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CAD Standards: Strategies for Success23 Sep, 2011 By: Robert Green
Once you've developed these guidelines, how can you convince your users to follow them?
Editor's Note: This article was originally published in the Summer 2011 issue of Cadalyst magazine.
If making CAD standards work were as easy as creating a document or sending out an e-mail, none of us would have standards problems, would we? However, experience has taught me that getting users to abide by standards is a complex process that requires equal parts technical, motivational, and psychological expertise. In this column, I'll share some standards implementation strategies that have worked well for me, in hopes that you can adopt them for your workplace and achieve positive results.
What Not to Do
As with most things in management, your first goal is to not make things worse than they already are by adopting an approach that won't work. I've witnessed many aborted attempts at establishing CAD standards, and almost all of them fell into one of these categories:
The all-at-once approach. Here, CAD managers jump into CAD standards with a goal of getting everything done immediately, overwhelming users with a barrage of documentation, workflow changes, and long training sessions shoehorned into existing job schedules.
The doing-without-telling approach. Surprising users or senior management with an abrupt effort to standardize invariably leads to tension, objections, and resistance. Believe me when I say that you'll spend more time trying to explain after the fact than if you had been up front about your efforts in the first place.
The one-e-mail-and-it's-solved approach. If you can send out an e-mail with a standards document attached and all your users follow your directions, you're a much better CAD manager than I am. In my experience, you might as well not even bother.
Instead, Try the Fix-It Approach
Now you know what won't work — but what will do the trick? Follow this straightforward, fix-it approach and you'll have much better success implementing standards.
In using this approach, you're essentially identifying the CAD-related problems that meet two criteria: they make life miserable for your CAD users, and they are problems that you can actually fix. You then deliver your proposed solution and sell it to users by explaining how it will make their lives easier and save them time. After you have the users' attention, you offer some training that not only explains how to use the new standards, but also demonstrates their benefits. Once you get to this point, chances are very high that your users will adopt your solution as a new standard.
Find fixable problems. Want to find the problems that you can fix with standards? Look for the annoying everyday issues that users complain about all the time. Examples include problems related to plotting; file management; use of templates; and creating standard content such as blocks, families, and components. What makes a problem fixable is that you can overcome it using tools you already have in your CAD environment so you don't have to purchase new hardware, software, or training materials. Fixable problems are almost always usability issues akin to these rather than issues that require heavy spending, such as buying new computers or plotters. Spend your time fixing what you can actually fix, and your users will appreciate your efforts!
Ease of use rules! One of the points I stress when formulating a CAD standard, or any type of standard procedure, is that it has to be easy to use. Users should perceive standards as tools that help them accomplish their work in fewer steps, so explain to all that standards will make their jobs easier via better, cleaner processes. Standards should not increase the steps required in a process or build bureaucratic barriers.
Automate it. Want to simplify the use of standard details in AutoCAD? Create palletized detail libraries that pop up on the user's desktop. Want to simplify use of standard parts in your SolidWorks environment, then catalog all your parts in a consistent network location and deploy to everyone. The common denominator in these examples is that you make it so automatic to use your standards that users would be nuts to do anything else.
Are you a programmer who wants some cool ideas for automation projects or utilities? Check out Cadalyst's CAD Tips library for thousands of examples of AutoLISP and other types of AutoCAD customization. The real value in using programming to help implement standards is that users see their work progressing faster, and errors popping up less often.
Train to the standard. Perhaps the main reason users don't follow standards is that they're not fully trained on the philosophy behind them and their proper use. Instead, they often have a document thrown in front of them and are told to follow the instructions. In this mode of operation, users don't really understand the purpose of the standard, and you're asking them to take time away from their current tasks to figure it out. If standards confuse users, add to their task list, and slow down the completion of their current assignment, is it any wonder that they're ignored?
To solve this issue, write down your standard procedures in cheat-sheet form and back them up with quick training classes that explain how they work. Keep the sessions short — great standards training tends to happen in short bursts rather than in drawn-out sessions. If you can't explain the standards quickly, then they probably aren't easy enough!
My goal is always to keep the coverage brisk and to the point, while clearly communicating the basic requirements of the standards. Keeping standards training focused in this manner will make your boss happy too, because you won't be spending a lot of billable time on training.
Project Kickoffs
As each new project or job begins, you must reinforce standards use. Sometimes you may even need to introduce some project-specific standards based on customer requirements, which means changing your standards. Here are the keys to achieving a great project kickoff and making standards stick at the same time.
Write it down. If there are any new standards for the project, summarize them in a short memo so users get the information they need quickly.
Talk through it. Present the information in a standards kickoff meeting in a fast-paced, lecture-style format using PowerPoint or your CAD program to present any pertinent screen captures or software features. The goal here is to show people what they'll encounter on the project and how they need to implement the CAD standards.
Record it. Make video and screen recordings of your training sessions so anyone who missed the meeting can catch up later.
Answer questions. Take down all questions asked during the project kickoff, and answer them fully in a follow-up meeting where you'll again use visual aids to demonstrate. Don't rely on verbal explanations; they are too easy to misinterpret.
Remember that the purpose of project kickoff meetings is to emphasize how standards will be used on the job and to rekindle enthusiasm for working with better processes to get the job done more efficiently. All these concepts will help you make your CAD standards stick.
Keep At It
You're never done with CAD standards because you're never done fixing everything in your CAD environment and technology never stops changing. The challenge for CAD managers is to constantly adjust CAD standards so they become increasingly automated and easy to use. Rather than viewing CAD standards as a hassle that must be dealt with periodically, view standardization as an evolutionary process that gives you a chance to better serve your users.
Establishing and maintaining standards requires continuous planning, fixing, training, and documentation. It isn't easy, but the payoffs are huge. I hope the concepts I've outlined help make the process easier and more valuable for you and your users.
About the Author: Robert Green
AutoCAD Tips!
In her easy-to-follow, friendly style, long-time Cadalyst contributing editor Lynn Allen guides you through a new feature or time-saving trick in every episode of her popular AutoCAD Video Tips. Subscribe to the free Cadalyst Video Picks newsletter, and we'll notify you every time a new video tip is published. All exclusively from Cadalyst!


