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Say Yes to Decorating With Floral Prints
No matter the design style, florals fit into any space. These timeless patterns instantly add brightness and life to your home.
Photo By: Travis J Photography
Photo By: Dan Piassick
Photo By: Regan Wood Photography
Photo By: Regan Wood Photography
Photo By: Mike Schwartz
Photo By: Regan Wood
Photo By: Kathryn Ivey
Photo By: John Woodcock Photography
Photo By: janis nicolay
Photo By: Shutterbug
Photo By: LOCZIdesign
Photo By: Susan Schwab
Never Goes Out of Style
A pairing as old as time — floral wallpaper and dining rooms remain a favorite combination. For this pre-war dining space, Osborne and Little's "Jewel of Spring" wallpaper with oversized parrot tulips in chartreuse and gray brings a fresh, modern twist to the classic architecture. Continuing the contemporary take on traditional design, the horseshoe chairs surrounding the farmhouse table are painted Windsor blue.
A Timeless Take
Vintage florals don't mean granny style. This all-white kitchen with its clean-lined cabinets gets a note of retro blooms with simple Roman shades that nod to a bygone era while still looking perfectly updated. To add warmth to the cottage space, glossy wood is used for the island countertop and barstools, while terracotta tiles ground the floor.
Pretty in Pink
Soft pink wallpaper with oversized florals sets the scene for this charmingly bohemian girl's bedroom. The crochet swing makes for a cozy reading spot and adds a touch of whimsy, while scalloped details throughout the space nod to the feminine atmosphere. Each element features a rounded edge, from the mirror to the end table, bringing instant softness to the room.
Statement-Making Display
A large-scale floral pattern flows seamlessly from the walls to the ceiling in this contemporary entryway. The color palette of black, white and neutral keeps the oversized print from overpowering the space. For one last splash of flowers, the drum pendant's shade showcases black-and-yellow blooms.
Understated Elegance
Not every floral addition has to be bold and showy. In this sophisticated bedroom, the canopy curtains feature a delicate print in subtle shades of gray and yellow. They create a restful environment with the just-right touch of feminine appeal.
Bring on the Luxury
A tufted velvet headboard plus damask bedding and curvy, statement-making light fixtures are all set on a backdrop of sophisticated floral wallpaper. A feminine boudoir doesn't get more sumptuous or relaxing than this. Sleek, contemporary nightstands with simple gold pulls flank the bed to balance out the richness of the rest of the room.
Backdrop of Florals
Add a daily dose of flowers to your kitchen. A custom-designed backsplash uses mosaic tiles to create a climbing vine of beautiful pink roses above the bookmatched walnut cabinets. The bright pink island is color matched to the BlueStar stove, reflecting the flowers' playful hue.
Artistic Touch
Watercolored-inspired wallpaper brings muted purple, gray and blue hues to this mostly white powder room. Beadboard wainscoting combined with the simple vanity evokes a cottage feel, while the hexagonal tiles add stylish texture to the floor.
Chinoisserie Chic
This living room's gray monochromatic scheme gets a jolt of color from the floral Roman shades. Bearded dragons, Chinese lanterns and rich flowers combine in the Schumacher "Chiang Mai Dragon" fabric for the window treatments, giving the contemporary space an element of timeless, Asian flair.
Field of Flowers
Embracing nature to its fullest, these springtime-inspired armchairs combine with natural wood furnishings (including a tree stump!) for a fresh and bright library. The entire space is grounded by a custom green rug that creates the effect of grass underfoot.
Mix of Styles
Even if you're a lover of both contemporary and traditional styles, you don't have to choose just one floral print. Designer Emily Henderson uses a contemporary metallic wallpaper for the entryway, then continues floral prints in the dining room's classic pink-and-yellow curtains. The key is using one floral that works as a neutral, like the wallpaper, so that it doesn't clash with the more bountiful print.
All in the Details
If you're not ready to go full-on floral with a wall or piece of furniture, start with a few accessories. A pretty lamp shade and a ceramic floral vase add small floral touches to this bedroom without going overboard.
Just a Touch
Another small way to add floral style is through pillows. Florals play well with other prints, from stripes to geometrics, since they bring cheerful patterns to the design. These yellow Ikat armchairs get a dose of bright color from a pair of flower-filled throw pillows.
Freshly Picked Decor
Beautiful blooms are just right for a girl's bedroom, and they don't have to be dainty pink roses. Look for a modern take on whimsical flowers, like this bedding in an array of blue, coral, green and gray. The hue of the coral walls is pulled from the linens for an up-to-the-minute look that's still quintessentially girly.
Dramatic Flower Play
Even in the most modern of spaces, the right floral print can find a home. This open floor plan uses white walls and floors as a base for the design but is infused with loads of bold color. The turquoise floral fabric of the lucite dining chairs is the jumping-off point for all the other colors used throughout the living areas.
A Nod to the Classics
Instead of matching the contemporary style of this all-white bathroom, traditional floral wallpaper is hung to create a chic juxtaposition against the clean lines. Rich shades of black, pink and orange jump off the all-white walls and add bold depth behind the relaxing soaker tub.
Blooms Underfoot
Graphic floral patterns add energy to a room, especially a contemporary neutral space like this living room. The modern rug with its oversized blossoms defines the seating area and highlights the hues used throughout the space.
In the Round
Opulence fills this circular room with a vaulted ceiling of lights, elegant chandelier and plush, luxurious furnishings. But the real star of the room is the eye-catching wallpaper with its white blooms popping off the midnight backdrop.
A Touch of Scandi
Floral prints come in all shapes and styles. This classic blue-and-white bedroom is highlighted with Scandinavian-inspired floral pillows and window treatments. The repeating patterns add a pleasing, eye-catching quality to the space, as well as a little Nordic charm.
Sitting Pretty in Flowers
For the floral obsessed, make a bold statement with a blossom-infused sofa. The black-and-white color palette allows the pattern to easily blend with a myriad of styles, while also preventing the sofa from falling into the "too trendy" trap.


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The Late Prehistoric groups of eastern Ohio have not been studied as much as the Fort Ancient and Whittlesey cultures. Many sites in that part of the state have been destroyed by strip mining or looted by relic hunters. The few villages that have been studied, in Harrison, Belmont, and Jefferson Counties, were occupied by people related to the Monongahela culture. That culture was centered in northern West Virginia and southwestern Pennsylvania.
8d The Monongahela Culture
8d.2 Monongahela Point
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In this funny German video a reluctant banker tries to avoid the inevitable.
Berlin (17 Sept. 2012) - Oxfam Germany has released a hilarious new video in support of the campaign for a Financial Transactions Tax (FTT or more commonly referred to as the Robin Hood Tax).
In it a reluctant banker gives birth to a small tax of 0.05% on all financial transactions. But the new parent is promised that used properly in the fight against global poverty and climate change, this little guy has the potential to change the world!
More information:
The National Union of Public and General Employees (NUPGE) is one of Canada's largest labour organizations with over 340,000 members. Our mission is to improve the lives of working families and to build a stronger Canada by ensuring our common wealth is used for the common good. NUPGE


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My dad bought a copy of Frank R. Young's Yoga for Men Only in the early 1970's. I started reading it when I was a teenager and have used some of the techniques from time to time throughout my life.
According to the author, his paternal ancestors were "long-lived Yogis," and he learned the basic exercises and techniques directly though that lineage. But Young was also a chiropractor, and he altered the exercises from a chiropractic point of view for the modern man. The exercises mainly deal with angles of pull and push. The case studies are often quite funny and almost certainly, in my opinion, either made up or embellished. That doesn't detract from the usefulness of the book's information, however.
The book has long been out of print, and prices for used copies can be a bit high. I thought that I would occasionally put up an exercise from the book for anyone who is interested, starting with this one. I've been using this particular exercise for about four weeks now, and have noticed some improvement in my posture; if you have a sub-clinical kyphotic back condition, you may find it useful. Although the book is "for men only," I think that this exercise would work equally well for women:
"The Lower Back Doorway Pull" Frank Rudolph Young
Grasp both door knobs of an open door, feet close to the bottom of the door. Extend arms to full length (dropping back), with straight legs. Then,
"1. Round your shoulders. (Turn them inwards, downwards and backwards.)
2. Inhale deeply as you pull your still straight body towards the door, with your fingers. At the same time
3. Arch your back, and drop your weight backwards.
4. Hug your body tightly with your elbows.
5. You will rise up on your toes, as the movement progresses. If you are tall bend your knees a little.
6. Keep your shoulders rounded all the while, with
7. Your elbows still hugging your body until the end. Hold the contraction, at the end, for two seconds. Then relax." (Young, Yoga for Men Only, 1969, page 37)
Young recommends doing this one to ten times a day, "depending on fast you want results," and he suggests putting a wedge under the door's free end to take pressure off the hinges. It takes practically no time to perform ten reps of this, and it does help with the humped shoulders look that many of us get from sitting at computers most of the day. Pay heed to keeping your elbows tight to your body as you do the exercise (don't let your elbows drift outwards).
–quotes, instruction and illustration taken from Yoga for Men Only by Frank Rudolph Young, Parker Publishing Company, Inc.: West Nyack, New York, 1969, pages 37-39.
Source : Ungrundfus , 19th Oct 2014


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Mayfair Equity Partners is committed to investing responsibly
Mayfair Equity Partners recognises the importance of Responsible Investment ('RI') in protecting and creating value for our investors and portfolio companies, and aligning our investors and Mayfair with the broader objectives of society.
We firmly believe RI can reduce risk and enhance value creation and therefore Environmental, Social and Governance ('ESG') considerations are embedded throughout the investment process. Our Portfolio Directors work alongside each of the management teams we partner with before, during and following our investment to identify ESG-related risks and opportunities.
Mayfair Equity Partners is committed to:
- Incorporating ESG-related issues into our investment analysis and decision-making processes
- Incorporating ESG issues into our ownership policies and practices
- Seeking appropriate disclosure on ESG issues by our portfolio companies
- Continuous improvement in ESG performance within our portfolio companies
- Reporting on our activities and progress towards implementing the UN PRI
- Promoting acceptance and implementation of the principles of the UN PRI within the private equity industry
- Working with the UN PRI Secretariat and other signatories to enhance their effectiveness in implementing the UN PRI
Mayfair Equity Partners is proud to be a signatory to the UN Principles for Responsible Investment ('PRI').


