab.
You need to collect 60 drops from two different areas.
You can talk to the Crom NPC at either town to get citizenship.
Second-grade Citizenship
You need Third0grade citizenship before you can get Second-grade citizenship.
You need Second-grade citizenship to access the Disouther Lab
You need to collect three different types of items that drop from mobs in the Eastmaze/Westmaze areas.
Disouther Lab Permit
You need Second-class Crom Citizenship and a Disouther permit.
Each permit is an upgrade of the previous permit and allows all the access of the previous permit.
Disouther Permit 3 will allow you to summon all three bosses.
Disouther Permit 5 will allow you to summon all three bosses with a 10% fuel discount.
Disouther Fuel
Disouther Fuel drops in Riall's Crystal Henge and Crystal Altar.
10 mob drops can be converted into 1 Disouther Fuel
Disouther Bosses
Disouther Fuel shows normal amount and discounted amounts
You need four boss drops to make each item
Bosses will drop from 1 to 3 boss drops per kill
You will need 676 (76+224+376) to 238 (34+75+129) Disouther Fuel to get a complete set of Fine Armor.
Level 96 Solar Phoenix
Disouther Lab
Level 96 Surtr
Disouther Lab
Level 96 Elder Kroness
Disouther Lab


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Accounting & Office Services
Every business, small or large, needs to have regular, up-to-date and accurate information about its performance and financial position. Nowadays annual accounts are simply not enough. Investment in a computer accounting system is a wise decision.
However for the small business with a small or non-existent office staff, purchasing a computer accounting system can pose a problem. Small business owners often do not have the time or the know-how to produce the type of reports they really need, and do not want the expense of an office base and staffing overheads.
If this sounds like you, we have the solution to your problem. Our experienced staff can take care of all your monthly accounting and administration needs. We can process your accounts at our own office, thus avoiding the necessity for you to purchase your own computer and software as well as saving you the staffing overhead. Where necessary we may be able to come to your office as a temporary measure during staffing emergencies.
We can provide the following services:
- Debtors
- Creditors
- Cash Book
- Job Costing
- GST Returns
- Monthly management reports – Trading Account, Profit & Loss, Balance Sheet, Cash Flow
- Budgets/Comparisons
- Administration
- Draft year end reports and liaising with your accountant
- Other accounting services as required.
Contact us today if we can help your business in this way.