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Obviously he knows better than you do.
Ah...I gotcha. I guess I've only seen anamorphic movies that fill the ENTIRE 16X9 screen. Still don't care though. There wasn't anamorphic in 1977! We did want unaltered OT didn't we?! Not to mention these discs would cost even more if they did do anamorphic. I have a regular TV, I never supported 16X9 because it still isn't cinema accurate...I plan on getting a digital projector and avoiding 16X9 anyhow! You can't blame LFL for not including anamorphic, it's you who adopted that format.
What's sad about having to buy the 2004 re-dos, just to get the OOT versions, are all the errors in the lightsaber color-correction. (i.e. Luke's green saber during the training remote scene and Vader's fashionable "pink" blade in ESB & ROTJ)
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The British pound has dropped about 5% in the past 15 trading days, rivaling one of its worst declines back in September 2011. It recently fell to a three-year low at $1.4811 after reports of a 0.8% decrease in industrial production during May with virtually no change in production since then. The results were especially disappointing because there was an expected 0.4% increase in production. Financial analysts view these reports as further evidence of the need for forward guidance and possibly even quantitative easing, and the use of these economic catalysts will be determined in the Bank of England's (BoE) meeting this August. However, this fall in production contrasts the recent rise in manufacturing PMIs, which were placed at 51.5 in May and 52.5 in June. Analysts suspect that bearish speculation caused by rising PMI levels may have been the reason why the pound sold off to such a degree.
The euro currency recently suffered a three-month low at $1.2760 against the dollar caused by misstatements from Joerg Asmussen, a member of the European Central Bank's Governing Council. He stated that the central bank would continue to keep interest rates low for a period of time spanning over 12 months, a statement that was later contradicted by the ECB, which clarified that no length of time was ever actually determined and that Asmussen hadn't intended to give one in the first place. ECB President Mario Draghi reported in a press conference that his plans for forward guidance would not be limited to a specific time frame.
With easy monetary policy maintained in Europe and the U.S., it is likely that the BoE will have to continue accommodative policy in this environment of competitive devaluation. Action in global currency markets and a recent string of weak data may force the BoE to consider more aggressive policies during their next meeting in August.
Should the BoE announce a policy of quantitative easing after their meeting in August we will see some serious downside in the pound. With British Pound Currency Futures trading near 1.51, we can calculate an expected move from now until September expiration. The at-the-money straddle is implying a move up or down of .044 by Sep expiry. This gives us a downside target of 1.466. Using this target we can set up an options strategy.
Trade: Buying the 6B Sep 1.48-1.47 Put Spread for 0.0025
Risk: $156.25
Reward: $468.75
Breakeven: 1.4775
This trade sets up for a great risk to reward ratio with a more conservative target than the straddle is implying.
Click to enlarge.


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CHICAGO, IL – The Chicago Fire Soccer Club announced Wednesday the signing of goalkeeper Paolo Tornaghi. The former Inter Milan youth player will be added to the club's roster upon the receipt of his International Transfer Certificate (ITC) and P1 Visa. Per league and team policy, terms of the deal were not disclosed.
"Paolo has come in, performed at a high level and worked to earn a roster spot with us this preseason," said Fire head coach Frank Klopas. "Paolo has a lot of potential for growth in this league. He is a talented kid who will push Sean Johnson and Jay Nolly in each training session."
Tornaghi began his career as a youth with famed Italian side Inter Milan in 2004. The 23-year-old 'keeper began loan spells from the Nerazzuri in 2008, spending two stints with Serie C side Como during the 2008-09 season and more recently during the 2010-11 campaign where he appeared in six league and two Coppa Italia matches. The Inter product spent the 2009-10 season on loan with northern Italian side, Rimini, where he appeared in two league matches and one Coppa Italia match.
An Italian youth international, Tornaghi appeared for the Azzuri at every level from U16-U20 and was part of the Italian side that participated in the 2005 FIFA U17 World Youth Championships in Peru. Tornaghi is the first Italian-born player to sign with the Fire in the club's 15-year history.
The Fire host Opening Day at Toyota Park against the Philadelphia Union on Saturday, March 24 at 7:30 PM CT. Chicago Fire Season Tickets are available by calling 1-888-MLS-FIRE (657-3473), via Ticketmaster or by heading to the club's official website at Chicago-Fire.com.
Name: Paolo Tornaghi
Pronunciation: TOR-nah-GEE
Position: Goalkeeper
Height: 6'2"
Weight: 175 lbs.
Date of Birth: June 21, 1988
Place of Birth: Garbagnate Milanese, Italy
Hometown: Milan, Italy
Citizenship: Italy (international roster)
Last Club: Inter Milan (ITA)
Acquired: Signed on March 7, 2012


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Middleton considers pulling students from FarmingtonBy JOHN QUINN
Union Leader Correspondent
January 08. 2014 8:32PM
MIDDLETON — Officials are heading back to the table to review a plan to potentially withdraw from Farmington and build a new school in town.
The Committee to Study the Feasibility of Withdrawal from the Authorized Regional Enrollment Area (AREA) Agreement is scheduled to meet twice this week —Friday at 6:30 p.m. and Saturday at 9 a.m. at the Middleton town offices — to develop "supplemental information" after the State Board of Education requested more specifics when it reviewed the proposal Dec. 19.
The committee — which includes officials from Middleton and Farmington — was encouraged to submit more complete answers before the Board of Education's next meeting, which is scheduled for Jan. 14 in Concord, according to Paul Leather, deputy commissioner for the New Hampshire Department of Education.
Leather said the Board of Education wanted to know more details about whether Middleton is seeking to withdraw from or amend its current agreement with Farmington, where all of Middleton's students will attend school, whether there is a plan to resolve any financial holdings or obligations, if any parts of the plan "are dependent on town or district warrants yet to be voted on" and what options are being considered.
On Tuesday, Farmington officials discussed how their district would adjust to the "catastrophic" loss of $3 million in tuition and the reduction of about a whole class of Middleton students from each grade, if the state and the voters both approve the withdrawal plan.
Following legal review, Farmington plans to submit a report about the impact to the Board of Education, which requested additional information, according to Farmington School Board Chair Joe Pitre.
"Personally, I don't want to see a split," Pitre said. "I just hope for a fair and equitable outcome."
After studying the issue for the past six months, Middleton officials believe it is feasible to conduct a phased withdrawal from Farmington. It proposes to send grades 7-12 to Gov. Wentworth Regional School District — based in Wolfeboro — after July 1, 2015. The remaining students in pre-kindergarten through grade 6 would move into the new school, which also must be approved by voters in March, the following year.
"Any construction plans would need to meet fire and safety, building and school approval codes," Leather said in an e-mail.
Using current state statutes, Leather said the board will determine whether the proposed plan is both feasible and suitable.
Pitre said the taxpayers of Middleton will eventually realize it's very expensive to build a school — which is now expected to cost $6.5 million instead of the original $4.9 million estimate — on top of the money needed for salaries, operating costs, unfunded mandates or other unanticipated expenses. He added this will have a big impact on the small community, especially since State Building Aid is no longer being offered to offset costs.
"There is no tax base in either town," Pitre said, adding the area has not recovered from the ongoing economic issues and many residents are unemployed, underemployed or living on fixed incomes.
While the communities have enjoyed a long-standing relationship, Pitre said there are a lot of issues which must be resolved on both sides of the border.
"We haven't been close to (doing) what we're supposed to be doing," Pitre said, adding officials in both communities need to "sit down at a table and make it right."
Last year, Middleton residents voted 167-64 for the district to study the feasibility and suitability of withdrawing students as some people raised concerns about the quality of education and the tuition rate.
Meanwhile Farmington officials wanted to reconcile other issues, including sharing the costs of Special Education.
In October, school officials formed a building committee to study feasibility of building a school in town on a 55-acre parcel owned by the district.
The committee will present residents with its findings at the next annual school district meeting in February. Voters in Middleton and across the six communities in the Gov. Wentworth Regional School District will separately decide on issues in March.
For more information, visit www.sau61.org or www.middletonnh.gov.