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For a long time, Los Gatos has gone without a cheese shop. Fortunately for residents, last year, a small shop opened on East Main Street. Fromage & Specialties is a great little shop with cured meats and other excellent foodstuffs. Owned by twins Don and Eric, the inspiration for their shop came from a Food Network special on Murray's Cheese in New York. The brothers aim to enlighten the ignorant masses with cheesy knowledge. I talked with Don, who showed a great affinity for the cheeses that F&S has on sale. He takes cheese seriously and enjoys sharing his favorite cheeses with customers. He rounded up their most popular cheeses for me to sample:
Lamb Chopper
This lamb's milk cheese is a fast-selling favorite for regulars. Don informed me that one of their Yelp reviews name checks this cheese specifically. It's from a small dairy in Arcata, CA. It's a firm cheese, one that reminded me of a milder, softer Dubliner cheese. Although he had a full wheel on hand, he says it sells out within a few days it's so popular.
Bonne Bouche
A soft/runny goat's milk cheese, the Bonne Bouche is light and tasty. It comes from the Vermont Butter & Cheese Creamery. An award-winning cheese, it's aged 10 days in a vegetable ash rind that's edible.
5-year Gouda
This hard cheese was one of the highlights for me. It's a salty, bitey, delicious piece of Dutch culture. Highly recommended.
Vendéen Bichonné
This French cow's milk cheese has a more sophisticated flavor than I expected. It's a semi-firm cheese with a strong flavor reminiscent of a goat cheese.
Fromage & Specialties is located at 33 E. Main St. in Los Gatos and they're open Tuesday- Sunday. Check out their website for more gourmet cheese selections. Thanks, Don!


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Indirect Tax Analyst job requires a VAT Accountant/Analyst for this temporary tax job in London.
Joining a team who are developing their processes and controls, this role will play a significantly supportive role to the VAT function.
Key duties will include:
- Prepare VAT, EC Sales Lists and Intrastat returns for the jurisdictions where registered.
- Take ownership of the monthly Intrastat returns.
- Assist in process and system improvement/development.
- Work closely with the AP and AR teams.
To be considered for this role you will have VAT compliance experience and it is essential to have Intrastat return preparation experience. It is an advantage to have worked with the IT system Oracle.
This role is exclusive to Brewer Morris and so to discuss further please contact Amy Thomas E: firstname.lastname@example.com T: 02073329628.
Please note our advertisements use PQE/salary levels purely as a guide. However we are happy to consider applications from all candidates who are able to demonstrate the skills necessary to fulfil the role.
Please note that your personal information will be treated in accordance with our Privacy Policy.


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Gigi Hadid Ankle Boots
Gigi Hadid added extra edge with a pair of black mesh ankle boots by Public Desire.
Brand: Public Desire
Brand: Public Desire
Gigi Hadid Crop Top
Gigi Hadid showed off her sexy winter style with this cropped turtleneck and bomber combo while out in New York City.
Gigi Hadid Sports Pants
Gigi Hadid sealed off her outfit with a pair of cuffed sweatpants.
Gigi Hadid Leather Tote
For her bag, Gigi Hadid chose the Sophie Hulme Albion square tote, in black.
Brand: Sophie Hulme
Brand: Sophie Hulme
Browse: Gigi Hadid | Ankle Boots | Crop Top | Sports Pants | Leather Tote
Show Boots Looks For:


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2017- 2018
- special lecturer at Faculty of Fine Arts, Chiang Mai University, Thailand
- Honorary Professor at Beijing Institute for Technologies, School of Design, Beijing, China (http://english.bit.edu.cn/), http://www.ccug.net/xuexiao/10007.htm , http://www.ccug.net/news/2011/09/14/78223.jhtm
- Livelong Professor at Qinhuangdao Yanshan University (http://www.ysu.edu.cn/ ), Qinhuangdao, China
- Visiting Professor, Hulunbeier (HULUNBUIR) 呼伦贝尔 College of Fine Arts , Inner Mongolia, China
- Lecturer- Facultad des Artes- Universitad de Cuenca (UNIVERSITY CUENCA) Ecuador
- Lecturer, IB- University -Medizinische Akademie Stuttgart, Germany
- Lecturer, University of Applied Sciences and Arts Calw, Germany
- Lecturer, Ludwig Art Academy Kendlimajor, Hungary
- Guest Professor, University of Harbin, China
- Associate Professor, University of Oradea, Romania
- Guest Lecturer, Boston College Fine Arts Department and Northeastern University's Department of Visual Studios (with a visit to MIT's Office of the Arts)
- Guest Professor College of fine Art, Capital Normal University, 首都师范大学 Beijing, China
- Guestprofessor Inner Mongolian Normal University, (内蒙古大学) Art. Dep. Huhhot, Inner Mongolia, China


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Today we are going to cover the Sony Xperia XZ Premium on our root guide. We now have a way to root and install TWRP on the device. So if you own a Sony Xperia XZ Premium and want to root and install recovery on it, follow our guide here to Install TWRP Recovery and Root Sony Xperia XZ Premium.
Do Check:
- How to Root and Install TWRP Recovery on HTC U Ultra
- How to Install TWRP & Root Xiaomi Redmi 4X
- Root Samsung Galaxy S6 and S6 Edge & Install TWRP
We are showing you a very simple procedure that requires a PC or laptop. After rooting your device, you will gain a lot of access like: Can uninstall factory apps, install your own custom ROMs, change system settings, etc. It is what every Android enthusiast will do first thing after buying a new phone.
Root Sony Xperia XZ Premium
Rooting or flashing Custom ROMs will void your warranty and can brick your device if done wrong. Keep that in mind and do it at your own risk even if you are following this guide. We are not responsible for any damage that might happen to your device in this process. This guide is written carefully detailing all necessary steps and by following it you agree that you understand these risks.
Important Note
- Make sure that your device is at least 50-60% charged.
- All files present in your phone will be erased. So be sure to take a backup before proceeding.
- This method only works for Sony Xperia XZ Premium. Do not attempt this on any other smartphones.
- As we already mentioned, rooting will void your warranty.
Benefits of Rooting
Benefits you ask? There are many. Rooting is an essential thing that almost every Android enthusiast does after getting a new smartphone. It unlocks the full potential of an Android, it lets you install custom ROMs, tweak hardware inside, change the looks of software and a lot more.
There are improvements that can be made to increase performance, tweaks and a lot more. So it is surely a good step to take and you can unroot your device anytime to roll back to the starting state. The process is simple and reversible.
One Click Root Free Version – Link
TWRP – Will be shared soon (Being developed by devs)
ADB fastboot tools – Link
Steps to Root Sony Xperia XZ Premium
- Download the One Click Root software and install it on your computer. The premium version of the software is recommended but we have only provided the free version.
- Now, connect your Sony Xperia XZ Premium to the computer with the USB cable.
- Enable USB debugging in the Android settings.
- Then, press the Root button on the One Click Root application on your PC.
- You will be notified if the rooting process is a success or not in a few minutes.
Steps to Install TWRP on Sony Xperia XZ Premium
- Go to the Sony Mobile site here and unlock your bootloader first.
- Download TWRP zip from the link above. Rename the file to "recovery.img"
- Now, go to the ADB folder where it was installed and open the CMD window by pressing 'shift' key and right-clicking anywhere on the folder.
- Connect your phone to the PC and reboot it by typing the command below.
adb reboot bootloader
- That will take you to the Fastboot mode. Now you can check the connection with this command:
fastboot devices
- If it shows your device, type in this last code:
fastboot flash recovery recovery.img
- Now your device will reboot automatically after installing TWRP recovery.
- Lastly, enter the command below:
fastboot boot recovery.img
That's it from us here. You have now successfully rooted your Sony Xperia XZ Premium. Hope this guide to Install TWRP Recovery and Root Sony Xperia XZ Premium helped you. Share it and drop a comment below if you have any queries.
Stay tuned for more updates!


