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Tag Archives: Neil Cohn
July 1, 2019 Event Closure (Visualizing Plot, Part 5)
Last year I posted a sequence of five posts exploring how comics visualize plot. The first harmonized Freytag's plot pyramid, Todorov' equilibrium circle, and Cohn's panel types; the second used that combined structure to define closure through implied plot content; and the third and fourth tested it on abstract comics.
I've since been in conversation with Neil Cohn (who has to be the most generous email correspondent ever), working out differences between his visual narrative grammar and my proposed structure. In short, mine (balance, disruption, imbalance, climax, new balance) exists in a comics viewer's mind, while his panel types (Orienter, Establisher, Initial, Prolongation, Peak, Release) exist on paper (which then of course is experienced in the viewer's mind too). That means there's no such thing as, for example, an invisible or undrawn Initial, but there is a mental experience of a parallel disruption in a viewer's understanding of the partially drawn, partially implied plot event. Or at least that's my hypothesis. To make my claims worthwhile, they need some theoretical grounding.
Another way to put it, narrative panel types are event structure manifested. Cohn's Initial-Peak-Release (typically) aligns with his mentor Ray Jackendoff's event structure Preparation-Head-Coda. But while Cohn is looking literally at panels, "events" (as Jeffrey Zacks and Barbara Tversky explain) "are in the minds of the beholders." Each is "a segment of time at a given location that is conceived by an observer to have a beginning and an end." Since my aim is to explain closure through a theory of undrawn comics content, Cohn's grammar panels aren't useful because they apply only to drawn content.
I thought Jackendoff would be useful, but I found that his Prep-Head-Coda structure didn't always align with my own event structure. For him an "event" consists of "a Head (the main action), with an optional Preparation (things that have to be done before the Head can be begun) and an optional Coda (things that are done to restore the status quo ante)." That's similar to Todorov's three phrase equilibrium-equilibrium-equilibrium plot structure (and Todorov's fourth step is an "attempt of restore equilibrium"), but Jackendoff's example didn't line up.
He subdivides "making coffee" into twenty units, including "put water in the machine." He explains:
"The Head consists of actually pouring water into the machine from the pot. But in order to do this, one must first measure water into the pot–the Preparation–which in turn is organized into Preparation plus Head, and each of these has further organization. And once one has poured the water into the machine, one must replace the empty pot in the machine–the Coda."
So it seems "Head" sometimes refers to the culmination of a "main action" (which parallels Cohn's Peak) and sometimes it is the "main action" (which parallels Cohn's entire visual narrative grammar).
So now I'm going back a couple more decades to a series of experiments and papers by Darren Newtson in the 70s. Newtson divides actions into "a series of cognitively discrete units" by identifying unit boundaries he terms "breakpoints," which are boundaries between larger, multi-unit sections and are also units themselves. Breakpoints are key because they serve as "points of definition" for an overall action, where "each breakpoint is a point of reference, or comparison, from both the preceding and following breakpoints" creating an experience of "continuity … between successive action units." He even divides a video into still frames that he calls "an almost comic-strip summary of ongoing action sequences."
His approach harmonizes with Cohn's narrative grammar (because he's using manifested images) and plot structure (because he's also talking about unseen and so implicit behavior inferred from manifested images). This also suggests why Cohn's Peaks are so significant because "action units are defined by a type of information uniquely available at breakpoints." This is true primarily because "breakpoints are selected [and here I would say "created" in the case of comics] on the basis of a meaningful change having occurred relative to the preceding breakpoint."
Newtson also reveals something about Todorov. Todorov identifies five plot points, but only three broad units: equilibrium, disequilibrium, equilibrium. They are separated by a disruption and (altering his language a little) a restoration. That's an event structure (and so not necessarily manifested as comics panels), but in Cohn's narrative grammar they correspond with Initial and Peak. Viewing them as breakpoints reveals how much less important other panel types are because they are one of many available "nonbreakpoints" (Newtson's term) within the equilibrium, disequilibrium, equilibrium spans. That accounts for why Cohn can divide the first phase into Orienter and Establisher, with multiple Prolongations in the middle phase, and (presumably) multiple Release panels in the third. Only Initials and Peaks then are unique and defining.
Looking again at my own system, I've already literalized the two breakpoints by drawing them as actual breaks in the preceding line angles:I now want to revise out "climax" (which for Freytag has a different meaning anyway) and use "restoration" instead–though that's not quite the right term either, because it implies a return (Todorov's circle) to the the original state, which is wrong. Similarly for Newtson, the second breakpoint is the same as the first, so they're both disruptions (points of defining change) of a preceding status quo. But that doesn't quite fit his own analysis that "Behavior is composed of coherent units with beginnings and endings." A beginning and ending requires two breakpoints, a first and second relative to each other, making each distinct.
Notice how this analysis matches McCloud's original closure example for an action-to-action panel transition:
These are the two action-defining breakpoints of a larger implied plot structure that could include multiple other panels. The same is true of McCloud's original moment-to-moment example:
Though here there's some ambiguity. Both images could be understood as what I term "balance," the first establishing a status quo (eyes open), and the second the new status quo (eyes closed). If the action is "She closed her eyes," the first image is necessary to contrast the action-defining change in the second. Technically, the disruption would be implied (her eyes began to close), making the second either a restoration (if we understand this to be the exact moment that they fully shut) or a balance (if this is one of several moments in which here eyes remained closed). The second image could also revise the first into a disruption if it is understood retroactively to mean: "Her eyes were beginning to close" (even if visually imperceptible). We could similarly debate which panel types from Cohn's visual grammar best fit, but it's the underlying (and so undrawn) event structure that allows viewers to relate them at all.
McCloud's original subject-to-subject example is interesting too. The first image alone implies an entire event: "She won the race." The second image could be understood to take place at the same moment, and so a second manifestation of the same breakpoint. But the learned logic of panel progression implies a movement forward in time too, so the second image becomes a restoration in which the holder of the stopwatch is no longer timing the winning racer. If so the overall action is: "She recorded the racer's time," making the first image a disruption (of the status quo of the stopwatch clicking away), followed by the time-keeper responding by moving her thumb until it achieves it's action-defining position in the second image. If so, both images are separate breakpoints.
So while an infinite number of images could be drawn between breakpoints (because of the Zeno effect), those possible images are constrained by event structure. That means closure is event structure. The only undrawn story content that readers experience through the juxtaposition of two or more images is the minimal content required by a reader's mental construction of the partially drawn event. While anything could have occurred in the ambiguous lapse of time between any of the above paired images, we understand the images as breakpoints that define a discrete event. Any story content that is not part of that discrete event is not implied and so did not happen–at least not via closure. An artist can always reveal later that something previously unimplied did happen, retconning content that reveals an earlier lie of omission.