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Full Cast Announced for 1812 Productions' IT'S MY PARTY: THE WOMEN AND COMEDY PROJECT
Beginning in April, 2013, 1812 Productions will present the world premiere comedy It's My Party: The Women and Comedy Project, created and directed by 1812 Productions' Artistic Director, Jennifer Childs, and featuring a diverse ensemble of Philadelphia actresses. A production which will use physical comedy, storytelling, and music in a one-of-a-kind theatrical event, the creative process for It's My Party: The Women and Comedy Project began in 2010 with two questions: how do women use comedy and how does that usage change as they age. With these pointed inquiries as her guides, Ms. Childs embarked on three inclusive and ongoing initiatives which, together, would form the core of the Project.
The Generational Labs
Joined by the show's choreographer, Emmanuelle Delpech, and musical director, Monica Stephenson, Ms. Childs gathered 31 female performers of varying disciplines into week-long creative sessions. The performers were separated by age-one group of 20-35 year olds, one group of 35-50 year olds, and one group aged 50 and above. The focus of these labs was on the presentational, or "what's out there," part of the women and comedy equation. Through storytelling and clown work, each group spent the week exploring female comedic stereotypes-the ditz, the neurotic, the diva, the bitch, the crazy old lady-questioning how often women really assume those roles and how they have changed over the years. Explorations were made into how these overarching comedic and cultural images affect women's everyday lives, and how they resonate through smaller, more intimate exchanges.
The Intergenerational Workshops
Following the Generational Labs, Ms. Childs assembled a group of female performers of different ages to continue exploring the discoveries made during the generational labs-bringing together ideas, concepts, and creative points of view to see how they work across age lines and what their relationships became. Through this series of Intergenerational Workshops, music was introduced as a new focus-both as a working tool and the subject of scrutiny as participants judged, dissected, and reinvented anthemic pieces commonly associated with women. It is from this work that the production ultimately took its name, It's My Party, as celebration, as tongue in cheek commentary, as defiant declaration, and as affirmation of place.
These Intergenerational Workshops led to an extensive series of auditions from which Ms. Childs cast seven Philadelphia actresses: Susan Riley Stevens, Drucie McDaniel, Charlotte Ford, Cathy Simpson, Bi Jean Ngo, Cheryl Williams, and Melanie Cotton.
The Interviews
In tandem with the workshop process, Ms. Childs began an ongoing series of personal interviews with women of varying races, ages, body types, sexual identities, social and economic backgrounds, and political views. Interview participants included women who have established their comedic voices as well as women who have no association with the entertainment field. During these interviews, the "what's out there" focus of the Labs and Workshops was exchanged for a "what's in here" exploration. Specific questions about the meaning of comedy were exchanged for open conversation on any number of topics. Personal stories of surprise, foolishness, desperation, and accomplishment all reveal points of view which, most popularly reduced to stereotype, are in fact complex, vital, and under-explored.
More than 50 women from Philadelphia and along the East Coast have taken part in these interviews, with many interviews continuing as of this writing. Interview participants include Kambri Crews, storyteller, comic, and author of the memoir Burn Down the Ground; Peggy Orenstein, journalist, Female Studies specialist, and author of the books Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girly-Girl Culture and Schoolgirls: Young Women, Self-Esteem and the Confidence Gap, among others; and Lucie Arnaz, actress, singer, cabaret performer, and daughter of arguably the most famous of comedic actresses, Lucille Ball.
The Mom Poems
A scripted element that emerged early on in the workshop process is The Mom Poem. Ms. Childs drafted a short piece that began, "I had this dream that I became my mother," followed by four personal descriptors of that imaginary experience. Removing her personal details, she presented the 'blank' piece to each of the women who took part in the workshops, interviews, as well as the actresses cast in It's My Party, and asked each woman to fill in the blanks, as it were. What emerged were quick glimpses not only into each participant's comedic sensibility, but also into how each viewed her immediate heritage. Some were funny, some reflective, some brazen-most importantly, all were honest. These short pieces became a flashpoint in the creative process. 1812 Productions has now extended an invitation to anyone, male or female, who would like to participate in this creative process to create a personal Mom Poem via its website. Using the same structure that was created for the Women and Comedy workshops, each poem will be transformed into an e-poster and will become part of an online gallery telling the many stories inspired by the sentence, "I had this dream that I became my mother." A selection of posters will also be printed and put on display at various locations around Center City Philadelphia. Anyone wishing to submit a Mom Poem can do so at www.1812productions.org, using the form located on the It's My Party page-full instructions are available there. Additionally, poems may be submitted directly to Jennifer Childs at firstname.lastname@example.com, or to Tyler Melchior at firstname.lastname@example.com. All poems will be made available for public enjoyment and poems may be submitted at any time up to and during the production of It's My Party.
Ms. Childs says of The Women and Comedy Project, "I am interested in transformation-fear transforming into joy, ugliness transforming into beauty-and the unique and powerful role that comedy and laughter can play in making that transformation possible. For this reason, how different women use humor compels me. Women are, by nature, transformative creatures. As I watch the women in my life age, their physical and emotional transformations are matched by a comedic one. They use humor in new and different ways to cope with the issues and challenges of new bodies, older brains, and more complicated life experiences." She continues, "I want to showcase this collision of the presentational and the personal-the iconic roles women play and the complex stories that lie underneath. I want to create something with this ensemble of women that explodes stereotypes, honors the truth of their comedic journeys, and, most importantly, makes people laugh really hard."
Details about the physical production of It's My Party: The Women and Comedy Project will be available as the production nears. It's My Party: The Women and Comedy Project will run from April 25th through May 19th, 2013 at Plays & Players Theatre, 1714 Delancey Street, in Center City Philadelphia. Opening Night will be Wednesday, May 1st at 7:00pm. Inquiries about the production, ticket purchases, and The Mom Poems can be made at 215-592-9560 or through www.1812productions.org.
Jennifer Childs, Creator/Director: Jen is the Artistic Director and Co-Founder of 1812 Productions, Philadelphia's all comedy theater company. For 1812 she has written and directed The Big Time, Another Big Time, Like Crazy Like Wow (1950s Nightclub comedy), Something Wonderful Right Away, Always A Lady, Double Down, This Is The Week That Is, Let's Pretend We're Married, Our Show of Shows and, in collaboration with composer James Sugg, the original musical Cherry Bomb. Her solo show, Why I'm Scared of Dance by Jen Childs, was recently produced at City Theatre in Pittsburgh and Act II Playhouse in Ambler, PA. In addition to her work at 1812, she has performed and/or directed for Wilma Theater, Philadelphia Theatre Company, Walnut Street Theatre, Arden Theatre Company, Prince Music Theatre, Mum Puppettheatre, Act II Playhouse, Lenape Regional Performing Arts Center, Lantern Theater Company, Philadelphia Shakespeare Festival, and ComedySportz. She is a two-time Barrymore Award winner including the 1999 F. Otto Haas Award for an Emerging Theatre Artist. She is the recipient of two Independence Foundation Fellowships in the Arts and serves on the Mayor's Cultural Advisory Council.
Emmanuelle Delpech, Movement/Choreography: Emmanuelle Delpech is an actor, teacher and director. As an actor she was classically trained at the Ecole Superieur d'Art Dramatique de la ville de Paris, and then studied physical theatre at l'Ecole Internationale de Theatre Jacques Lecoq. She recently graduated from Temple University and earned an MFA in Directing. A former member of Pig Iron Theatre Company, Emmanuelle has been a performer/co-creator of such productions as Gentlemen Volunteers, Flop!, Hell Meets Henry Halfway (Barrymore Award nomination, Best Supporting Actress in a Play), and James Joyce is Dead and So Is Paris (Barrymore Award, Best Supporting Actress in a Musical). She created and performed Madame Douce-Amere, a wordless clown duet at the 2005 Philadelphia Live Arts Festival, which was also produced by 1812 Productions at Walnut Street Theatre in October 2006. Emmanuelle made her directing debut with an urban adaptation of Sophocles' Greek tragedy Oedipus at Colonus performed at the FDR Skate Park for the 2008 Philadelphia Live Arts festival. In June/July 2009, Emmanuelle performed with The Second City Chicago in Reverie directed by Dexter Bullard which was premiered at the "Just for Laughs" Festival in Montreal. Emmanuelle worked with The Civilians' new piece The Great Immensity, sharing her physical theater skills with director Steve Cosson, and was assistant director for its first performance at the Princeton Atelier. She worked again with Steve Cosson as a mime consultant for Anne Washburn's new play, A Devil at Noon, which premiered at the Humana Festival in Louisville in March 2011. In December 2010, The Philly Shakes Cabaret Series presented her clown adaptation of Marivaux's La Dispute, and directed Moliere's Tartuffe as her thesis for the Temple Repertory Theater. Most recently, she worked with James Ijames on the original piece FRONTIN' about the tradition of blackface performances and the identity of the black performer in America, and with Charlotte Ford on Bang!, a clown exploration of women and sexuality presented at the 2012 Live Arts festival. Emmanuelle was named Best Theater Artist, 2011 by Philadelphia Magazine. Emmanuelle has taught at University of the Arts, Swarthmore College, and Temple University. She has taught clown workshops for the Volcano Institute in Toronto and also in Philadelphia. She regularly teaches workshops for directors on creating devised work with the Movement Theater Studio NYC. Emmanuelle is a faculty member of the Headlong Performance Institute and of the Pig Iron School for Advanced Training.