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Toggle navigation
Environmental awareness and control
provides unique, innovative and comprehensive environmental management solutions that make life safer and healthier for office tenants.
Know what you are exposed to
In order to DO you first have to KNOW. When there's so much to keep track of in life, RadGreen's systems grant complete and immediate peace of mind as they effectively and continuously keep track of radiation, gasses, and air pollutants in any environment.
Damaging radiation, harmful gasses and detrimental pollutants – with RadGreen's you'll be able to know exactly what you, your employees, or anyone else in your vicinity are exposed to 24/7.
RadGreen's systems - know every possible precaution has been taken
Being able to identify radiation and pollutant irregularities in real time and act upon these findings lets your employees or students know every precaution has been taken to keep them safe.
RadGreen's objectives – complete and immediate peace of mind
This is precisely our goal – enabling each and every one of us to live in a safe and protected environment.
Smart building environmental data solutions
Cellular antenna radiation
Electromagnetic radiation
Wi-Fi antenna radiation
Air quality, noise and gasses
Contact Us
Main Benefits
RadGreen's solutions enable our customers to enjoy the following important advantages and benefits:
RadGreen's systems offer comprehensive coverage for many parameters that require monitoring and control. This simplifies an organization's environmental management endeavors as well as significantly decreasing costs and necessary HR & IT resources. It makes the need to manage and maintain several systems redundant. Whatever you need to control, we can monitor.
With RadGreen's systems you won't have to rely on periodic tests that entail considerable financial costs and often fail to reveal the magnitude of pollutants in the environment. Only by continuous monitoring will you be certain of what you're exposed to at all times.
Real time alerts and response
The thought of being exposed to unwanted hazards for prolonged periods of time is alarming. With RadGreen's systems, you will know immediately if something is off. Consequently, organizations can take immediate action to dramatically minimize exposure and risk thus reducing long term health problems.
Continuous documentation
RadGreen's unique system provides organizations with continuous, uninterrupted, and comprehensive documentation of monitored parameters. Managers and office-holders can rely on accurate and viable data. With a simple click of a button precious data can be retrieved indicating monitored parameters' precise levels.
Easy to use
RadGreen's systems are extremely intuitive and can be used by non-technical personnel. Once installed, our system will run itself. Our solution requires no IT resources on your end and provides you with extensive, valuable, and comprehensible information.
Safer, healthier, happier people
Implementing advanced environmental control systems lets people know you take their safety and well-being seriously. It also improves long term attendance rates and cognitive ability.
Get on board
Sign up for newsletter
Tel +972-3535-9935
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Phone apps today make tasks as easy as a swipe of a finger. Whether you're gearing up for college or wanting to better organize your Western life in general, here are some free apps to keep you afloat. All apps listed are available for iOS and Android.
- WWU Mobile
Great for: New and long-time students.
It might be an obvious app to start with, but WWU Mobile is an incredibly useful all-in-one student resource for navigating campus and getting information. The app is divided into 13 categories, each packed with essential info. This includes, but isn't limited to news, event calendars, a map of campus, a faculty and staff directory, campus dining information and even Western's social media feeds. The app also provides a list of emergency contacts you can call with a quick push of a button such as campus police, safety escorts and late-night student shuttles. Some information is a little sparse over the summer.
- Canvas
Great for: Mobile access to Canvas (of course), and last minute scrambling to get a paper turned in when you're nowhere near a computer.
This one's another barebones basic but great on the go. With so many classes using Canvas, the app version keeps everything in a neat mobile layout. You can access assignments, messages, your personal calendar and more. You might also notice a little pixel panda in a red cape. If you have nothing on your calendar for the day, it'll say things like "Your calendar is as clean as a panda's bottom." While I didn't need to know about a panda's bottom, thanks anyway, little guy.
- WWU ClassFinder
Great for: Browsing classes, planning for next quarter, groaning at textbook prices
This app was a surprise I wish I found a lot sooner. You can use it to search classes by subject, GUR, days of the week, instructors and/or course number. It's great for planning your quarters from anywhere. When you look up a class it lists the description, instructor (complete with their Rate My Professors score), location, time, credits, prerequisites, room available and CRN. It even lists required textbooks and bookstore prices. Upgrade for $0.99 and you can get schedule planning, which allows you create multiple schedules (nice for backup in case you're on a waitlist) and export them to your calendar.


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- Fee assured
- Awaiting verification
You'll need to contact this healthcare professional to check their availability
Specialises in
- Cognitive behavioural therapy (CBT)
About me
I am a Clinical Psychologist, chartered with the British Psychological Society and registered with the Health and Care Professions Council (HCPC). I have worked in a range of settings including outpatient and inpatient mental health services, in secure forensic settings and long-term rehabilitation settings.
I have practiced within NHS and private settings. I am also a lecturer at the University of Surrey, lecturing in Dialectical Behaviour Therapy, Personality Disorders and The Structure of the NHS. I also offer training packages to other agencies, as required.
I am an Expert Witness providing assessments for Family and Criminal Courts.
Areas of interest
Post traumatic stress disorder (PTSD); Depression and other mood disorders; Generalised anxiety disorder; Phobias; Obsessive-compulsive disorder (OCD); Body dysmorphic disorder; Self-harm; Adult autistic spectrum disorder
External resources
Current NHS consultant posts held
I am currently working as the Lead Psychologist across acute care services in Surrey.
Research interests
I have carried out research into working with people with personality disorders, the physical health behaviours of people with mental health difficulties, motivation for change, and group therapy for acute mental health difficulties.
Personal interests
My personal interests are: the treatment of trauma, personality disorders, and acute mental health difficulties.
I am a trained EMDR therapist (Eye Movement Desensitisation and Reprocessing). My main therapeutic approaches are CBT, DBT-based approaches, EMDR, Mindfulness, Schema therapy. I tend to work integratively, tailoring the approach to the individual.
Awards received
BSc (Hons) Psychology
Clinical Psychology Doctorate (D.ClinPsych)
Associate Fellow of British Psychological Society AFBPsS
Member of EMDR Association UK and Ireland
Member of National Autistic Society
- BSc (Hons) Psychology University of Nottingham 2003
- Clinical Psychology Doctorate University of Surrey 2009
Additional training
- Eye Movement Desensitisation and Reprocessing (EMDR) Alexandra Richman 2011
- International Personality Disorder Training Partnerships in Care 2013
- Expert Witness Training: Courtroom Skills and Excellence in Report Writing Bond Solon 2010
- Dialectical Behaviour Therapy Skills Training British Isles DBT 2009
- STEPPS (for borderline personality disorder) NHS 2010
- Mentalisation-Based Treatment (MBT) Anna Freud Centre 2011
- Psychopathy Checklist (Revised) (PCL-R) Hare 2012
Professional bodies (positions held - last 3 yrs)
- Clinical Psychologist Partnerships in Care: secure forensic inpatient 2013
- Clinical Psychologist NHS: secure forensic 2012
- Clinical Psychologist NHS: outpatient and acute inpatient mental health 2009
- Lead Psychologist for Acute Psychiatric Care NHS: Acute 2014
Affiliations / memberships
Member of the British Psychological Society (Clinical and Forensic Divisions)
Associate Fellow of British Psychological Society
Registered with the HCPC
Register of Expert Witnesses
Member of EMDR UK and Ireland
Member of National Autistic Society
Practice hours
Appt Bookings
- Aldabella 14 High Street EPSOM KT19 8AH
- Tuesday
- 16:00 - 20:00
- 07729 153161
- Aldabella 14 High Street EPSOM KT19 8AH
- Thursday
- 15:00 - 17:00
- 07729 153161
- Aldabella 14 High Street EPSOM KT19 8AH
- Friday
- 15:00 - 18:00
- 07729 153161
Post treatment communication
Following treatment of a Bupa member, I will communicate with GPs in line with Department of Health, GMC and appropriate professional bodies guidelines.