Zacks and Tversky discuss this generally as "schema theory":
"recognizing an event as an instance of a category consists of matching it to a schema stored in memory. Understanding what is going on consists of matching features of the perceptual world to variables in the schema. In ongoing perception, missing information is filled in by references to the patterns of intercorrelation captured by the schema, leading to a fluid interplay of bottom-up and top-down processing."
Bottom-up means from the eyes to the brain and so applies to the actual images of a comic, and top-down means from long-term memory which is where event structure lives. I'm still vacillating about my own terminology–is my system "plot structure" or "event structure"?–but I think that covers the basics. If I'm right, we have a method for constraining closure and so understanding McCloud's "invisible art." I'm tentatively calling it:
Event closure.
Tags: Barbara Tversky, Darren Newtson, Jeffrey Zacks, Neil Cohn, Ray Jackendoff, Todorov
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April 30, 2018 Occam's Closure
Don't add stuff you don't need. That's not quite the definition of "Occam's Razor," but it's close. The 14th-century Franciscan friar prefered the simplest answer, the one that requires the fewest assumptions, the straightest line between two points of thought.
Last week I suggested an alternative to Neil Cohn's narrative grammar for analyzing comics, one that harmonized both Freytag's plot pyramid and Todorov's equilibrium circle:
And though I prefer my terms and visuals over theirs, Occam is asking me: does this approach add anything? My panels and Cohn's panels mostly overlap:
In this Peanuts examples, I was surprised to see Cohn categorizing the third panel as an "Establisher" ("sets up an interaction without acting upon it"), a narrative position that aligns with my balance panel. But rather than revealing a difference in our approaches, I think Cohn is just off within his own system in this one case. I think that's actually an "Initial" ("initiates the tension of the narrative arc"), and the fourth panel is instead a "Prolongation" ("marks a medial state"). If Snoopy wasn't already running toward the ball in panel three, then I would agree with "Establisher," but I'd say they're already interacting.
So while I still prefer my terms, definitions, and visuals, but do they merely clarify? Cohn's system names panels that are present. Mine provides a way of identifying the narrative elements that aren't drawn. They make visible what's not there, the inferences between the images. Scott McCloud called that "closure," an imperfect term for reasons I won't go into here, but I don't blame Neil Cohn for avoiding it. But he avoids the concept too, attending only to the narrative elements that appear as panel content. So to understand what's between those panels, I'm suggesting a different approach:
Like McCloud's closure, Occam's focuses attention on the inferences between images. What happens in the gutter? I'd say as a rule: as little as possible. But how does a reader know what that is? What are the organizing constraints on closure? Look at the first juxtaposition:
The possibilities are oddly infinite. Charlie Brown wound up–but then maybe relaxed, adjusted his grip, stretched his arm, kicked the ground a couple times, adjusted his cap, wound up again–and then began to throw. Maybe the next panel is a week later, after he's been dropping snowballs with each attempt but practicing again and again until finally he throws one. Neither of those possibilities seem likely. But why not? Because of Occam's rule of closure:
The undrawn story content between representational images is only the minimum required to satisfy missing plot points.
The shortest path between the plots points disruption and climax is imbalance, the halfway point between the wind-up that ends the implied state of balance and the ball release that restores balance by ending the throw.
What about the rest of the Peanuts strip?
Assuming every plot has to either depict or imply all five points, then we have to infer that Charlie Brown is in a state of balance both before and after throwing the ball, and that Snoopy is in a state of balance before running after the ball. That means Snoopy's plot leaves less to infer–unless you break it into smaller units of action.
In panel four, Snoopy is facing the oncoming ball. In the next, he is facing away from it and running, and the snowball is larger. What is the shortest path of inferences between those two points? Snoopy turned and began to run, and the ball grew in size as is it continued to roll. That describes a midpoint for both actions, and so imbalance:Less seems to happen in the preceding juxtaposition between panels three and four. The ball must have begun to roll, and Snoopy must have slowed but not yet fully stopped:
Looking again, I notice that the ball has increased in size too. So it goes from small and stationary to larger and moving toward Snoopy, and Snoopy goes from moving toward it to stopped. The two images require an explanation for those changes: we assume that gravity started the ball rolling and that Snoopy stopped himself because he saw it moving toward him. We assume nothing else because nothing else is required. Occam's rule of closure is a reader's default setting for understanding juxtaposed images.
The last combination implies more. I see at least four required plot points:
First consider the plot of the snowball. It begins in panel three in a stated of literal balance. In panel four it begins to roll and grow, a disruption of its balance. In panel five, it continues to roll and grow, so a continuation of its imbalance. At some point we assume it stopped growing and rolling. We don't know the exact circumstances of that climax, but the images require us to make that minimum assumption. And once stopped, we also assume it remains stopped, that the snow that comprised the ball is again in literal balance again.
Removing Snoopy from the drawn panels makes this more obvious:
Assuming a naturalistic world, we also have to understand the image of Snoopy hiding behind the tree to imply that the tree was previously standing by itself, and so in balance. Snoopy must have approached it, disrupting its isolation, and then arrived behind it before looking out:
There's a good reason why Shultz didn't draw those three extra panels. They're boring. It's far more fun to experience the plot points through the assumptions implied by the final, balanced panel–one that encapsulates through closure an entire action sequence or subplot while also curtailing unrequired inferences.
Occam's closure explains that.
[If you're interested, this is part of a four-part sequence. It begins here and continues right here and then here and ends here.]
Tags: comics theory, Neil Cohn, plot
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February 8, 2016 Framing the Dead
Actually, this post should be titled "Framing, Abstracting, and Closuring the Walking Dead," but that's way too many verbs, plus closuring isn't a word. Or at least it wasn't. Maybe it is now. This post is also a follow-up on three previous "Analyzing Comics 101" posts on, you guessed it, framing, abstraction, and closure.
I'm once again picking apart the corpse of Tony Moore and Robert Kirkman's The Walking Dead #1 to show how these concepts can come together. This time, just the first two pages will do the trick.
So framing first. The top full-width panel is symmetrical and misaligned, so the right side includes more than the primary subjects of Rick, Shane, and their police car which appear cropped in the foreground, plus the escaped convict and his truck in the middleground. The rectangular panel could include all of the rectangular police car, but instead provides surrounding detail, including a horse (the first hint at the Western motif), a Rotary Club sign (suggesting a small community theme?), and distant mountains in the background (further establishing the rural setting).