Monica Stephenson, Musical Director: While she currently lives in Pittsburgh, Monica has spent many years living and working as part of Philadelphia's talented theatre community. As a vocalist, composer, theatre artist, and teacher, she often makes the turnpike trek between the two cities. Monica is graduate of Duquesne University School of Music and has had the pleasure of working with such companies as The Pittsburgh Opera Company, Pittsburgh Irish & Classical Theatre, Unseam'd Shakespeare Co., 1812 Productions, and Philadelphia Young Playwrights. She is currently the Education Director for Prime Stage Theatre Company and is a musical theater instructor for H.O.P.E Academy in Pittsburgh. You can also find her performing her original music in live music venues around the Pittsburgh and Philadelphia areas. www.monicastephenson.webs.com
Hillary Rea, Assistant Director: Hillary is a comedian and storyteller living in Philadelphia. Since 2009, she has been performing stories from her storytelling series Crush Comedy at venues all over Philadelphia including World Cafe Live, Space 1026, The Barbary, Connie's Ric Rac, and L'Etage. Favorite shows include The Soundtrack Series, Animated Stories, and those with The New Dreamz, Adam Wade, and opening for Michael Showalter. Hillary performed at the 2012 North Carolina Comedy Arts Festival and the 2011 First Person Festival. In Fall of 2011, Hillary was a part of the RISK! True Stories Boldly Told live show hosted by Kevin Allison and featuring the Sklar Brothers. In June 2011, Hillary was an artist-in-residence for Elsewhere Artist Collaborative and Museum in Greensboro, NC. Outside of storytelling, Hillary was last seen in Dark Comedy at the 2011 Philadelphia Fringe Festival. Currently, Hillary hosts the monthly storytelling shows Tell Me A Story at Shot Tower Coffee and Fibber at Philly Improv Theater. She is a show host and frequent storyteller at the First Person Arts' StorySlams.
Melanie Cotton, Ensemble: A Philadelphia native, Melanie Cotton started her formal dance training at The Ivy Leaf School studying ballet, jazz, and African dance. At 13, Melanie enrolled in the prestigious Freedom Theater School of Performing Arts where she studied Modern dance (Horton technique), West African (Umfundalia), Jazz, and Ballet. Drawn to the stage, Melanie studied with the Freedom Theater's youth acting program where she discovered her affinity for Classical and Musical Theater. Influenced by all genres of music of from Michael Jackson to Parliament Funkadelic, she was lured by the sounds of Hip-Hop music. Fully immersed in the Hip-Hop culture, Melanie was able to study with pioneering Hip-Hop legends like Buddha Stretch, Tweetie, and "BK" Terry (all of the Hip-Hop group Elite Force). Gravitating more towards the Funk styles of Hip-Hop (like Locking); she studied with Moncell Durden of MopTop dance crew, Rennie Harris, and had the honor to work with the creator of Locking, Don "Campbell Lock" Campbell. While studying dance, Melanie earned her Associates degree in Communications at The Community College of Philadelphia. In 2002, she served as resident choreographer at CCP for Theater Productions directed by Dr. Ardencia Hall- Karambe and is currently a member of the theater fraternity DELTA PSI OMEGA. In 2003 she became a principal dancer for "Philadelphia's premiere, all female Hip-Hop dance crew," Montazh Performing Arts Company. With Montazh PAC, Melanie Continued her training in Hip-Hop as well as funk styles including; locking, waacking, house, and Caribbean fusion. Currently, Melanie is a member of the world-renowned Hip-Hop Theater company, Rennie Harris: Puremovement. With RHPM she is performing and teaching around the world.
Charlotte Ford, Ensemble: Charlotte Ford is a Philadelphia-based theatre artist who creates avant-garde slapstick performance art that celebrates sublime stupidity with joyful abandon. Original work includes Flesh and Blood & Fish and Fowl (Edinburgh Fringe First, 2010, shortlisted for Total Theatre Award), CHICKEN, and Bang! (Philadelphia Live Arts, 2012). She has toured her original work to Edinburgh's Traverse Theatre, the London Barbican, Paris's Festival D'été, and St. Etienne's Festival de Sept Collines. Collaborations include Pig Iron Theatre (Welcome to Yuba City), Lucidity Suitcase, Rainpan 43, Theatre Exile (Gruesome Playground Injuries, That Pretty Pretty, Red Light Winter), 1812 Productions (Cherry Bomb, Philadelphia Weekly's "Best Supporting Actress in a Musical"), Arden Theatre Company,Lantern Theater Company, New Paradise Laboratories, Brat Productions, and the Pennsylvania Shakespeare Festival. Charlotte has been nominated for four Barrymore Awards and was named Best of Philly Theatre Talent, 2012 by Philadelphia Magazine. Her original work has been supported by the Pew Center for Arts and Heritage through the Philadelphia Theatre Initiative, The Independence Foundation, the Leeway Foundation, USAI, and the Wyncote Foundation. 2011 Finalist for the F. Otto Haas Award. BA, Bryn Mawr College. MFA, LISPA.
Drucie McDaniel, Ensemble: As an actor, Drucie has done film (Girl, Interrupted, Jersey Girl, Fallen, Twelve Monkeys, The Narrows, Explicit Ills, The Silver Linings Playbook), television (Law & Order, Law & Order Special Victims Unit, The Adversaries, All My Children, HBO's You Don't Know Jack, The Onion News Network), and stage (New City Stage, Wilma Theater, InterAct Theatre Company, Delaware Theatre Company, Act II Playhouse, Brat Productions, Walnut Street Theatre, 1812 Productions), as well as national television/ radio commercials and international voiceover work. Drucie has written/produced/directed for radio, television, industrial/documentary film (PBS, Nickelodeon, Ski Industries America, U.S. Dept of Energy, U.S. Dept of Defense, Apple Computers) and theatre (Philadelphia International Festival for the Arts, Walnut Street Theatre, Foundation Theatre, The National Constitution Center, Tampa Bay Performing Arts Center, The Discovery Theatre/Smithsonian Institution, The Village Gate/NYC, Project Arts Center, and The Abbey Theatre/Dublin, Ireland, ten years Artistic Director of The Philadelphia Theatre Caravan-writing/and or directing over thirty plays for national tour-and The Rosenbach, where she also appears every Bloomsday, June 16th, as James Joyce's Molly Bloom). An acting coach for over 25 years, Drucie teaches at The Actors Center, Walnut Street Theatre, and is an Adjunct Associate Professor at the University of the Arts (where she also directs). Drucie sings and plays with an Irish band, The Connemara Codfish Company.
Bi Jean Ngo, Ensemble: Bi Jean Ngo once ran away from home for half an hour. She made it to the end of the cul-de-sac with her pink and purple Huffy bike and a peanut butter sandwich. It was during that thirty minute break from the minutiae of daily life that she dreamed of one day doing something extraordinary. She studied film at Boston University, got an MFA in acting from The Actors Studio, and continues to learn from the greats in Philly. She flew to Neverland at the Arden, climbed to great heights with Nice People, played on Wall Street at Interact, and boarded an amazing roller coaster of love and laughter at 1812. Bi also fell in love with teaching for the Arden, Philly Young Playwrights, and 1812. This past summer, she worked on her one-woman show as a recipient of 1812 Productions' Jilline Ringle Solo Performance Residency.
Cathy Simpson, Ensemble: Cathy Simpson, is a company member of the People's Light and Theatre Company. She is also a member of the Freedom Rising Company at the NCC, and the American Historical Theatre of Philadelphia. She has performed at InterAct Theatre Company, Philadelphia Theatre Company, Philadelphia Shakespeare Theatre, Hedgerow Theatre, Arden Theatre Company, The Wilma Theater, and Flashpoint Theatre Company. Regional theater credits include Arena Stage, The Kennedy Center, Studio Theatre, Source Theatre, Woolly Mammoth, Olney Theatre Center, St. Louis Black Rep, St. Louis Rep., Indiana Rep. A three-time Barrymore Award nominee and a winner for the Freedom Theatre Company production of The Old Settler, and a Kevin Kline Award winner for St. Louis Black Rep's production of A Song for Coretta, she has also been nominated twice for the Helen Hayes Awards in Washington D.C. and won the Best Performer Award in Toyama, Japan.
Susan Riley Stevens, Ensemble: Susan Riley Stevens has been seen in several incarnations of 1812 Productions' This Is The Week That Is as well as First Day of School and The Uneasy Chair. She was most recently seen at the Pennsylvania Shakespeare Festival, playing Constance in the rarely-produced King John. Other PSF productions have included Hamlet, Pride & Prejudice, Romeo & Juliet, King Lear, and Othello. Susan has worked with Walnut Street Theatre in God of Carnage, Fallen Angels, Speaking in Tongues, and A Streetcar Named Desire, and with Arden Theatre Company in Three Days of Rain and Closer. Other credits include People's Light and Theatre Company, Actors Theatre of Louisville, Yale Repertory Theatre, Peterborough Players, and Dallas Theatre Center. She is the recipient of the 2007 Barrymore Award for Best Actress in a Play for Bad Dates at Act II Playhouse and holds an MFA from the Yale School of Drama.
Cheryl Williams, Ensemble: Local credits include the Nurse in Antigone (Quintessence Theatre Group), Grace in Pterodactyls (New City Stage), Francis in The Breath of Life (Lantern Theatre Company-Barrymore Award, Leading Actress), Dorothy/Narrator in Respect: A Musical Journey of Women (Act II Playhouse and Society Hill Playhouse), Aunt Julia in Hedda Gabler (Mauckingbird Theatre Company), and Amanda in The Glass Menagerie (Act Out Theatre, NJ), as well as in several staged readings and workshops with PlayPenn, PAC, Writing Aloud, and InterAct Theatre Company. Nationally, Cheryl has worked with Chicago Dramatists, Chicago's Court and Goodman Theatres, Chicago Shakespeare Theatre, the Detroit area's Purple Rose, Attic, Jewish Ensemble, and Meadow Brook theatres, as well as with The Human Race (OH), Madison Rep (WI), Three Rivers (Pittsburgh), Antioch (OH), and the New Jersey, Orlando, and Illinois Shakespeare Festivals. This season, Cheryl may also be seen as Leonato in Mauckingbird Theatre's Much Ado About Nothing, and as Eunice in Interact Theatre Company's The Exit Interview. She also appears in the feature film Silver Linings Playbook, in which she plays leading Lady Jennifer Lawrence's mother. Cheryl is an honored recipient of a Princess Grace Foundation Theatre Fellowship, as well as multiple nominations, and two Best Actress awards, for her work with Detroit area theatres. She is an adjunct acting instructor with the Temple University Theatre program.
1812 Productions was founded in 1997 and is the only professional theater company in the country dedicated to comedy. Their education program, 1812 Outreach, has received multiple nominations and been awarded the Barrymore Award for Excellence in Theatre Education and Community Service. 1812 Productions is the recipient of an honorary citation from the City of Philadelphia for outstanding work and commitment to the Philadelphia arts community. In 2010, they were honored as one of only 10 theaters in the country to receive a National Theatre Company grant from the American Theatre Wing, founder of the Tony Awards. 1812 Productions, while continually on the search for a permanent home, continues to perform at various locations in Philadelphia.