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Artisan Agreement
Brain Candy, LLC ("BRAIN CANDY" or "We" or "Us" or "Our") was founded on the belief that creativity is not limited to individual efforts. We believe that creating, maintaining, and continually adding to a collection of ideas for the creative community ("Artisans") can be an effective way to generate high-quality, interesting, and dynamic Works. That belief led us to create the Runes of Gallidon website ("Site") and fantasy world, where Artisans have an opportunity to play in a new world of creativity.
By submitting content to us for publication as a Work on the Site, you are helping us expand the pool of ideas for other Artisans and Site Visitors – and ultimately helping us make Runes of Gallidon a better, richer source of creative content. If we choose to accept your submission and post it on the Site, you will receive certain benefits. This Artisan Agreement ("Agreement") details the rights and responsibilities you and we will have if we accept your submission for publication as a Work on the Site.
While we have tried to make our licensing and revenue sharing model as understandable as possible, copyright law and legal licenses can be confusing – please do not enter into this Agreement unless you understand the terms and language. If you do not, please contact us or have this Agreement reviewed by a qualified professional.
1. Effective Date. This Agreement is effective, and you will be treated as an Artisan under this Agreement, only as of the date the BRAIN CANDY accepts and publishes your submission as a Work on the Site. If BRAIN CANDY does not accept and publish your submission as a Work on the Site, BRAIN CANDY will not publish your submission unless you resubmit it for publication as Content under the Site Terms of Service, in which case the Terms of Service, not this Agreement, will apply to your submission.
2. Licensing.
(a) Licensing Model. BRAIN CANDY uses a dual licensing model for works of authorship created by BRAIN CANDY or Artisans that we publish on the Site (each, a "Work" and collectively, "Works"). If we accept your submission and publish it as a Work on the Site, your published submission will be treated as a Work under this Agreement, and will fall under two licenses:
(i) The Creative Commons Attribution Non-Commercial Share Alike (BY-NC-SA) License ("CC License"). You authorize BRAIN CANDY to publish your Work on the Site under the CC License. This means that you will license all Site users, including other Artisans and BRAIN CANDY visitors ("Visitors"), registered guests ("Guests") and registered paying members ("Patrons"), to use and distribute your Work under the CC License. The CC License allows recipients of your Work to copy your Work, create derivative works based on your Work and distribute, display and perform your Work and any derivative works based on your Work in any medium for non-commercial purposes. They must give you attribution, and if they distribute your Work or any derivative work, they must distribute it under the CC license, so all recipients receive the same rights to your Work and any derivative work. We urge you to review the information on the Creative Commons website about this particular license (http://creativecommons.org/licenses/by-nc-sa/3.0). This license is necessary to allow your Work to be legally available for use by Site Visitors, Guests, Patrons and other Artisans if they want to use your Work when they create new Works and other content and materials set in the Runes of Gallidon world.
(ii) Form of Attribution. Given the collaborative nature of the Site and the potential number of Artisans who will contribute Works to the Site, you agree that BRAIN CANDY will determine the key elements of each Work that will receive attribution and the form and content of each such attribution, and that such attribution will be sufficient to meet the attribution requirements under the CC License.
(iii) Ideas Can Be Freely Used. The CC License applies only to works that are protected by copyright law, such as text, scripts, blogs and any other forms of writings; drawings, photographs and other visual images; films, video games and other visual materials; musical compositions, sound recordings and other audio works. The CC License does not apply to things such as ideas, factual information or other items that are not protected by copyright law. All such items embodied in your Work that are not protected by copyright law (collectively, "Ideas") will be freely available for use by anyone for any purpose, including other Artisans if they want to use them when they create new Works set in the Runes of Gallidon world. "Ideas" include, for example, characters, objects and locations and their names and attributes.
(iv) This Artisan Agreement. You will also license your Work to BRAIN CANDY under this Agreement to enable BRAIN CANDY to use your Work for commercial purposes. If BRAIN CANDY receives money from the commercial sale or licensing of one or more Artisan's Work(s) individually or as part of a collection, anthology or compendium, BRAIN CANDY will pay the Artisan(s) fifty percent (50%) of the gross revenue BRAIN CANDY receives, as explained below (the "Artisan Revenue Share"). The Artisan Revenue Share will be determined by BRAIN CANDY based on gross revenue received by BRAIN CANDY that clearly results from commercialization of the Artisan's Work as a whole (not commercialization of Ideas embodied in the Work).
(b) Commercial Use Rights.
(i) Overview. You agree to give BRAIN CANDY the non-exclusive right to commercially profit (make money) from your Work. How we may use your Work commercially may vary (examples include but are not limited to: publishing and selling your Work; licensing another party to use your Work in exchange for money or services; selling your Work or using your Work as part of a merchandising offering). BRAIN CANDY agrees that you may also commercially profit (make money) from your Work under the revenue sharing terms below.
(ii) Licensed Rights. In order to grant BRAIN CANDY these rights, you hereby grant BRAIN CANDY (and any BRAIN CANDY successors-in-interest, subsidiaries, or parent companies) a royalty-free (except as expressly provided herein), worldwide, perpetual, irrevocable, transferable, non-exclusive, sublicensable right and license to use, copy, modify, adapt, translate, create derivative works based on, publicly perform, publicly display, broadcast, publish, license (or sell with your authorization) and/or distribute and otherwise transmit your Work, any element or portion thereof and derivative works based on your Work or any element or portion thereof: (A) on the Site or in any other medium now or in the future known for use by third parties under the CC License and (B) in any medium now or in the future known for commercial purposes under the terms of this Agreement, including, without limitation, in connection with publications, broadcasts, merchandise and other products and services relating to the Runes of Gallidon world and related advertising (collectively, the "Licensed Rights"). BRAIN CANDY's Licensed Rights include, without limitation, the right to make editorial revisions to your Work that do not substantially affect the content of your Work (for example, revisions relating to spelling, punctuation, grammar and formatting), to use the Work and/or portions thereof in any way, to license your Work and/or portions thereof to third parties, for our own internal business purposes, and/or to reproduce and distribute your Work or any portion thereof and derivative works based thereon for BRAIN CANDY's marketing and publicity purposes.
(iii) Other Rights, Waivers and Consents. BRAIN CANDY also needs the following rights, waivers and consents, to the extent they are applicable to your Work, in order to be able to commercialize your Work.
(A) You irrevocably waive:
(1) any and all rights of privacy, publicity and other rights of a similar nature;
(2) any right to inspect and/or approve any use of your Work or any portion thereof; and
(3) any claim that any version of the Work or any portion thereof constitutes a distortion, mutilation or disparagement or contains unauthorized variations of the Work
in connection with the commercialization of your Work or any portion thereof that is consistent with the Licensed Rights, the waivers and consents granted under this Section 2(b)(iii) and any advertising or publicity relating to the commercialization of your Work. You acknowledge and agree that BRAIN CANDY and others may alter, modify or combine the Work or portions thereof with other Works, content or materials.
(B) You irrevocably consent to the use of:
(1) your own name;
(2) any fictitious name or pseudonym that you provide;
(3) your likeness;
(4) your performance, voice and identity; and
(5) the use of your signature in connection with the Work (for example, if you sign your Work for publication on the Site)
in connection with the commercialization of your Work or any portion thereof that is consistent with the Licensed Rights, the waivers and consents granted under this Section 2(b)(iii) and any advertising and publicity relating to the commercialization of your Work.
You expressly release and hold harmless BRAIN CANDY, its affiliates, licensors, licensees, business partners, and their respective officers, directors, shareholders, employees, agents, customers and those in contract with any of them of and from any and all claims, demands and liabilities by reason of their exercise of the Licensed Rights. You shall not have the right to approve or enjoin the use of the Work or any portion thereof or to rescind any consent, waiver or other right granted to BRAIN CANDY hereunder.
(iv) Your Personal Information. BRAIN CANDY may collect personal information from you, such as your social security number and other personal information, for tax and other legal and regulatory purposes related to collection and payment of the Artisan Revenue Share, compliance with any applicable laws, rules and regulations, performance under this Agreement and exercise of the Licensed Rights. Without limiting any of the rights, consents or waivers granted by you to BRAIN CANDY under this Agreement, you acknowledge and agree that BRAIN CANDY may use your personal information to post your designated name or pseudonym in connection with your Work, to give you attribution for your Work, to pay you any Artisan Revenue Share and to discuss publication and other commercialization of and merchandising and other arrangements and activities relating to your Work with publishers and other third parties. For example, BRAIN CANDY may share your personal information with a publisher or other third party in connection with and as necessary for negotiating an agreement to publish all or a portion of your Work for commercial purposes, or for the manufacture, sale and marketing of products and services, such as books, video games, toys, clothing and novelty items incorporating all or a portion of your Work.
(c) Trademark Rights. Some elements of a Work, such as a character name or illustration, may be protectable under both copyright and trademark law. To prevent any single person from preventing or restricting development of the Runes of Gallidon community or commercialization of any Work, it is necessary for each Artisan to agree not to assert trademark rights in a Work or any element thereof that conflict with the licenses granted under this Agreement and the CC License. Therefore, while you retain ownership of all copyright rights in your Work, in order to promote development of the Runes of Gallidon community and for you and BRAIN CANDY to commercialize your Work under this Agreement, you must agree not to assert any trade name, trademark, service mark, trade dress or similar rights in your Work or any element thereof against BRAIN CANDY or any third party. You hereby irrevocably covenant and agree not to assert, or authorize or assist any third party to assert, any claim or allegation against, and covenant not to sue, BRAIN CANDY, its affiliates, licensors, licensees, business partners, their respective customers, or any other third party based on any alleged trade name, trademark, service mark, trade dress or similar rights in your Work or any element of your Work. You hereby acknowledge and agree that BRAIN CANDY has the sole right, but no obligation, to use as a trade name, trademark, service mark and/or trade dress, and to register, protect, license to third parties for any purpose and enforce any trade name, trademark, service mark, trade dress and similar rights in, your Work and any element of your Work including, without limitation, any names, titles, designs, drawings, graphics, illustrations, characters and character names.
(d) "Third Party Proprietary Works." A "Third Party Proprietary Work" is a Work or portions or elements of a Work that are licensed under proprietary license terms other than the CC License. Without limiting any other provision of this Agreement, you may not submit any Third Party Proprietary Work to BRAIN CANDY or publish any Third Party Proprietary Work on the Site without BRAIN CANDY'S express, prior written approval in each instance. If BRAIN CANDY approves any Third Party Proprietary Work, you are responsible for obtaining and complying with all required permissions and licenses necessary to publish and use the Third Party Work on the Site.
3. Revenue Sharing. In the spirit of believing that Artisans should retain rights over their Works even after submitting them to us, we believe that Artisans should not give up most of their rights to make money from their Works. BRAIN CANDY and you will share money we receive from commercial use of your Work with each other as follows.
(a) Artisan Revenue Share. If BRAIN CANDY receives money as a result of the sale or licensing of an Artisan's Work, BRAIN CANDY will give the Artisan his or her Artisan Revenue Share, calculated as described below. Specific examples of how the Artisan Revenue Share will be calculated are attached as Exhibit A.
(i) Individual, Whole Works. If your Work is sold or licensed individually (rather than as a collection, anthology, compendium or Adaptation (defined below)), BRAIN CANDY will pay you the Artisan's Revenue Share for such sale or licensing of the Work individually.
(ii) Collections, Anthologies and Compendiums. If your Work is sold or licensed as part of a collection, anthology, or compendium which contains other Works by other Artisans, BRAIN CANDY will split the Artisan Revenue Share resulting from the sale or licensing of the collection, anthology, or compendium equally among the contributing Artisans (there will be no weighting or prorating of Artisan Revenue Share between Artisans).
(iii) Adaptations. Further, even though your Work may be the source Work for a derivative Work that incorporates your Ideas or copyrightable elements or portions of your Work (an "Adaptation"), you will not receive any Artisan Revenue Share and will not have a claim for any portion of the Artisan Revenue Share of money received from the sale or licensing of the Adaptation unless BRAIN CANDY determines in its sole discretion that the other Work is an Adaptation of your Work where the sole creative contribution made by the Artisan(s) of the other Work(s) is the simple transformation or porting of your source Work from its original medium to another medium (e.g., turn a short story into a graphic novel without changing plot, characters, etc.). Such transformational adaptations are referred to in the Agreement as "Ported Works." In the case of Ported Works, BRAIN CANDY will split the Artisan Revenue Share equally between the Artisan(s) of the source Work and the Artisan(s) of the Ported Work.
(iv) Exceptions. The Artisan Revenue Share does not include, and Artisans will not receive, any portion of donations or other contributions made to BRAIN CANDY, sponsorships, or revenues generated from the Site (unless resulting from your Work as described below), any products or services provided by BRAIN CANDY, including any advertising revenue and member fees, or the use or commercialization of any Ideas embodied in the Artisan's Work or Adaptations that are not Ported Works.
(b) BRAIN CANDY Revenue Share. If you receive money as a result of the sale or license of your Work or any portion of your Work, either individually or as a collection, anthology, compendium or Adaptation, you will give BRAIN CANDY 10% of the gross revenue you receive.
(c) Payment.