However, it's the bottom panel that gives the initial framing its biggest meaning, since the open foreground space of that first panel parallels the page's most important image in the bottom panel: Rick being shot. The bottom frame is symmetrical and proportionate, making the first misaligned framing a form of spatial foreshadowing. Moore also shifts the parallel angle of perspective, effectively rotating the shooter to the background, Shane to the middleground, and Rick to the foreground, the most significant visual space. Note also that Rick occupies the right side of the image, gaining further significance since as Anglophone readers we conclude the panel on right. We read top to bottom too, so Rick being shot occupies the concluding space of the overall page too (it's also the peak image in an implied 4×2 grid, but we covered visual sentences and layouts elsewhere).
Rick is also emphasized because our perspective moves with him, beginning in panel five. These four middle framings are symmetrical while vacillating between proportionate and abridged, because the figures are sometimes cropped mid-chest, adding to the sense of Rick and Shane being trapped in a cramped space. Though drawn smaller than Shane in panels one and two, when Rick stands in panel three, he encompasses more space: his action literally makes him larger. Because the angle of perspective is the same in panels two and four, Shane remains the same.
Closure between the images is minimal. The first panel establishes the overall area, and the following five panels work within it, demanding little spatial closure. Though the time span of each panel and the gaps between them is inherently inexact, the first four transitions suggest no significant gaps, and so they imply a steady movement forward in time, requiring only basic temporal closure. The fifth transition, however, implies a gap in which Rick turns around to face the shooter. So in addition to temporal closure, the panel transition requires causal closure because the action of Rick turning is undrawn; we infer it in order to explain why Rick's back is no longer turned to the shooter as it was in the previous image.
Finally, Tony Moore's drawing style is roughly 3-3 on the abstraction grid, so it shows both a moderate amount of detail (translucent) and a moderate amount of contour warping (idealization). Arguably, the figures show a level of 3-4 abstraction, with intensified contours. In the second panel, Shane is impossibly wide and Rick impossibly thin, with Rick's head roughly half the width of Shane's shoulder.
The effect characterizes each through visual exaggeration and further establishes them as foils. Meanwhile, the shooter's head contrasts the straight lines that compose Rick and Shane's bodies with frenetic lines and lopsided features.
Though the effect is more striking, the shooter's lines contours remain within an idealized range. Rick's bullet wound, however, is intensified or even hyperbolic.
Since no human being could survive a wound that extreme, the image creates higher closure demand after the page turn because we retroactively understand the image to be exaggerated. There's an overt abstraction gap between what is drawn and how it is drawn. And because a literal understanding of the image contradicts the story, we ignore it (diegetic erasure).
The leap to page two is major in other ways too. The image requires a great deal of temporal closure with details that also require a range of casual closure. After being shot, Rick was taken to a hospital–perhaps by paramedics in an ambulance, though most of the casual facts go unconfirmed. He is in a bed in a bedroom, not a critical ward or operating room, so presumably his wounds were successfully treated and he was left to recuperate. The time gap is ambiguous, but his beard growth suggest several days.
The framing marks a major change too. Though still symmetrical, the full-page panel is also expansive. Rick's figure is the subject, but a great deal of the surrounding room is drawn for a spacious effect unlike the previous page's variously proportionate and abridge panels. The angle of perspective shifts from parallel to downward, so we are no longer viewing the image as a character would but as if from a more omniscient vantage.
The style of abstraction has shifted too. While Rick remains at 3-3 (translucent idealization), the room is closer to 2-2 (semi-translucent generalization). The level of detail is much greater than on the previous page and the line contours are only warped slightly below the level of photorealism. Notice the line quality of the shadows and reflected chair legs on the floor.
The 2-2 image is also a full-page panel, giving it further significance. When the first zombie later appears on page six, we retroactively fill in additional closure into the temporal gap: the zombie apocalypse occurred while Rick was unconscious and safe behind his bedroom door. Page two is the most significant image in the issue, because it is 1) the most detailed and least abstracted image in a stylistic context of less detail and higher abstraction, 2) the first of only two full-page panels, 3) the most expansively framed image, and 4) the image demanding the highest amount and range of closure.
There's plenty more visual analysis available on these two pages (haven't even started to talk about the difference in Moore's rendering of sound effects and speech yet), but you get the picture.
Tags: Neil Cohn, Robert Kirkman, The Walking Dead, Tony Moore
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January 4, 2016 The Enjambing Dead (Analyzing Comics 101: Visual Sentences vs. Page Layout)
Having taught my spring term seminar Superheroes a half dozen times now, I'm converting it to one of the gateway courses for Washington and Lee students entering the English major. The overhaul means jettisoning the pre-history of the genre (I love that stuff, but I could just hand my students On the Origin of Superheroes and be done with it) and focusing much more on comics as an art medium. So I'm trying to boil down the basics, the must-know criteria for analyzing a comic book.
So now it's time invite Neil Cohn to the lectern. If you haven't read his The Visual Language of Comics, please do. Meanwhile, here's my boiling down of his visual language grammar.
Narrative panel types: images may be categorized according to the kinds of narrative information they contain and how that information creates a visual sentence when read in sequence:
Orienter: introduces context for a later interaction (no tension).
Establisher: introduces elements that later interact (no tension).
Initial: begins the interactive tension.
Prolongation: continues the interactive tension.
Peak: high point of interactive tension.
Release: aftermath of interactive tension.
Cohn only looks at comic strips, which typically express a single sentence in a linear arrangement of three or four panels, but longer graphic narratives can express multiple sentences on a single page or extend a single visual sentence over multiple pages. To analyze the different ways that can work, I'm adding some terminology to Cohn's.
Closed sentences: two sentences that begin and end without sharing panels.
Overlapping sentences: sentences that share panels.
Interrupted sentence: an overlapping sentence that does not complete or initiate its tension before another sentence replaces it; sentences might share an Orienter, or an Establisher may introduce two elements that do not interact until later as a form foreshadowing.
Dual-function panel: in overlapping sentences, one panel performs two narrative functions. A panel may, for example, serve as the Release of one sentence and also the Orienter, Establisher, or Initial of the next. Or an Orienter may serve as the Establisher of an interrupted sentence that initializes tension later.
Sentence Layout: the relationship of visual sentences to pages.
Page sentence: a sentence that begins with the page's first panel and ends with the page's final panel.
Multi–page sentence: a sentence that extends beyond one page.
End stop: a page and a visual sentence end simultaneously.
Enjambed: a page ends before the visual sentence ends, also called a visual cliff-hanger.
This is all awfully abstract, so let me give specific examples from The Walking Dead again.
Robert Kirkman and Tony Moore like enjambment. Their first issue includes several cliff-hangers. The bottom row of page five begins with an Establisher (introducing the door to the already established figure of Rick), is followed by an Initial panel (Rick removes the piece of wood holding the door closed), and ends with a Peak (Rick is opening the door).