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Don't get us wrong, we love a nice, sunny day. But, there are also times we don't mind a downpour. Think about it — rain's the perfect excuse to show up a few minutes late or to justify a bad hair day. And, it also means you get to twirl around a really cute umbrella, that is, if you're anything like us.
When the weather's wet and crummy, you can be sure we're seeking shelter in style. And there's no better place than under one of our 12 favorite umbrellas, which feature everything from standard cheetah and polka-dot prints to an electric neon motif and a floral interior that'll have you looking up. We promise you won't be so disappointed the next time there's a shower in the forecast.


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Today is Wednesday, Jan. 2, the second day of 2002, with 363 to follow.
The moon is waning, moving toward its last quarter.
The morning star is Jupiter.
The evening stars are Mars and Saturn.
Those born on this date are under the sign of Capricorn. They include Virginia patriot Nathaniel Bacon in 1647; British Gen. James Wolfe, hero of the battle of Quebec in 1727; fan dancer Sally Rand in 1904; author Isaac Asimov in 1920; singer Julius La Rosa in 1930 (age 72) and singer/songwriter Roger Miller in 1936; former televangelist Jim Bakker in 1939 (age 63); actors Tia Carrere in 1967 (age 35) and Cuba Gooding Jr. in 1968 (age 34); and model Christy Turlington in 1969 (age 33).
On this date in history:
In 1788, Georgia ratified the Constitution, the fourth of the original 13 colonies to do so, and was admitted to the union.
In 1942, Japanese forces occupied Manila, forcing U.S. and Philippine forces under Gen. Douglas MacArthur to withdraw to the Bataan peninsula.
In 1959, the Soviet Union launched Lunik-1, the first unmanned spacecraft to travel to the moon.
In 1974, President Nixon signed a bill requiring states to limit highway speeds to 55 mph or lose federal highway funds.
In 1990, elite Soviet interior ministry troops seized buildings in the Baltic republics of Latvia and Lithuania.
Also in 1990, Britain's most wanted terrorist suspect, Patrick Sheehy, was found dead in the Republic of Ireland.
In 2001, President Bush nominated a Democrat to his Cabinet, picking Norman Mineta, President Clinton's commerce secretary, to head the Department of Transportation.
A thought for the day: an anonymous saying is, "He who dies with the most toys is, nonetheless, still dead."