(i) By BRAIN CANDY. You will provide all information requested by BRAIN CANDY in connection with payment of any Artisan Revenue Share for tax or other legal or regulatory purposes, including, without limitation, your social security number. BRAIN CANDY will pay Artisan Revenue Shares bi-annually in an effort to keep our bookkeeping and payment expenses to a minimum. We aim to have payments issued no later than January 31st for revenue share earned during the previous July – December period and no later than July 31st for revenue share earned during the previous January – June period. Payments will be issued by check or through another method at our sole discretion. We may need to contact you and request information we need to pay any Artisan Revenue Share to you and to comply with applicable laws, rules and regulations in connection with the payment. If your contact information we have on file is not up-to-date, you fail to provide any information we request, or we cannot reach you or do not receive the requested information from you within a reasonable time period, payment of Artisan Revenue Share may not be possible and we shall have no obligation or liability to make such payment to you. You are solely responsible for reporting, withholding, and/or paying any and all employment-related taxes, payments, and/or withholdings, including, but not limited to, federal, state, and local income taxes, Social Security, Medicare, unemployment or disability deductions, withholdings, and/or payments arising out of this Agreement and any money received by you.
(ii) By You. You will pay BRAIN CANDY its revenue share under Section 3(b) as soon as reasonably possible after you receive money as a result of the sale or license of your Work, but no later than 90 days following your receipt of money.
4. Term; Termination.
(a) Term; Termination. The term of this Agreement will continue unless terminated as follows:
(i) by either party for any reason without cause upon sixty (60) days prior written notice;
(ii) by either party immediately upon written notice if the other party materially breaches this Agreement and fails to cure such breach within thirty (30) days of written notice specifying such breach; or
(iii) by BRAIN CANDY immediately upon notice if you violate Section 2(b), 2(c), 3, 5, 9 or 10(e).
(b) Effect of Termination. Upon termination of this Agreement for any reason:
(i) Survival of CC License Rights. Termination of this Agreement will not affect the rights you have granted to your Work under the CC License prior to the effective date of termination. Such rights, including the Licensed Rights granted under Section 2(b)(ii)(A), are irrevocable and survive termination of this Agreement for any reason, and BRAIN CANDY may continue to use, publish and distribute your Work under the CC License.
(ii) Survival of Commercialization Rights. All License Rights and all other rights, waivers, consents and covenants that you granted in your Work under Section 2 and this Agreement prior to the effective date of termination shall survive with respect to any commercialization or agreements to commercialize such Work that are being negotiated or have been commenced or entered into prior to the effective date of termination. BRAIN CANDY will continue to pay the Artisan Revenue Share, if any, owed to you under Section 3 of this Agreement for any such commercialization.
(iii) Survival of Other Terms. Sections 4, 5, 6, 7, 8, 9 and 10 of this Agreement will survive.
(c) Other Termination Rights. You agree that BRAIN CANDY, in its sole discretion, may terminate any account (or any part thereof) you may have with us or your access to and use of the Site and remove and discard all or any part of your account or all or part of any Work or other content you submit, for any reason whatsoever in BRAIN CANDY's sole discretion. BRAIN CANDY may also in its sole discretion and at any time discontinue providing access to the Runes of Gallidon Site, or any part thereof, with or without notice. You agree that any termination of your access to the Site or any account you may have, Works, portion thereof or other content may be effected without prior notice, and you agree that BRAIN CANDY shall not be liable to you or any third party for any such termination.
5. Representations and Warranties; Indemnity.
(a) Representations and Warranties. You represent and warrant that:
(i) you own or control all of the rights to your Work and have obtained all necessary rights, licenses, waivers, consents, covenants, and other permissions necessary to grant the License Rights and all other rights, licenses, waivers, consents, covenants and other permissions granted under this Agreement and to perform under this Agreement;
(ii) for any Third Party Proprietary Works approved by BRAIN CANDY, have obtained all necessary rights, licenses, waivers, consents, and other permissions necessary to use and publish the Third Party Proprietary Work as contemplated under this Agreement and mutually agreed by BRAIN CANDY;
(iii) your Work and any Third Party Proprietary Work does not and will not infringe or otherwise violate any rights of or cause injury to any person or entity, including without limitation the privacy rights, publicity rights, copyrights, trademarks, service marks, trade dress, trade secret rights, contract rights or any other rights of any third party.
(b) Indemnity. You agree to defend, indemnify and hold BRAIN CANDY, its affiliates, licensors, licensees, business partners and its and their respective officers, directors, employees, agents and customers harmless from and against any and all claims, liabilities, damages, royalties, fees, losses, costs and expenses, including reasonable attorneys' fees and costs, arising out of or relating to your breach of these representations and warranties, violation of this Agreement, the Terms of Use or any submission guidelines, your acts and omissions under this Agreement, any Works, Third Party Proprietary Works or other content submitted by you, or commercialization of or failure to commercialize any of your Works. In the event of any such claim relating to any of your Works, Third Party Proprietary Works or other content submitted by you, BRAIN CANDY may, in its discretion, set off against and use any and all of your Artisan Revenue Share for all of your Works to pay for defense against the claim any damages resulting therefrom and all amounts owed to BRAIN CANDY under this Section.
6. Disclaimer. Nothing herein obligates BRAIN CANDY to accept any content you submit for publication as a Work or to commercialize or otherwise use or exploit your Work or any other content you submit for publication as a Work. The materials on the Site, all Works and other content published by BRAIN CANDY on the Site, products and services are provided "AS IS" and without warranties of any kind, express, statutory or implied. To the fullest extent permissible pursuant to applicable law, BRAIN CANDY disclaims all warranties, express, statutory or implied, including, but not limited to, warranties of title and implied warranties of merchantability, fitness for a particular purpose and non-infringement with respect to the Site, any Works, content, products or services available, offered or sold through the Site or in connection with commercialization of or failure to commercialize your Work or the amount, if any, or allocation of any Artisan Revenue Share. BRAIN CANDY does not warrant that the functions contained in the Site, materials, Works, content, products or services will be uninterrupted or error-free, that defects will be corrected, or that the Site or the server that makes it available are free of viruses or other harmful components or free from security breaches. BRAIN CANDY does not warrant or make any representations regarding the use or the results of the use of the Site, materials, Works, content, products or services, any commercialization of or failure to commercialize your Work, including, without limitation, in terms of their correctness, accuracy, reliability, or otherwise, or the amount, if any, or allocation of any Artisan Revenue Share that may be paid to you under this Agreement.
7. Limitation of Liability.
(a) Consequential Damages. Under no circumstances, including, but not limited to, negligence, shall you or BRAIN CANDY or its affiliates, licensors, licensees or business partners or any of their respective officers, directors, shareholders, employees, agents or customers be liable for any special, indirect, incidental, punitive, consequential or exemplary damages arising out of this Agreement, the use or inability to use the Site, Works, materials, content, products or services, publication, commercialization or failure to publish or commercialize any Work or other content, or any other interactions with BRAIN CANDY or the amount, if any, or allocation of any Artisan Revenue Share, even if a party or its authorized representative has been advised of the possibility of such damages.
(b) Liability Cap. In no event shall the total liability of BRAIN CANDY, any of its affiliates, licensors, licensees or business partners or any of their respective officers, directors, shareholders, employees, agents or customers to you for all damages, losses, and causes of action arising out of or relating to this Agreement or your use of the Site or publication, commercialization or failure to publish or commercialize any Work or other content (whether in contract, tort, or otherwise) or the amount, if any, or allocation of any Artisan Revenue Share, exceed the amounts paid by BRAIN CANDY to you during the twelve (12) months preceding your claim or one hundred dollars, whichever is greater. Some states do not allow exclusion of implied warranties or limitations of liability for incidental or consequential damages, so the above limitations or exclusions may not apply to you. In such states, the liability of BRAIN CANDY, its affiliates, licensors and business partners and their respective agents shall be limited to the greatest extent permitted by law.
8. Enforcement of Rights. BRAIN CANDY is not obligated to enforce the terms of the CC License or this Agreement against any third party or sue any third party for infringement or other violation of rights in any Work or other content. If BRAIN CANDY becomes aware of a violation of the CC License or this Agreement or an infringement or other violation of a Work, BRAIN CANDY may, in its discretion and at its expense, take any action, including filing a lawsuit, to enforce the CC License, this Agreement and/or rights in the Work. BRAIN CANDY may require your cooperation to do so. You are not obligated to cooperate, but if you do not cooperate BRAIN CANDY may not be able to take action.
9. Additional Terms. Your use of the Site, Site content and all Works published on the Site (other than your own Work) is subject to the Site Terms of Use and the CC License, as applicable, which are hereby incorporated herein by reference. In the event of a conflict between this Agreement and the Terms of Use, this Agreement shall take precedence. Without limiting the foregoing:
(a) Accuracy of Your Information. You agree all information you provide will be accurate, current, and complete, and that you will keep it up-to-date.
(b) Age Requirement. You must be, and represent and warrant that you are, the age of majority in the state in which you reside to participate on the Site and under this Agreement as an Artisan.
(c) Compliance With Laws. In submitting content for publication as a Work and performing under this Agreement, you agree to comply with all applicable laws, statutes, rules, regulations and guidelines, all contracts to which you are a party, and all fiduciary obligations you may have (such as inside information, proprietary and confidential information learned or disclosed as part of employment relationships or under nondisclosure agreements).
(d) No Confidential Treatment. The nature of the Site is interactive and public. By submitting and/or posting your Work to the Site, you understand and acknowledge that your Work and any materials, ideas or other communications you transmit in any manner and for any reason in connection therewith will not be treated as confidential or proprietary. Furthermore, you acknowledge and agree that from time to time two people may develop the same concept or idea at the same time, and that to the extent that your Work or other submission contains any ideas, concepts, techniques, procedures, methods, systems, or other materials independently created by BRAIN CANDY or any third party, these items may be used by BRAIN CANDY, its licensees and third parties anywhere, anytime, and for any reason whatsoever without obligation to you. In addition, to the extent that your ideas, concepts, techniques, procedures, methods, systems or other materials are not considered protectable under U.S. or foreign law, you agree that this Agreement places no additional burden on BRAIN CANDY nor does it have any obligations to you past those required by U.S. copyright law.
10. Miscellaneous.
(a) Governing Law; Dispute Resolution. This Agreement shall be governed by and construed in accordance with the laws of the State of California, without giving effect to any principles of conflicts of law. Any dispute, claim or controversy arising out of or relating to this Agreement or the breach, termination, enforcement, interpretation or validity thereof, including the determination of the scope or applicability of this Agreement to arbitrate, will be determined by final and binding arbitration in Los Angeles, California before a single arbitrator. The arbitration will be administered by JAMS pursuant to its Streamlined Arbitration Rules and Procedures (the "Rules"). The arbitrator will be selected by mutual agreement of the parties or, if the parties are not able to agree, in accordance with the Rules. Judgment on the award may be entered in any court having jurisdiction. The arbitrator may, in the award, allocate all or part of the costs of the arbitration, including the fees of the arbitrator and the reasonable attorneys' fees of the prevailing party. This clause will not preclude the parties from seeking provisional remedies from a court of appropriate jurisdiction.
(b) Independent Contractors. You and BRAIN CANDY are and intend to be independent contractors. You acknowledge and agree that you (and your employees) will not be considered as having an employee status with BRAIN CANDY or being entitled to participate in any of BRAIN CANDY's employee benefit programs including, but not limited to, workers' compensation and disability insurance, group health and dental insurance, unemployment insurance, retirement plans, and stock-based benefits or plans. You may not act as an agent of BRAIN CANDY and are not entitled to enter into any agreements or incur any obligations on behalf of BRAIN CANDY. No form of joint employer, joint venture, partnership, or similar relationship between the parties is intended or hereby created.
(c) Language. English is the authoritative text of this Agreement and all communications, notices, arbitrations and other actions and proceedings relating to this Agreement shall be made and conducted in English.
(d) Waiver; Severability. The failure of BRAIN CANDY to exercise or enforce any right or provision of the Agreement shall not constitute a waiver of such right or provision. If any provision of the Agreement is held to be invalid or unenforceable by a court of competent jurisdiction, then that provision shall be deemed severable from the Agreement and shall not affect the validity and enforceability of any remaining provisions.
(d) Assignment. Either party may assign this Agreement without the other party's consent, provided that the assignee agrees to be bound by the terms and conditions of this Agreement in writing. This Agreement will be binding on and inure to the benefit of the parties and their heirs, successors and permitted assigns.
(e) Further Assurances. You agree to execute a hard copy of this Agreement and any other documents, and take any actions at BRAIN CANDY's expense, requested by BRAIN CANDY to confirm and effectuate the intent of this Agreement and any of your rights or obligations hereunder or assist BRAIN CANDY in commercializing your Work.
(f) Entire Agreement. This is the entire agreement between us relating to the subject matter herein and shall not be modified except in writing, signed by both parties, or by a change to this Agreement made by BRAIN CANDY upon notice to you by means of an electronic mail to your e-mail address on our records, or by written communication sent by first-class mail to your address on our records.