But the Release only appears after turning to page six. That full-page panel is also a dual-function panel because it serves as the Establisher (introducing the zombies to the already established Rick) for the next, overlapping sentence.
The turn from page nine to ten is similar. The first panel in the bottom row of page nine is an Establisher (Rick and the bicycle), followed by the page-ending Peak of Rick's shocked reaction. The top of page ten provides the Release (we finally see what he sees).
A similar grammatical pattern repeats on pages thirteen and fourteen. The first panel in the bottom row of thirteen is an Orienter. The second is an Establisher (Rick's face seems to be reacting to something, a sound presumably), and the last panel is an Initial. Turn the page, and there's the Peak.
The visual grammar also shows that cliff-hangers only work on the final panel of a two-page spread, in order to prevent a reader's eye from skimming to the critical image prematurely (which happens in my arrangements above).
Also, Moore and Kirkman don't always enjamb their visual sentences. Page one, for instance, ends on a Peak. The page also begins with an Initial, followed by four Prolongation panels. Page one is a complete page sentence, both beginning and ending on a single page.
Instead of a Release, the next page begins with an Orienter (Rick in his hospital room) for the next visual sentence, which does not overlap.
In terms of interrupted sentences, page ten begins a new visual sentence with the top Establisher (introducing the bicycle zombie to the already established Rick), followed by two Initials (Rick and the zombie interact) in the second. The bottom row begins with two Prolongations, followed by a Peak (Rick's tear) and a Release (the zombie closes its mouth).
The visual sentence appears to have ended when the next page begins a new sentence with no further interaction between Rick and the zombie. So page ten reads as a complete page sentence, until the bottom of page twenty-three continues the interaction with a Prolongation panel, retroactively showing that the visual sentence was interrupted.
Page twenty-four provides a new Peak (Rick shoots the zombie), followed by two Release panels (Rick looking down, the zombie with a bullet hole in its forehead).
Rick's tear is also a Prolongation of his tear on page ten, an additional overlapping sentence that reaches its Peak in the next panel when Rick wipes the tear away. The final three panels are Releases. They're also their own overlapping, three-panel sentence: Initial (Rick and the car), Peak (Rick gets into the car), and Release (car has driven off). The page and the issue conclude with an end stop.
And, concluding this post, my apologies to the world of poetry for driving off with your terms "end stop" and "enjambment." Until now they only meant "a poetic device in which a pause comes at the end of a syntactic unit" and " the continuation of a sentence without a pause beyond the end of a line."
Tags: comic books, narrative panel types, Neil Cohn, page layout, The Walking Dead, visual sentence
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Universal is returning to their roots, and that's monster movies, as the studios has green lit Dracula Year Zero with Luke Evans to star as the famous vampire.
In what is being described as an origin tale, Dracula Year Zero will see Luke Evans play a young prince who puts his soul on the line when his young wife and child get threatened by a bloodthirsty sultan, with Evans becoming the first vampire.
THR has it that Universal hopes Dracula Year Zero will set the tone for the modern age with a historical-oriented origin story.
Most likely if this is a success, we'll see modern day origin stories of the other Universal monsters, which includes Frankenstein, The Wolfman, The Mummy and the Creature from the Black Lagoon.
David Goyer wrote a script for the Invisible Man movie, but recently said it doesn't seem to be moving forward.
In 2004, Universal was also behind Van Helsing, which starred Hugh Jackman.
Michael De Luca is on a producer.
Luke Evans recently starred with Henry Cavill in Immortals, was featured in The Raven and Clash of the Titans, and as roles in the upcoming movies, Fast and Furious 6 and The Hobbit.

subset: commoncrawl


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Powerful Alliances
Partner Programs can be powerful alliances that push your company forward and open a variety of doors to opportunities you may not have had otherwise. Companies can rely on them for revenue, APIs, technology, etc. So, a robust Partner Program that details out the agreement between the company and the partner is paramount. However, these programs often neglect how the partner should handle the company's customers and that is a big mistake.
Why Is It Important for Partner Programs to Focus on Customer Experience?
At the end of the day, it is your customers your partners will be handling and the experience they provide to these customers should be an extension of your company's experience. When developing a partner program, there needs to be as much focus on customer experience and its metrics as there is on revenue generation and software sales.
At the end of the day, if the customer is not happy with the partner, they will, usually, come to the company and complain. The company needs to explicitly establish the level and form of interaction the partner will have with the customer. A partnership that cannot keep your brand's reputation and damages your company's status with your customers is not a good partnership.
Luckily, there are 2 simple rules to follow when you are developing a partner program that can elevate your revenue and customer experience.
1. Be Clear on How Your Partner Treats Your Customer
The first rule, I hinted at above. The level of experience you provide your customer, your partner must replicate almost exactly. The Quality of Service, your methodology on handling customers, and the way you interact with customers must be followed and mimicked by your partner. You must be aligned when it comes to this. It is key to a successful partnership.
Just like when you onboard a customer, have an onboarding process for your partners. Provide prescriptive steps, a sandbox of your software environment, and a playbook of business processes and guidelines that detail out your methodology and provide tools and examples for handling different situations with the end customer.
2. Treat Your Partners with Care and Empathy
Handling your customers with care and empathy is important. Treating your partners in the same way is equally important. The alliances you forge through these partnerships can be extremely beneficial to your organization. Don't neglect them and focus only on the customer experience.
Build a Journey Map from your partner's perspective and identify the Moments of Truth. This will help you identify what your partner has to go through as they do business with your company. This way you can look at the processes you already have in place to see if they need adjusting to align with your partner. The journey map will change depending on the type of partner (Integrators, Value Added Resellers, etc.) you have. Make sure you hire partner success managers to help your partner and measure the quality of the service the partner provides. Work with your partner on an individual basis to maximize revenue while keeping a uniform, robust, and positive end user experience.
With over 20 years of experience in the space leading Customer Success, Customer Care, and Program Management teams, Emily Drenis is taking her passion for working with customers and launching her own consulting firm, Dodone.
Through Dodone, Emily uses a fine-tuned blend of her wisdom and passion for a great customer experience to help companies develop robust, efficient, and rewarding Customer Success Programs. When it comes to customers, the best way to retain them is to exceed their expectations and add value to their company. If you have the right engagement system and appropriate culture in place, the money will follow and the customers will stay.
Dodone exists to help companies develop and deploy a Customer Success strategy with deep empathy and a tailored methodology, based on their business plan and objectives, that will nurture the relationships with their clients and make them trusted advisors for life!


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How To Get A Real Estate License In Texas
If you're looking to get your Texas real estate license online, you're at the right place. We are a Texas approved education provider with over 30 years and several hundred transactions to our credit. We have listed, sold and invested in HUNDREDS of properties and will get you licensed, then show you how to do the same.