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FROM the footy field to the world of academia, Mark Sargent has risen to the top through a combination of hard work, talent and true grit.
The 48-year-old former Newcastle Knight and Kangaroo prop has just received confirmation of his PhD in public policy at the University of Newcastle.
His work explored NSW gambling tax regulations, particularly those involving electronic gaming machines.
The former Knights captain has also completed his MBA and Masters in marketing.
Once accustomed to storming through bodies with a footy in hand, Dr Sargent can see similarities between his previous and current vocations.
He likens the past seven years slogging away at his studies to his battle on the field to claim his first Kangaroos cap in 1990.
"Both were fairly significant achievements and there's something similar in that respect," he said.
"You don't see much running of the footy or tackling [in studying], but I think some of the stuff that you take out of them are the same.
"You've got to knuckle down and stick with it and both are testing to see if you've got what it takes."
After starting his doctorate in 2006, Dr Sargent is relieved to finally have it behind him.
He said he had originally embarked on the degree to tie in with his work in the alcohol and gambling licensing industry but the PhD would still be useful in his research-based work with his own business and the university.
Dr Sargent was also busy with family life this year, with younger daughter Georgia finishing year 10 and elder daughter Courtney completing her HSC.
Although balancing study with work and family was tough, he said waiting for results was the most difficult part.
"The main problem was the examination process. You're in limbo for a number of months, so there was workload stress but more worrying was the great unknown," he said.


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Italy head coach Cesare Prandelli has praised his side's spirit after they performed a thrilling fightback to draw 2-2 with Brazil on Thursday.
Fred and Oscar's first-half strikes fired the Selecao into a comfortable lead at half-time, but Daniele De Rossi pulled a goal back before Mario Balotelli's 25-yard strike levelled the score before the full-time whistle.
The former Fiorentina boss believes his Azzurri charges played a risky game going behind in the friendly clash, but was delighted to witness their second-half comeback.
"We had a great game. We were down 2-0 at break. I looked to transmit the feeling we could score then equalise," Prandelli told Rai.
"We risked a lot being 2-0 down but we were better organised in the second half. It was good spirit from the team.
"I like us being in this form as it gives us more confidence.
Prandelli defended Mario Balotelli - who missed a number of chances - and Mattia De Sciglio - who could be blamed for both Brazil goals - after the hard-fought draw in Switzerland.
"[Balotelli] had the best opportunities and scored a great goal," the coach continued. "The important thing is that he is at the top of his game during competitions.
"Mattia De Sciglio showed great technique and maturity."
Italy face World Cup 2014 qualification opponents Malta on Tuesday.