text:
All imprint processes require production-ready, artwork-to-size. Refer to the specific decorating option for the required file types. High resolution, vector art is needed.
Exact artwork size and placement must be specified before we can begin work. If size is not provided, the factory reserves the right to size art to "best fit". If imprint location/placement is not specified, the factory reserves the right to use the standard imprint location.
If production-ready, art-to-size is not available, the factory can redraw your artwork for $50.00(G) per hour. You will be given this option once your artwork has been reviewed.
Any artwork procedure performed by the factory will generate an electronic proof at no additional charge.
Approval of a proof limits the factory's responsibility for errors. YOU MUST read your proof carefully. Production lead time does not begin until approval of all artwork/proofs.
Adobe® Illustrator® (Preferred)
saved as .eps, .pdf or .ai files
Adobe® Photoshop®
Adobe® InDesign®
(Please use newest version possible when submitting art. All programs will open older versions of each program.)
Preferable File Formats: .eps, or .pdf all linked/imported illustrations and/or graphics included, type converted to outlines, paths or curves.
E-mail: When e-mailing artwork, files should not be larger than 5MB. Art and layout should be submitted with purchase order.
Art department e-mail is: firstname.lastname@example.com
Artwork Accuracy: To ensure accuracy files must contain all links and all fonts converted to outlines.
Other Media: Burn to DVD or CD. File sharing applications such as Dropbox and Google Drive are accepted if a working and accessible link is provided.