Before you say yes to the fascinating real estate world, let's cover all the steps to becoming a real estate agent in Texas. And of course, not a regular real estate, but a top producer!
Texas License
TREC regulates education providers (the real estate schools) and licensees. TREC created the pre-licensing course material prospective agents are required to learn in order for a real estate license to be issued.
The education providers deliver and administers the courses according to TREC guidelines. Once all the courses have been completed, take the state exam.
PearsonVUE is the testing service chosen by TREC to administer the state licensing exam.
Here Are The Steps To Getting A Real Estate License In Texas
Fitness Determination
The following steps must be completed in order
1) Application for Inactive Salesperson License;
2) Salesperson Sponsorship Form.
*Both Forms can be found on TREC's website at: https://www.trec.texas.gov/licensing-forms
3) Copies of Certificates of Completion (DO NOT submit the originals) must be emailed to firstname.lastname@example.com. Keep originals for future reference. (The Real Estate Business School does not store certificates). TREC will send you a confirmation email within 1-2 business days of receiving your certificates.
STEP 4: Get Fingerprinted
STEP 5: Get background check
STEP 6: Schedule state exam with PearsonVUE
STEP 7: Take state exam
STEP 8: Receive license in the mail
The Real Estate Business School provides all three levels of education:
- Technical education required for licensure
- Business education clients expect
- Financial education for retirement
- NEW! Mentoring included in the Pre-licensing package.
To File Online
- Go to TREC's website at: http://www.trec.state.tx.us/onlineservices_status.asp.
- The information requested online is the same as on the paper application. You may either scan and send your education documents electronically to email@example.com or fax them to 512-936-3863 with a copy of your completed application. TREC has a new "Check Application Status" feature located on their home page
To Mail Application
Texas Real Estate Commission 1700 N. Congress Avenue, Suite 400 Austin, TX 78701
NOTE: Filling the application out online will speed up the application process considerably.
Applying For A Real Estate Salesperson's Or Real Estate Broker's License
Texas Residents
Who Is Pearsonvue?
Fingerprint And Criminal History Requirements
When you pass the examination, your license will not issue until TREC receives your criminal history report from the DPS and the FBI and clears your background history check. TREC encourages applicants to use the electronic fingerprinting process. Electronic fingerprinting is fast and accurate, and in most cases will avoid potential delays in the processing of applications.
All fingerprints taken for TREC at MorphoTrust locations are electronically transmitted to the DPS and the FBI for criminal history background checks. A fingerprint processing fee must be paid to MorphoTrust to cover the cost of the criminal history reports.
Electronic Fingerprinting
When you have received your exam eligibility letter form TREC you may schedule a fingerprint appointment through MorphoTrust. You will need the TREC ID number from the eligibility letter when making your appointment.
Candidates may call (888) 467-2080 (hours – Monday – Friday, 8 AM – 5 PM Central Time) to make a fingerprint reservation or by going online to TREC's website at https://www.trec.texas.gov/fingerprint-requirements .
Fingerprinting For Texas Non-residents
Topics Covered in the Texas Real Estate Exam
- National section – There are 80 questions that must be answered within 105 minutes.
- State section – There are 30 questions that must be answered in 45 minutes.
Basically, everything you cover in the pre-licensing courses will be included on the exam. In case it's been a while since you completed the courses, those topics are:
- Real Estate Principles I
- Real Estate Principles II
- Law of Agency
- Law of Contracts
- Promulgated Contract Forms
- Real Estate Finance
- Real property characteristics
- Property use
- Forms of ownership
- Property values and appraisals
- Environmental issues
- Commission duties and powers
- Real estate licensing in Texas
- Ethics and conduct
- Community property
- Landlord-tenant issues
- Homeowners associations


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Yoko was an excellent tour guide. She devised a tour with our interests as well as "must sees" as a newbie to Japan. Yoko is extremely organized and knowledgeable. Our time with her was well spent. We learned a lot and would definitely recommend Yoko for an enjoyable tour of Tokyo.
Thank you for a wonderful review. I had a great day with both of you. When I see works of Yayoi Kusama, I will remember you and the wonderful conversations we had that day. Nikko is also an amazing place to visit for an art fan like you, so please come again. Thank you again!!


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Explorer Vest - Blue
1 In Stock
This outdoor vest is made from durable Cordura 500D nylon. Neverland lining. Zip front. Three flap pockets with velcro closures
Wipe clean with a damp cloth. May tolerate a few machine washings in cold water, but DO NOT PUT IT IN THE DRYER. Hang to dry.


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Sex Therapist Dr. Ruth Admits She Is 'Glad' Her Kids 'Never' Asked Mom for Relationship Advice
You'll be happy to learn that Dr. Ruth Westheimer is every bit as delightful in person as she's been on hundreds of TV and radio appearances over the past four decades. When the 91-year-old sex therapist visited Closer Weekly's NYC office in late August, she was thrilled by our special Shirley Temple issue.
"We used to watch her [movies] in my orphanage because it would make everyone smile, and there wasn't a lot of smiling back then," Dr. Ruth revealed. But since surviving a rough childhood in Nazi Germany and launching her radio show, Sexually Speaking, in 1980, she's made many adults smile with her frank and helpful advice, witty take on life and eternally sunny outlook.
"I think the most important thing is to make sure that you are grateful for what you have," she exclusively tells Closer in the magazine's latest issue, on newsstands now. These days, she's especially grateful for all the new projects that keep coming her way: writing an update for her book Sex for Dummies and starring in a Hulu documentary, Ask Dr. Ruth, that was the toast of this year's Sundance Film Festival.
We asked the diminutive doc about her kids Joel, 56, and Miriam, 62, her four grandkids and advice for 90-somethings like herself: "You shouldn't retire, you should rewire!" she tells Closer. "Meaning if you want to do something else, that's OK!"
Scroll below to read our exclusive interview with Dr. Ruth!
You've written more than 40 books. Why return to a new Sex for Dummies edition?
"Because [the publisher] Wiley wanted one! They said, 'Would you do an updated book and add material for the millennials?' because the last one was 10 years ago. I didn't let them finish the sentence — I just said yes. The good thing is you can just read what's interesting, and look for the drawings of different positions.
How have things changed in a decade?
"We did specific chapters of interest for the millennials, like my concern about loneliness, the art of conversation getting lost because everybody is on their phone, sexually transmitted diseases. I'll give you a good example from it: I tell millennials that there is nothing wrong with fantasizing about group sex, but don't do it because somebody will get hurt and somebody's going to get jealous, because somebody is going to be a better lover."
How did your new Hulu documentary happen?