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(UPI) -- Chris Brown has voluntarily entered an unspecified rehab facility in Malibu, just days after the 24-year-old performer was arrested in Washington, D.C. on felony assault charges.
The charges were reduced to a misdemeanor after Brown appeared in court on Monday. He was ordered to report to his California probation officer.
"Chris Brown has elected to enter a rehab facility," his rep said in a statement Tuesday. "His goal is to gain focus and insight into his past and recent behavior, enabling him to continue the pursuit of his life and his career from a healthier vantage point."
Brown's latest legal woes stem from an altercation outside D.C.'s W hotel early Sunday morning, when the singer and his bodyguard allegedly punched a man in the face. He's still on probation for his 2009 beating of Rihanna.
TMZ reported Tuesday that Brown walked into the facility with his lawyer, his mom and his girlfriend Karrueche Tran. The gossip site speculated that Brown is seeking anger management treatment.


text:
Observers: Alberto Quijano Vodniza, Jose Alonso
Location: Mayaguez, Puerto Rico
Date: May 14, 1997 23:37:48 UT
The image was taken with a ST-6 CCD camera through a 5 inch, F10 reflector. 10 sec exposure. Image in false color was processed with MIRA software. The Observatory is part of the University of Puerto Rico, located in the city of Mayaguez, western coast of Puerto Rico ( lat 18 N, long 67 W ). The field of view is 23.1 X 17.4 arc min. Sky was very cloudy.
Alberto Quijano Vodniza ( email@example.com)
Jose Alonso ( firstname.lastname@example.com )
Comet Hale-Bopp Home Page


text:
A partial federal government shutdown lasting through the end of this week would pare 0.2 percentage point from U.S. economic growth and cost as much as 0.5 point if it continues another two weeks, according to the median estimate in a Bloomberg survey of economists.
Estimates of gross domestic product losses in the fourth quarter if the shutdown ends this week range from zero to 0.6 on an annualized basis, according to a Bloomberg survey of 45 economists taken Oct. 4-9. The U.S. government began its first partial shutdown in 17 years Oct. 1 as Republicans and Democrats clashed over passing a budget.
"The main impact on GDP comes from the government sector itself," said Stephen Stanley, chief economist at Pierpont Securities LLC in Stamford, Connecticut. "My guess is the ripple effects are modest early on, but if the government were to stay shut down for as long as a month, you would see issues developing in the private sector."
Companies reliant on federal procurement spending, such as Lockheed Martin Corp., the top federal contractor, have already furloughed workers because of the shutdown. Having initially planned to send 3,000 people home, the company reduced the number by about 20% Oct. 7 after the Defense Department said most of its idled employees would be called back to work.
For many furloughed federal employees, the paychecks they receive tomorrow may be half their usual amount, and the last ones for a while.
Diminishing Impact
The effects of a shutdown could diminish with time as Americans pressure the government into recalling more workers, said Mike Englund, chief economist at Action Economics LLC in Boulder, Colorado.
"As we keep passing patches, the size becomes smaller and smaller, and the effects diminish," Englund said.
Even so, the cumulative effect would continue to build the longer the shutdown continues, according to projections in the Bloomberg survey.
Economists expected a 0.1 percentage point cost after one week of shutdown, based on an Oct. 1 Bloomberg survey. The median estimate of GDP loss from a shutdown lasting through Oct. 18 was a 0.3 percentage point reduction, this week's poll shows, climbing to half a point if the shutdown persists through the end of the following week.
The median estimate of 68 economists in a separate survey forecast annualized growth at a 2.4% rate in the fourth quarter. The September survey was for 2.5%.
"Right now, we're looking at another quarter of below- potential growth," said Stefane Marion, chief economist and strategist at National Bank of Canada Financial Inc. in Montreal. Reduced growth "makes the difference between stabilizing the unemployment rate or having a rate that might drift higher."
Copyright 2014 Bloomberg. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


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Manchester mayor: 'It's the tax cap budget'By TED SIEFER
New Hampshire Union Leader
April 16. 2014 10:44PM
MANCHESTER — Department heads and aldermen are pushing back against the budget proposed by Mayor Ted Gatsas, warning it will likely result in layoffs and undermine public safety.
The heads of the largest city departments — public works, police and fire — have all appeared before the Board of Mayor and Aldermen this week to raise concerns about the budget.
Gatsas has acknowledged that his proposed fiscal year 2015 budget will pose challenges, which is constrained by a 2.13 percent tax cap. The $137.4 million city budget presented by the mayor contains $6 million in unfunded health care and severance costs. And this week, the city's finance director increased his estimate of the budget hole to $8 million.
The main source of concern for the department heads is the expectation that they will have to absorb the unfunded severance costs within their operating budgets. Retirements are expected next year because it's the last year in which a $13,000 incentive will be offered to employees who step down.
For the police department alone, severance costs could top $530,000, Chief David Mara told the aldermen at a hearing on Monday. "Any notion that we can absorb severance in the budget is unrealistic. We'd have to lay off officers," he said.
This conflicts with part of Gatsas' budget speech, in which he declared there would be no layoffs and the size of the police force would be increased to 227 officers.
Similarly, Fire Chief James Burkush estimated his severance costs next year to be close to $500,000. Last year, departments left positions vacant to deal with unfunded severance. But Burkush said leaving fire department jobs vacant could force the closure of fire stations and put trucks out of service.
In his budget, Gatsas proposes reducing from 46 to 42 the size of the complement, the total number of firefighters who must be on shift at any time to respond to emergencies.
"I don't want to go to 42," Burkush told the aldermen.
Gatsas said in an interview Tuesday that he did the best he could with his budget given the limits of the tax cap. "I had a task to do a budget under the tax cap," he said. "I know some aldermen have referred to it as the mayor's budget, but it's the tax cap budget."
Gatsas also said the dire warnings of department heads had to be taken in context.
"The problem is most people, when I listen to the questions, they don't understand the budget process," he said. "Last year Chief Mara came in and said he'd be $100,000 short in the allocation we gave him. He managed his budget, and right now he's showing a surplus. We have him at 227 officers, which is the highest complement he's had."
Several aldermen have pledged to bolster ranks of police officers in particular.
"We're on the cusp right now. It's not going to take much where this city is going to dissolve," Ward 3 Alderman Pat Long said. "With the heroin, the graffiti, we're attracting a bad element, if we don't have officers out there walking the beats; it's critical now they get what they need."
The hearing on Monday also included unwelcome news from Finance Director Bill Sanders, who said the unfunded portion of the budget is closer to $8 million than $6 million.
The budget constraints appear to have some aldermen considering an override of the tax cap, which would require 10 votes on the 14-member board.
"I think there's going to have to be serious consideration for overriding the tax cap, to continue with services and keep the city moving forward," Ward 1 Alderman Joyce Craig.