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Leukemia Symptoms
This article describes the common symptoms that occur with leukemia. Leukemia is a broad category of diseases with at least 50 different subtypes. They share in common a dysfunction of the bone marrow and production of immature white blood cells. Despite the many different kinds of leukemias, they tend to cause similar symptoms. The symptoms of leukemia are also quite non-specific. These symptoms may be present with many other conditions that are not leukemia. Certain "red flag" symptoms that will be emphasized are quite abnormal and should prompt investigation for the cause.
Leukemia is among the top ten causes of cancer related death for both men and women in the United States. Leukemia is also the 9th most common cause of cancer among males in the United States. Overall, about 90% of leukemia diagnoses are in adults. Leukemia is relatively more common in children and represents about 30% of all cancers in children < 15 years of age. As noted, there are many different kinds of leukemia that include:
- Acute lymphocytic leukemia
- Acute myeloid leukemia
- Chronic myeloid leukemia
- Juvenile myelomonocytic leukemia
- Many different subtypes of the above and other rarer forms
The function of the bone marrow and types of cells produced were described in a previous article. Acute leukemias occur when the stem cells of the bone marrow produce immature white blood cells in an uncontrolled manner. These immature cells crowd the bone marrow and prevent its normal function. Loss of normal bone marrow function creates dysfunction of its usual major products; white blood cells, red blood cells and platelets. As these immature white blood cells accumulate in numbers, they eventually spill out into the blood stream and then crowd the blood, lymph nodes, spleen and other bodily organs. Chronic leukemias differ because they come on slowly and symptoms are less abrupt. There is still overproduction of abnormal white blood cells. There are also overlaps of these two disease spectrums. Dysfunction of one or all of the key bone marrow products (i.e. platelets, red blood cells, white blood cells) characterizes the key symptoms of leukemia.
When these concerning symptoms occur, investigation should help determine the cause of these. The most common testing will involve analysis of blood counts. If leukemia is suspected, a sample of bone marrow is usually obtained.
Common symptoms of leukemia include:
- Anemia: Anemia is not a symptom per se, but is a common finding with leukemia. The symptoms that are associated with anemia will occur with any anemia and are not specific to leukemia. Anemia refers to a low red blood cell count. The usual amount of red blood cells is about 5,000,000 per microliter of blood. It is more common to express red blood cell count by hemoglobin density or overall blood density known as hematocrit. The average normal hematocrit is about 40%. Red blood cells are responsible for transporting oxygen to the rest of the body. A lack of oxygen delivery causes a pale color to the skin and lack of energy. Anemia can cause severe fatigue, headache, paleness of skin, and over time lead to heart failure. Severe anemia can cause passing out spells, coma or death. Anemia might be the result of many different kinds of diseases or injury. Even with blood loss from an injury, the body normally is able to regenerate its supply via forming new red blood cells.
A very common cause of anemia is iron deficiency from poor nutrition. Young women are often mildly anemic from menstrual blood losses. The finding of anemia and signs of it are never normal and should be brought to the attention of your doctor. The cause of the anemia should be investigated. Despite many causes, the symptoms of anemia are similar and may be easy to recognize. If the anemia comes on very slowly, the body can compensate, and the only symptom may be fatigue.
- Low platelets: Low amounts of blood platelets are also called thrombocytopenia. The average platelet count is between 150,000 – 500,000 per microliter of blood. It is possible to have adequate numbers of platelets but dysfunction of them. Low platelet counts are common with leukemia as these are key products of the bone marrow. The bone marrow houses stem cells that make megakaryocytes, the "parents" of platelets. There is a very long list of potential causes for abnormal platelet counts. The symptoms of thrombocytopenia are common to all of these and should be recognizable. Low platelet counts cause bleeding gums, nose bleeds, easy bruising also called ecchymosis, easy bleeding, prolonged bleeding from minor injury, pin-point bleeding of the skin called petechiae, and sometimes bleeding into joints known as hemarthrosis. Similar symptoms also occur with clotting disorders as types of hemophilia. These are considered "red flag" symptoms and whatever the cause they should be investigated.
- Loss of normal white blood cell function: Over-production of immature white blood cells or loss of adequate white blood cell numbers / function will produce similar symptoms. There are many causes of white blood cell dysfunction. The more severe forms of leukemia, such as acute lymphoblastic leukemia, cause severe deficits of normal white blood cells. The immature white blood cells, although numerous, do not perform the normal immune system duties. Symptoms of inadequate white blood cells include frequent, severe or unusual infections.
- Other symptoms of leukemia are the result of the unchecked over-production of immature white blood cells. Bone and joint pain can occur from infiltration of these abnormal cells. Pain and dysfunction in other organs such as the spleen can occur. Severe neurologic symptoms can arise from involvement of the central nervous system (i.e. the brain or spinal cord).
- www.nlm.nih.gov/medlineplus/acutelymphocyticleukemia.html
- www.cancer.gov/cancertopics/types/leukemia
- www.nlm.nih.gov/medlineplus/leukemia.html
- www.cancer.gov/cancertopics/pdq/treatment/CLL/patient/
- Abeloff, M.D. (2008). Abeloff: Abeloff'sClinical Oncology, 4th ed. Chapter 101. Philadelphia, PA: Churchill Livingstone – Elsevier
- Goldman, L ; Schafer A.I. (2011). Goldman: Goldman's Cecil Medicine, 24th ed. Chapter 189, 190. New York, NY: Elsevier Saunders.
- This article was originally published on September 3, 2012 and last revision and update was 9/4/2015.