"When [producer] Rafael Marmor asked me to do it, I said no. I said, 'I just did a BBC documentary — enough already!' [Laughs] Then he told me about a film that he made called No Place on Earth. I said, 'That's my story. There was no place for a Jewish girl like me during World War II, no country wanted us.' I am very, very pleased with the outcome."
You've had quite an interesting life, even years before starting your talk shows. You were in an orphanage at age 10 …
"From age 10 to 17."
How did you become so upbeat?
"I once did a study with the other children there, and it became very clear that all of us who were in a loving family from age 6 to about 15 made it — none committed suicide, became mentally ill or addicts. I was 10 and a half, in an intact family with parents, grandparents, a village nearby."
And you later became a trained sniper!
"I was 18 in Palestine [in the Israeli army]. I never killed anybody, but I could have if I had to — I was a very good sharp shooter. I was badly wounded on my 20th birthday on both legs. There was a wonderful surgeon who fixed me so I could dance and ski. But I could have lost my legs."
Wow! How did you go from that to becoming a sex therapist?
"I wanted to be physician, but I didn't have a high school diploma. So I said, 'OK, I'll be a kindergarten teacher.' After a while I thought I should do something else. Luckily, I found a position at Planned Parenthood of New York City, worked there for many years and used that data for my doctorate dissertation. Then I realized I didn't know enough, so I became a sex therapist. I took a course at Cornell Medical Center, and then they asked me to do a radio program, and look what happened!"
You've been married three times and say you learned from each one. Any advice?
"Sometimes when a relationship is not productive, you can still be friends. I'm still friends with husband No. 1 — I just saw him this summer in Israel. And I'm still friends with my first boyfriend from the orphanage!"
Why did your nearly 40-year marriage to Fred Westheimer work?
"Very good question. He came from the same background — his parents were saved because they went to Portugal. He was very much a family man, didn't mind my running around, and he cooked dinner — that was a big thing! Spaghetti and meatballs! He was never married before, I had one daughter and he adopted her. Miriam loved him and he loved her, especially going skiing together."
Have you seen anyone after him?
"Next question! Even [my co-author] doesn't know, and he knows a lot!"
Did your kids come to you for relationship advice growing up?
"Never! I'm glad they didn't, because all I did was leave books around and say, 'If you have a question, ask me, and if I don't have the answer I will say so [and] ask an expert.'"
Have you ever thought of retiring?
"I tell people, 'No way will I ever retire!'"
What else do you want to accomplish?
"I'd like to ski, but it's not in the cards!"
What are you most proud of?
"Many years ago, when homosexuality was not accepted like it is now, I said that respect is not debatable. Every person needs to be respected — gay people, anybody — and that holds true for people who want to be of the other gender."
Any mottoes you live by?
"It comes from the Jewish tradition: a lesson taught with humor is a lesson retained. That's why I am teaching my fifth year at Columbia University Teachers College and my third year at Hunter College [in NYC]."
How'd you describe this time in your life?
"Very successful, because I have four wonderful grandchildren [ages 17 to 28], a daughter and a son-in-law who are professionals, and a son who is a big-shot professor in education in Canada. He wrote a book called What Kind of Citizen? Educating Our Children for the Common Good, and is lecturing all over the U.S. and Canada. My daughter-in-law is also a professor. So I'm never bored with them! Last Sunday I was at dinner with my grandson and he paid for the first time. That was pretty good!"
Do you have any regrets?
"Yes, I'm 4-foot-7. I would have liked to be a little taller!"
For more on your favorite celebs, pick up the latest issue of Closer Weekly, on newsstands now — and be sure to sign up for our newsletter for more exclusive news!


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Nick Carter's Q102 Interview
Contributed by elgato:
Last month, Backstreet Boys star Nick Carter called into Philadelphia radio station Q102. He talked about his solo album, the new BSB album, the status of the other guys in the group, his solo tour, the $75 million dollar lawsuit filed against Zomba, and the fakeness of Britney Spears and Anna Kournikova. Read on for the full transcript.
Logan: on the line right now is nick carter
Logan: is this the start of the whole tour tonight?
Nick Actually it was yesterday but uh really it kinda is :laughs: cuz yesterday's show I was just getting over a cold so yea it is basically the start of the tour.
Logan: Nick is this solo thing just about getting it out of your system?
Nick: I mean this is a fact, the times have sorta come & gone with the whole old bsb sound and that whole era when it came down to the pop music when it was really big
Logan: But nick nick u don't have to apologize cuz I know there are a lot of fans that love that. Nick: But hear me out, so what the new goal is is to recreate the whole style but with a new flavor
Logan: Cuz I get some fans that say you know what I miss that whole feel good coming off the plane with the white suits. And the hair blowing lays IWITW: they miss that u know. But that's cool u included a lil of that flavor on ur solo cd
Logan: and nick is this 75 million lawsuit against zomba gonna delay any new bsb cd?
Nick : The lawsuit alot of people blew it outta
proportion, it really wasn't anything what people look at it as. It was totally separate from me & the group.
Logan: But the claim was they were promoting u more than the group
Nick: That's not actually the situation that happened.
Logan: That's what was reported
Nick: That's what they reported but its getting
settled cuz its no claim like that.
Logan: So there will be another bsb cd?
Nick: Well u know. we're talking about doing another record, the middle of this year
Logan: Nick u still talk to the other guys right?
Nick: Of course
Logan: Brian's still married?
Nick: Uh huh
Logan: Aj's still struggling? is he ok?
Nick: well ..he's by himself
Logan: the engagement's still of?
Nick: yea
Logan: Kevin still likes to hang out with trees?
Nick: laughter:
Logan: does nick still wish the rumors about Britney were true?
Nick: nah, not after hearing what i'm hearing about her in the papers
Logan: It came out today she's suing the star for that. Its like that whole guy that interviewed Michael Jackson, they screwed u over, I'm not gonna do that to you. Of course nick tonite @ the tla and also Sunday.
Finally Nick who would u do Britney or Anna
Nick: probably neither I'm not that flashy fake type of guy
Logan: ooooooh, how about Alyssa Milano
Nick: nah she's been around the business a lil too much
Logan: we all got our list, the wish list, I'm married I got a wish list, who's on ur wish list? Not that u need one.
Nick: Man I only wish for peace I don't wish for no type of girl, when it comes to women, I just like to have a girl that's cool & down to earth, not about all that fakeness.


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By Caspar Lundsgaard-Hansen & Renard Teipelke
The fashion and design scene is booming in Berlin.
The inner-city part of Berlin's district Neukölln is becoming the latest insider's tip for the capital city's cool and hip urban life.
Cultural diversity and ethnic mixture (or segregation depending on the perspective) are key features of Berlin's immigrant neighborhoods.