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shop locallyFriday, July 13, 2007
Rainy summer days mean days to remember.
It is really great when the rain forces creative play at our house. The kids set up shops throughout the house, each with their own individual theme.
Andrew had a sporting goods store. He collected anything from balls to racquet's to bobble heads. Priced everything on his own. I guess it never hurts to dream big. Charlie raided the kitchen for candy for his candy shop. He also priced things pretty high. Dum dums for $1. He also was asking $1 for Hershey kisses. I'll tell you, it was a very expensive candy shop.
32 comments
What fun! Libby sounds like she is a budding designer.ReplyDelete
I sure hope I have a lucky Friday the 13th too - I think I'm heading to the casino - too bad I play with real money! HA! ;)
Your kids have great names!
this is too cute! it looks like the high gas prices REALLY affected the prices in the stores. :) Isn't it fun to see your kids being creative?ReplyDelete
[shop locally]... think globally. it's too true. your children will remember that forever, i am sure! i look forward to doing things like this once my children are a bit older. my toddler would have decimated the candy shop, 5-fingered the baseball and erased the dry-erase board in a matter of minutes! ÜReplyDelete
How creative, love it!! Love the Variety Store concept, she's on the ball that one!ReplyDelete
Get out of town! You guys are too much fun! I love the friendly dollars.ReplyDelete
That's so fun, isn't it? My kids sometimes set up shop together and use monopoly money :)ReplyDelete


text:
April 25, 2011
SANTA BARBARA, Calif. - Junior Krista Cobb was named the Big West Conference Pitcher of the Week on Monday after helping lead the Gauchos to a 2-1 series win over visiting Cal State Northridge last week at Campus Diamond.
The West Hills, Calif. native went 2-0 in three appearances over the weekend, starting two games and coming out in relief in another.
Cobb's first start was a test of endurance as she went eight innings for the win in the series opener. She allowed nine hits, four earned runs, walked five and struck out six in the 5-4 victory.
After 2.1 innings of perfect relief in a game two UCSB loss, Cobb came through with an excellent effort to win game three. She went seven innings and allowed just three hits, two unearned runs and struck out three.
In all, Cobb posted a 1.62 ERA in her 17.1 innings of work and is now 6-1 with a save in Big West play.
This marks Cobb's sixth conference Pitcher of the Week honor and her first this season.
Cobb and the rest of the Gauchos will continue Big West play on the road this weekend at Long Beach State. The three-game series will begin with a doubleheader on Saturday, April 30 at 1 p.m.


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The Librarians Association of the University of California, Berkeley serves in an advisory capacity to the Chancellor and Library administration on professional and governance matters of concern to all librarians.
Chair's Message
Welcome to the LAUC-B website.
The Librarians Association of the University of California is an official unit of the University. LAUC-B is the Berkeley chapter of this statewide association whose primary responsibility is to advise the University on professional and governance matters and to make recommendations concerning UC librarians' rights, privileges and obligations and to promote full use of UC librarians' professional abilities.
Jane Rosario, LAUC-B Chair, 2018-19
Cody Hennesy, Vice-Chair/Chair-Elect
Brian Quigley, Past Chair


text: The Cheesy Crust Pizza Co. is a pizza restaurant in 1986, the setting of Grand Theft Auto: Vice City. The restaurant is located inside the North Point Mall in Vice Point, Vice City. If Tommy Vercetti is low on health, he can eat at this place to regain his health.


text:
Shires Waterford Bit
The Waterford bit is composed of many different links making it hard for the horse to pull against and lean on.
It is a severe bit.
Sizes 5 and 5.5 inches
Latest offers and our favourites
- Canterbury Performance Breeches
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- ProStable collapsible bucket and case
- Skinner's Puppy & Junior Small Bites 15Kg
- James Wellbeloved Ferret Complete
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- Ancol K9 Cologne for Dogs
- Fancy Feeds Molassed Goat Feed
- Verm-X for Poultry, Ducks and Fowl
- Verm-X Crunchies for Cats
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- Gold Label Magic Clean
- Global Herbs Mud-X Cream
- Silverfeet Antimicrobial Hoof Balm
- Suregrow Fertiliser
- Wickedly Wild Complete Grooming Kit
- Poultry House Disinfectant
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Lightweight delivery £3.75. Regular delivery £5.95.
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Bulky delivery from £12. Pallets from £39 Read more...
The Control Tower, Learoyd Road, Caenby Corner Industrial Estate, Hemswell Cliff, Gainsborough, Lincolnshire DN21 5TJ


text:
Arsenal and Tottenham have missed out on the signing of Son Heung-Min after the highly-rated South Korea international was confirmed as a Bayer Leverkusen player on Thursday.
Son joins Bayer Leverkusen from Hamburg as a replacement for German forward Andre Schurrle, who is set to join Chelsea after the Blues agreed a reported £20 million fee for his capture.
"We made it clear from the start that a transfer of Schurrle to Chelsea would only happen if an adequate sporting alternative was possible," Leverkusen president Wolfgang Holzhaeuser said.
"This alternative was now taken under contract with Son Heung-Min and so there is nothing blocking Andre Schurrle's transfer from our side."
The 20-year-old scored 12 goals in the Bundesliga for Hamburg last season, and a number of impressive displays led to speculation that Son would make the move to the Premier League at the end of the campaign.
Arsenal and Tottenham had both been credited with interest in Son as both Arsene Wenger and Andre Villas-Boas look to bolster their attacking options during the summer transfer window.
Son is not the only player claimed to have been on the radar of both Arsenal and Tottenham, with the north London rivals also reported to be pursuing Real Madrid forward Gonzalo Higuain.
David Villa of Barcelona has also been touted as a potential target for the Gunners and Spurs.
Do YOU want to write for GiveMeSport? Get started today by signing-up and submitting an article HERE: https://www.givemesport.com/writeforgms


text:
Atilla Iftikhar (Islamabad, Pakistan), 1 March 2006
I found your article A Question of Decency and Tact by Mohammad Kalisch very interesting and would like to make a few comments.
Constructive criticism of the Muslim societies is a necessity and cannot be ignored. The many different problems of Muslim societies cannot and should be pardoned away, however there is need for balance and nuances in the critic of Muslim societies. I fear that the cartoon crisis only reflect the destructive approach chosen by some agitators unwilling to promote a balanced approach.
Freedom of expression means not that minority communities are exposed to harassment by the representatives of the media. In Austria, the notorious Holocaust-historian David Irving was given a prison sentence for uttering controversial opinions about the tragedies of the WWII. The medias in the EU have mostly shown sympathies with the Austrian court verdict against Irving in spite of the freedoms of expression.
My point is very simple: the EU media should avoid selective morality in this context! Freedoms of expressions also present responsibilities and harassment of the Muslim minority communities is not good.
Atilla A. Iftikhar


text:
Deliver us from the presumption of coming to this Table for solace only, and not for strength; for pardon only, and not for renewal.
Sunday, August 4, 2013
#472: Running with a Friend
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