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[Edited by casephrase, February 17]


text:
|About this Recording
8.110186-87 - MOZART: Marriage of Figaro (The) (Glyndebourne) (1934-1935)
Wolfgang Amadeus MOZART (1756-1791)
Le Nozze di Figaro
It is extraordinary to recall that as late as 1934 no complete opera by Mozart had been recorded commercially for the gramophone; particularly extraordinary, when so many Italian and French operas had been available on bulky sets of 78s for years, often in more than one version. It is thanks to the vision of two brilliant men that this 1934/5 recording of Le nozze di Figaro was made at all; they were John Christie and Fred Gaisberg.
Christie had been running various business projects, and the family estate in Sussex, for fifteen years before fulfilling his ambition to own a real opera house. He also had the good sense to marry a beautiful operatic soprano, Audrey Mildmay, seventeen years his junior, in 1931, adding further impetus to his plans; so, as English country gentlemen were able to do in those days, he built a theatre on the site of his kitchen garden and thus took the first step to founding Glyndebourne Festival Opera. By the greatest good fortune he was able to secure the services of the theatre and opera producer Carl Ebert and the conductor Fritz Busch, both of whom had already decided to leave Germany and work elsewhere in Europe and the Americas. Together they made a formidable team. Once the repertory for Glyndebournes first season was decided six performances each of Figaro and Così fan tutte discussions with Fred Gaisberg, International Artistes Manager of The Gramophone Company, began on the subject of recording a complete opera.
Gaisberg was the first great impresario in the world of sound recording and had worked with a host of the worlds finest musicians during his career. Now, towards its close, he was able to realise his hopes of preserving a complete Mozart opera and the as-yet-untried Glyndebourne production of Figaro was his choice. It was an act of great faith but the names of the cast and conductor alone must have been sufficient to convince him that the venture would be successful.
Christie and Gaisberg agreed that only excerpts of Figaro would be recorded during this first season and, if worthwhile, the project could be continued at a later date. A choice of ensemble numbers was made and on 6th June 1934, just a few days after the opening night, the cast was ready on Glyndebournes stage, Glyndebourne Festival Orchestra (in reality the London Symphony Orchestra) was in the pit, all awaiting the arrival of HMVs mobile recording unit. The days work resulted in thirteen usable sides and the six resulting 78s were issued as Volume I of the Mozart Opera Society series. It did not take Gaisberg and his assistant David Bicknell long to realise that early completion was essential.
The cast of Glyndebournes 1935 Figaro was virtually identical to that of the previous year. Just one of the originals, Norman Allin, was absent and his replacement was considered unsuitable to record the Vendetta aria, so twenty-year old Italo Tajo, a chorister with a rich bass voice, was selected instead. A decision was also made to excise the recitativo secco from the recording (only eleven bars, with piano accompaniment, were actually included, between the Act 3 duet Sullaria and the ensuing chorus; this side was made in 1934 but was not part of the original issue of concerted excerpts). Three arias from Act 4 were also omitted, as was the Act 1 chorus Giovani lieti. Basilios In quegli anni, to be sung by Heddle Nash, was meant to be included but, alas, time ran out before it could be committed to wax. The cuts are not of great significance, for what we have here is a major milestone in the history of recorded opera, realised by Christie, Gaisberg and their colleagues, who together created the perfection of ensemble that Figaro always demands.
All the records made of Figaro have
been heard and are completely successful. They
are the finest set of concerted records from any
opera I have yet heard and they are a grand
tribute to Glyndebourne and yourself
Fred Gaisberg to Fritz Busch, 14th June 1934
Le nozze di Figaro was first performed on 1st May 1786 at the Burgtheater, Vienna
Audrey Mildmay was born in Sussex in 1900, but raised in Canada. From 1924 she studied in England, and following an American tour of The Beggars Opera joined the Carl Rosa Company as a light lyric soprano. After marrying John Christie she studied in Vienna and appeared in three pre-war Glyndebourne productions, Figaro, Don Giovanni and Don Pasquale. Mildmay, a charming, vivacious hostess to musicians visiting Glyndebourne, retained an active interest in the Festival until her death in 1953.
Willi Domgraf-Fassbänder was born in Aachen in 1897 and studied in Berlin and Milan. Following his début as the Count in Figaro in 1927, he sang extensively throughout Germany, notably at the Berlin Staatsoper, where he appeared for sixteen seasons. Domgraf-Fassbänder took part in three Glyndebourne Festivals and after the war appeared successfully in Munich, Vienna and Nuremberg, where he was appointed Director of the Opera. The father of the celebrated mezzo-soprano Brigitte Fassbänder, he died in Nuremberg in 1978.
Aulikki Rautavaara was born in Vaasa in 1906 into a family of Finnish singers. She trained in Berlin and Helsinki, where she sang from 1932, and two years later appeared in the first of her five Glyndebourne seasons, her rôles being Pamina and the Countess Almaviva. Rautavaara achieved great success in Germany and Austria, singing memorably at the 1937 Salzburg Festival, and in Scandinavia, and she was a devotee of traditional Finnish song. She died in Helsinki in 1990.
Roy Henderson, born in Edinburgh in 1899, trained at the Royal Academy of Music, where he later became a respected teacher. His début in 1925 was followed by Covent Garden appearances in several Wagner operas. For Glyndebourne, Henderson sang the Count, Papageno, Masetto, Guglielmo and Peachum in The Beggars Opera. Much admired in oratorio, notably Elijah and the St Matthew Passion, he was also a fine interpreter of English music and was a successful choral conductor. Henderson died in 2000.
Luise Helletsgruber was Glyndebournes first Cherubino, Dorabella and Elvira. She was born in 1898 in Vienna, where she also trained and, after her successful début at the Staatsoper, remained with the company for twenty years. She was a fine lyric soprano, her repertory including roles by Mozart, Gounod, Bizet, Wagner and Puccini. During the 1930s, Helletsgrüber participated in several Salzburg Festivals, sang in the première of Strausss Arabella in Dresden and later appeared in Berlin. She died in 1967.
Fritz Busch was born in Siegen, in Germany, in 1890, and after successive appointments in Riga, Aachen and Stuttgart became music director of Dresden Staatsoper. He continued his career in Britain, the United States, at Bayreuth, Salzburg and Berlin; after six seasons as Glyndebournes music director, he worked during the war in Argentina and then in New York, returning to conduct in Europe in 1949. He resumed his former post at Glyndebourne in 1950, but died suddenly in London in 1951.
Paul Campion
Act I
[1] The opera begins with a sparkling Overture. [2] The curtain rises on a half-furnished room in the castle of Count Almaviva. Figaro, the Counts personal servant, is measuring the room for their bed, while the girl he is to marry, Susanna, the Countesss maid, is looking in the mirror, adjusting her bonnet. Both are busy with their own activities. Susanna asks Figaro to look at her new bonnet, which he now admires. [3] The room allocated to them is conveniently placed, next to the Counts and the Countesss apartments, so that Susanna can answer the bell when the Countess rings, and Figaro the Count. It is also dangerously convenient for the Count and Susanna, should the Count so desire, since he seems to regret his abnegation of the droit de seigneur. [4] Figaro, alone, now realises the Counts intentions and resolves to turn the tables on him.
[5] [Dr Bartolo, former guardian of the Countess, and Marcellina, once his housekeeper and mistress and now in the service of the Count, enter. Marcellina is seeking advice on money that she is owed by Figaro, who, in default, must marry her, although she is considerably older than he is.] Bartolo, outwitted by Figaro, who had cheated him out of his ward and her money, seeks revenge. If Susanna rejects the Count as a lover, then surely he will not give her the dowry he has promised on her coming marriage and Figaro will then have to marry Marcellina. [6] Bartolo leaves, to fulfil his ambition of revenge, while Marcellina is joined by her rival, Susanna. Marcellina pretends not to see her, and comments aloud on her prospects of marriage, each pretending politeness to the other, as they meet, in a duet in which each eventually offers the other more pointed insults, before Marcellina storms out.
[7] Susanna is now joined by the young nobleman nick-named Cherubino, little cherub, a page in the Counts entourage. He is in love with the Countess, his godmother, and with any woman he can find, already having incurred the Counts displeasure. He explains his amorous feelings to Susanna. [The Count appears and Cherubino quickly hides behind the chair in the centre of the room, anxious to avoid the Counts further suspicions of his womanising. The Count now sits in the chair and assures Susanna of his love for her, as already made known to her by the music-master Don Basilio. He suggests an assignation in the garden that evening, but is interrupted by the arrival of Don Basilio. He is distracted for a moment, as he tries to hide behind the chair, allowing Cherubino time to move quickly into the chair, to be covered by a dress that Susanna had by her. Basilio is looking for the Count to warn him that Figaro is looking for him. He mentions the behaviour of Cherubino, who is paying far too much attention to the Countess, as everyone knows. At this the Count emerges from hiding, unable to restrain himself any longer.] [8] He orders Cherubino to be sought out. Susanna, anxious to avoid further trouble, pretends to faint, reviving to order the two men out of her room. The Count, now determined to be rid of Cherubino, describes how he had found him with Barbarina, hiding under the table, to be uncovered. Suiting the action to the word, he seizes the dress from the chair, and Cherubino is revealed. [The Count wants Figaro to know what he imagines may have been going on, but is deterred by the realisation that Cherubino has heard his own amorous protestations to Susanna and her rejection of him. Explanations are interrupted by the arrival of Figaro with a band of villagers, come to thank the Count for his rejection of the droit de seigneur, incited by Figaro, who thus aims to defeat the Counts designs on Susanna. Cherubino seeks the Counts pardon, when the villagers have gone, and the Count agrees, sending him away at once to join his own regiment as an officer, hardly the outcome that Cherubino had expected.] [9] Figaro, of course, has his own plans, but he makes fun of Cherubino in an aria, describing the delights of army life in the most popular of all arias from the opera.
Act II
[10] The second act opens in the Countesss chamber, a fine room with a window overlooking the garden, an alcove and three doors, one of which leads to a closet and another to the servants room. The Countess complains sadly of her husbands apparent neglect. [She is joined by Susanna, who has already told her of the Counts proposition. Figaro enters, assuring the Countess that all will be well. His plan has been to let the Count know, through Basilio, that his wife has an assignation that evening in the garden, and to arrange an assignation for the Count with Susanna, replaced for the occasion by Cherubino in disguise.] [11] Cherubino appears, with a song he has written for the Countess, and is persuaded, with much embarrassment, to sing it, an account of his feelings. The Countess congratulates him and Susanna now sets to dressing him in female disguise. [12] She rehearses him in his new rôle, telling him to kneel, to turn round and take some steps. [The two women are delighted at the result, but the Countess tells him to roll up his sleeve, revealing a ribbon he has kept of the Countesss and a cut which he pretends to have bandaged with the ribbon, in fact ingredients of a love-charm. The Countess takes the ribbon. She sends Susanna for a new dress, but is moved by Cherubinos plight. At this moment the Count is heard approaching, jealous to learn of his wifes supposed infidelity and suspicious to find her door locked. Cherubino, now half-dressed, takes refuge in the closet, which she locks as the Count enters, seeking an explanation from his wife. His suspicion is further aroused when Cherubino bumps into something in the closet. The Countess, who has already told her husband that she has sent Susanna for another dress, now tells him that the noise from the locked closet must be Susanna, who now slips back into the room, hiding herself in the alcove.] [13] The Count orders Susanna to come out, the Countess tells her not to; he voices his suspicions of a lover, she her predicament and Susanna her resolution to help. [The Count now determines to have the door opened by force. He locks Susannas door and takes the Countess with him in his search for help.] [14] Their absence allows Susanna to emerge from the alcove and tell Cherubino to make his escape, which he does by bravely leaping out of the window into the garden below. [The Count and Countess return and she tells him that it is Cherubino who is locked in the closet, although only an innocent charade had been planned.] [15] The Count is furious and orders the boy to come out, but is met, when the door is unlocked, by Susanna. [16] He is now forced to seek his wifes forgiveness for his accusations and anger. Figaro appears, prepared for his wedding, [17] but the Count now suspects his part in the note he had received telling him of the Countesss planned infidelity. Figaro denies any complicity, although the Countess and Susanna suggest other excuses. At this moment Antonio, the gardener, appears, complaining that a man has jumped from the balcony onto his flowers. Thinking quickly, Figaro claims that it was he and, when Antonio produces a paper that the apparent fugitive had dropped, in fact Cherubinos commission, is able to point out that the document needed to be completed with the Counts seal. [18] At this juncture Marcellina bursts in, accompanied by Dr Bartolo and Don Basilio and demanding justice from the Count since she has a written promise of marriage from Figaro. The Count agrees to give the matter his consideration.
Act III
[1] The third act opens in a state room prepared for the wedding. [The Count, alone, puzzles over the anonymous note he has received and the events of the previous scene. Unheard by the Count, the Countess and Susanna have entered and the Countess persuades Susanna to arrange an assignation with the Count, for which the two of them can exchange dresses, so that he will in fact meet his own wife. Susanna approaches the Count and asks him for smelling-salts for his wife. The Count tells her she will need them herself, when Figaro marries Marcellina, something that can be avoided, if she does as she is asked.] He urges his desire for her. Susanna pretends to agree. [As she leaves she meets Figaro and tells him the case is already won, without a lawyer.] [2] The Count overhears and now again suspects a plot against him. He can easily marry Figaro off, if not to Marcellina, then to Antonios daughter, Barbarina. He is unwilling to see a servant happy, while he is in torment. [Don Curzio appears, with Marcellina, Dr Bartolo and Figaro, announcing the case settled: Figaro must either pay up or marry Marcellina. Now Figaro appeals to the Count, but the others are delighted at the decision. Nevertheless he declares the impossibility of marriage without the consent of his noble parents: he had been stolen as a baby and perhaps in due course may find his parents again.] [3] Marcellina, however, recognises in Figaro her son, of whom Dr Bartolo was the father. [Susanna enters, ready with money to pay Figaros debt. Seeing him with Marcellina, she imagines them already married, but soon all is explained. Marcellina and Dr Bartolo will marry, while Figaro is free to marry Susanna. As they leave, Barbarina rushes in with Cherubino, whom she promises to disguise as a girl.] [4] As they leave, the Countess returns, eager to know how Susanna has fared with the Count. She goes on to lament her husbands inconstancy and the days of love that are now gone. [As she goes out, the Count comes in, with Antonio, who explains to his master that Cherubino is still at the castle and is in Antonios house, disguising himself as a girl. They leave and the Countess and Susanna return, the former telling her maid to take down a note that she will dictate, arranging a meeting with the Count.] [5] The note is duly written, to be read back again to her mistress by Susanna. The missive is sealed by a pin that the Count is asked to return. [6] The girls of the estate now come to honour the Countess, led by Barbarina and including, in their midst, the disguised Cherubino. [The Count, forewarned by Antonio, who has given him the hat Cherubino had dropped, recognises his page at once. His anger is only deflected by Barbarina, who asks for the boy as her husband.] [7] Figaro comes in, ready for the festivities, but awakening the Counts suspicion, since any lameness he had once claimed after his alleged leap from the window seems to have vanished. During the wedding dance the Count pricks his finger on the pin that sealed Susannas note, which she has handed him, Figaro observing that it must be a love letter that the Count is holding. All ends in apparent satisfaction. Figaro will be married and the Count will have his way.
Act IV
[8] The fourth act is set in the castle gardens, with two pavilions, one to the right and one to the left. It is night. Barbarina is searching for a pin she had dropped, [the pin, as she explains to Figaro, who has entered with Marcellina, that the Count had told her to give to Susanna. Figaro now suspects the worst and resolves to confront the pair of them, while Marcellina decides to warn Susanna. As they go, Barbarina runs in and enters the pavilion on the left, where she will meet Cherubino. Figaro appears with Don Basilio and Dr Bartolo, witnesses to Susannas infidelity, and tells them to hide, until he gives the signal. Alone, Figaro, now fired with jealousy of Susanna, has everything ready: men should open their eyes and see what women are really like. He conceals himself, as the Countess and Susanna, each disguised as the other, and Marcellina enter the garden. Marcellina withdraws to the pavilion on the left, while Susanna will take the air by the laurel bushes and the Countess hide nearby.] [9] Susanna now teases Figaro with her resolve to meet the one she loves, audibly celebrating her coming meeting with her lover. [10] Cherubino appears, in uniform, ready to meet Barbarina, but sees the Countess in her disguise as Susanna. She tells him to be gone, but they are separated by the intervention of the Count and of Figaro, the latter unseen, while Cherubino makes off quickly. Now the Count is left with his supposed Susanna, giving her a ring and money. Figaro emerges, to challenge the couple, the Countess pretends to be afraid and takes refuge in the pavilion on the right, while the Count moves away. [11] Susanna, imitating the voice of the Countess, urges Figaro to keep quiet, agreeing to watch her supposed husbands infidelity. [12] Figaro, however, recognises Susannas voice and urges her to be calm, in spite of her anger at his behaviour. The Count returns, approaching the pavilion, and Figaro now pretends to woo the supposed Countess, Susanna in her disguise, moving together to the left-hand pavilion. [13] The Count intervenes, calling loudly for witnesses, as he unmasks Figaro as his wifes lover and rushes into the pavilion on the left, where he finds Cherubino, Barbarina, Marcellina and the woman he supposes to be his wife. The true Countess emerges from the other pavilion, her identity now clear, as all ends in forgiveness and the Count seeks his wifes pardon for his behaviour.
Keith Anderson
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Tickets for Circus of the Senses are $12.50 ($10 for groups of 10 or more). To get tickets, please visit www.bigapplecircus.org/circus-
of-the-senses to fill out a ticket application form. Please note that submitting the ticket application form does not guarantee tickets. Tickets will be distributed on a first come, first served basis to eligible groups. Priority is given to children with vision and hearing impairments and their chaperones.
There will be an evening performance of the full show on Wednesday, October 28, 2015 at 6:30pm, at which audio headsets, Braille descriptive programs, and American Sign Language interpreters will also be offered. Tickets to the Wednesday evening performance are available at bit.ly/BACCOS-E15.
Circus of the Senses is also offered at performances in Queens and Boston.
For more information about accessibility at every Big Apple Circus performance, please visit: www.bigapplecircus.org/