Why not bring all these things together?
NEMONA – Network for Fashion & Design is a model project co-funded by the European Social Fund and is a prime example of local network initiatives in sustainable urban development. Based in Mainzer Straße 5 in the northern part of Neukölln (map), the project aims at bringing together fashion designers and producers in a cooperative network that fosters sustainable solutions in the fashion industry on the local level.
Initiated in March 2011, the project will extend its existing network of approximately 50 members and cooperation partners (like Galeries Lafayette, the Create Berlin network, or the international university of art for fashion ESMOD Berlin) over the next two years. The idea is to develop the local economic structures for long-term job and market opportunities as well as to support the sustainable use of resources in the fashion industry. In addition to workshops and training programs for designers and producers, NEMONA will pursue its objectives by fostering local solutions and an integration and broad participation of various socioeconomic and cultural groups.
The preconditions could neither be more challenging nor more interesting: Neukölln is a district that gained plenty of negative media coverage over the past few years. Many neighborhoods of the district are characterized by a distinct Turkish or Arab immigrant culture that is rich in heritage and tradition. At the same time, most social indices for North-Neukölln are extremely low, with multiple social, political, or economic problems – let it be poverty, school drop-outs, youth unemployment and even gang-related delinquency. At the same time, young self-employed professionals have discovered this district – with its affordable rents for living and working – as a hub for cutting-edge production in the creative industry.
It is in this district that NEMONA stakeholders see a chance to bring together the rising attention for Berlin's fashion industry and the sewing expertise of (mostly) immigrant women in a network that aims at supporting the community economically as well as socially. Several benchmarks have already been achieved: NEMONA and its fashion design members had a joint showroom at Berlin's Fashion Week in July 2011 and they have organized the Neukölln Fashion Weekend which will take place at the end of this week (September 30 to October 1, 2011). Other (prospective) elements of the project include a cloth buying syndicate, regular network meetings to exchange ideas and experiences, and seminars on business administration and production/sewing techniques.
This article is the first out of three articles this week that will present NEMONA and discuss various topics with respect to network initiatives on the local level.
Check out NEMONA's facebook page for more information and photos of the project and events.


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Liberal leadership hopefuls face stricter budget
OTTAWA—ON THURSDAY SEPT. 6, the Liberal Party announced new spending guidelines for its upcoming leadership race. Candidates may spend up to $950,000 over the course of the contest, roughly a quarter of the 2006 contest's $3.4 million limit. Mike Crawley, the party's president, says that by lowering the amount candidates are allowed to spend, the party hopes to attract new ideas, which may not have been otherwise heard. Montreal MP Justin Trudeau is expected to run, but has yet to formally declare his candidacy. At the Liberal caucus retreat Thursday, Trudeau said he believes he has something to offer the party. The contest will begin on Nov. 14 and voting will take place until April 14, when the party will announce its new leader.
—Elizabeth Thomas
Companies struggle to deal with beer shortage before Oktoberfest
BAVARIA—BREWERS ARE DESPERATELY trying to encourage citizens to bring in empty bottles to be refilled in an effort to make up for yet another summer of increased sales due to warm weather and several recent festivals.
While the problem of low beer stocks is annual, companies are saying that this year is the worst yet. Bavaria's Oktoberfest is a world-renowned festival, and it seems likely that despite the brewers' best efforts, the shortage of this key beverage will pose problems.
As a result, some brewers have admitted they will be forced to limit their production of certain types of beer, such as darker ales, much to the chagrin of those with a preference for dark beer.
People who prefer wheat and light ales will be pleased to learn those types of beer are being prioritized in the production process, although this year they may still come up woefully short.
—Krystine Therriault
Ontario Liberals fall one seat shy of majority after byelections
TORONTO—ONTARIO'S LIBERAL PARTY fell one seat short of a majority government after two byelections were split between the New Democratic Party (NDP) and the reigning Liberals. The byelections, held in the ridings of Vaughan and Kitchener-Waterloo, were needed after the resignation of MPPs Greg Sorbara, a Liberal; and Elizabeth Witwer, a Progressive Conservative (PC).
In Vaughan, Liberal candidate Steven Del Duca won the vote, beating out PC Tony Genco, which prevented the Liberals from losing the seat. Meanwhile, in Kitchener-Waterloo, NDP candidate Catherine Fife won in a tight race against PC Tracey Weiler, who placed second, and Liberal candidate Eric Davis.
The byelections resulted in the Liberals remaining at 54 seats, one shy of a majority; the PCs falling to 36; and the NDP climbing to 18.
Ontario Premier Dalton McGuinty conceded that while it was not the result the Liberals were hoping for, the government will continue to work with its fellow parties in the Legislature. Meanwhile, opposition leader Tim Hudak claimed the loss of the Kitchener-Waterloo riding to the rival NDPs was the fault of the unions who support the NDP.
—Andrew Ikeman
Quebec election night gunman formally charged
MONTREAL—THE SUSPECTED GUNMAN in the Quebec election-night shooting was formally charged last Thursday on 16 different offences. The suspect, Richard Henry Bain, has been accused of murdering a stage technician, Denis Blanchette, in the first degree.
The shooting occurred during a speech by Pauline Marois, the leader of the Parti Québécois, following the election-night victory of the Parti Québécois. The back door of the venue, the closest escape for anyone near the shooter, was subsequently set on fire using an accelerant and a flare. Shortly after the shot was fired, on-scene police officers apprehended Bain, who was wearing a bathrobe and a gas mask.
Since searching Bain's vehicle and house, police have recovered 22 weapons from his possession, including the two they found on his person during the night of the shooting. Of the guns owned by Bain, 21 of them were lawfully registered, including the one used in the shooting.
Last Wednesday Sept. 5, Bain was taken to a hospital in Montreal to undergo what was described as a medical evaluation. The hospital has not yet stated whether it was for physical or psychiatric purposes. Although it is expected the defence will seek a psychiatric evaluation, the lawyer representing Bain, Elfride-Andrée Duclervil, stated it is still too early in the case to make a decision regarding such an evaluation.
—Wyatt Brakeboer


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Scope for improvement
As the changes to the sentencing guidelines have come into effect Dogs Trust commends the tougher revisions, but would welcome radical changes to existing legislation that better protect the public and welfare of dogs. Whilst the new guidelines will encourage courts to focus on the key factors of culpability, the charity hopes they will act as a salient reminder to dog owners of their responsibility.
Says Clarissa Baldwin, Dogs Trust Chief Executive:
"This is a small step in the right direction. But, with such momentum behind these changes we need to capitalise on this and use the energy invested by animal welfare organisations such as Dogs Trust to campaign for even more work to be done. Whilst we would like to see a complete overhaul of the Dangerous Dogs Act 1991, the introduction of dog control notices and extending the law to private property could be hugely beneficial and another step in the right direction.
Once again, Dogs Trust urges the government to introduce compulsory microchipping which will help improve the traceability of irresponsible dog owners, making them and not the dogs accountable."
Dogs Trust is the UK's largest dog welfare charity in the UK and cares for over 16,000 dogs each year through its network of 18 rehoming centres in the UK and one in Dublin. The Charity is continuing to campaign for stiffer legislation to protect responsible dog owners and supports the 'deed not breed' messaging.


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SAN DIEGO (KGTV) - The California State University Chancellor said Friday the schools will not increase tuition for the 2018-2019 academic year, and demanded the state fund the system's critical needs.
CSU Chancellor Timothy P. White said it was in the state's best interest to fund the university's critical needs supporting student access, achievement, and degree completion.
"In light of California's strong economy, California's students and their families should not be saddled with additional financial burden to attain public higher education," said White. "We will continue to make the case to lawmakers, who represent all Californians, that an educated citizenry should be at the top of the state's highest priorities."
Last year, nearly 100,000 CSU students earned bachelor's degrees and 20,000 earned graduate degrees.
In November, the CSU budget request sought an increase of $263 million. The system considers its most pressing needs to be enrollment growth, a graduation initiative, increases for employee compensation, healthcare and retirement costs, facility operations and infrastructure requirements.
Governor Brown's budget proposal included an increase of $92.1 million.
10News reached out to the CSU chancellor to find out how officials planned to compensate for the funding gap. A spokesman said it has made a case for more funding and will continue to do so, until the state budget is finalized in late June. Any financial decisions for the university system dealing with a potential funding shortage would happen in spring 2019.
The Governor's Budget Spokesperson, H.D. Palmer, released a statement about the funding situation.
The Governor's Budget provides yet another significant funding increase for CSU next year – more than $92 million – without increasing tuition on CSU students or their families. That adds up to increase of $1.6 billion for CSU over six years. We're pleased that CSU's policies will be consistent with the governor's policy of no tuition increases, and will continue to use their additional funding to continue to increase graduation rates and reducing the time it takes to earn a degree -- which can save families an average of $7,000 a year in tuition and fees alone.


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Sorry Alexandria is not taking new clients at the moment.
Online Therapy
I have always been passionate about working with and helping other people, and I truly believe that change is evoked through a healthy collaboration between the client and counsellor. Through the relationships with my clients, I aim to help them learn to better balance their emotions and cope with the small and large stresses of life. I fully believe in the capacity of change and understand that everyone at times is subject to the whims of a randomly cruel universe. I hope to help my clients realize that although life happens to all of us, that does not mean it has to stop. I strive to be an agent of positive change in the lives of others as I help my clients reach the optimum state of mental health and well-being that each unique individual is capable of achieving. I strive to help clients learn to examine their thoughts, feelings, attitudes, values and behaviors and provide a place for them to grow and change in positive ways. My main focus revolves around challenging distorted thinking, relationships and trauma recovery. An essential aspect to well-being is our ability to look within, perceive the mind, and reflect on our experiences. These skills can help you "grow through what you go through" and learn to align your thoughts, feelings, and behaviors in order to set yourself up for wellness. I believe that no one knows the client better than themselves and no one client is the same. Therefore, my practice is person-centered, growth-oriented and tailored to each client's unique needs. I want to offer you the opportunity to explore the essence of who you are and create a life of deeper meaning with a richer and more understandable internal world.
Provisional Member of the New Zealand Association of Counsellors,Bachelor of Science in Psychology,Master of Art in Counselling,Registered Yoga Teacher 200-hr
Client Type
children, adolescents, adults, families, groups
Therapy Type
cognitive behavioural therapy (cbt), acceptance and commitment therapy (act), dialectical behavioural therapy (dbt), family systems, mindfulness, narrative therapy, online therapy, person centred therapy, solution focused therapy, strength based therapy, trauma therapy, psychodynamic psychotherapy
Attention Deficit Hyperactivity Disorder (ADHD)
behavioural issues
body image and eating disorders
break up and divorce
career change
child behaviour and development
communication skills
conflict management
coping issues
emotional control
family issues
feeling stuck
goal setting
grief and loss
life changes
mental health disorder
migrant adjustment
motivation and purpose
performance anxiety
post traumatic stress disorder (ptsd)
relationship issues
religion and spirituality
self esteem and confidence
self harm
social anxiety
substance abuse
upbringing issues
work-life balance
Individual Counselling
Or free if your organisation uses Clearhead to provide wellbeing support


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Since 1976
14 x 18 in.
Oil on panel
"I have recently found myself intrigued by small bits of the greater scene; the corner of a building, an edge of marsh, a little glimpse down that narrow path. I prefer to capture these moments en plein air – to represent the essence of that something which made me stop and go back.
This current body of work was created during several years of transition; trading in the commotion and energy of a small village for the peace and scholarly solitude of the woods. During this time, I find myself Finding Home in each painting; a quiet corner, solitary shadow, or sympathetic quality of light. Home seems to find me—in the mountains or in a tidal marsh—each place reveals its own slice of the familiar."
Kari was raised at the edge of The Finger Lakes National Forest in Central New York State, which set the stage for her deep connection to the natural landscape. After earning her Bachelor of Science in Fine Art from Ashland University in Ohio, she worked as a decorative painter, faux finisher, and occasional muralist.
Kari and her husband Diego Ruiz opened a picture framing studio featuring fine art and gifts in 2007, and she began making studio paintings soon after. An encouraging local response to her work prompted more space at the boutique to be used to display paintings, and eventually the move to a much larger location. Due to the increased visibility of the new gallery, the draw on their time became much greater and began to cut into studio hours. At this time, Kari began to focus on plein air work, feeling the need to learn about light and shadow directly from the natural world. Diego was honing his craft as a stereo photographer, also needing to be outside during gallery hours. A decision had to be made: push the business to the next level by hiring employees, or downsize lifestyle to allow both of them to be able to travel and move forward with their artistic careers. The choice was made and the plan set in motion to close the storefront location and move to an online-only gallery. Kari and Diego have since sold their village home and moved back out to the Finger Lakes countryside where open fields, forests, lakes, streams, and farms can continue to inspire their work.
Kari is an associate member of the Oil Painters Of America, the New York Plein Air Painters, and the Ohio Plein Air Society. Her works are held in public and private collections throughout the US.
View more of Kari's work at KariGanoungRuiz.com, and follow her on Facebook and Instagram.


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UPSSSC Forest Guard Application Form Correction 2019: Uttar Pradesh Subordinate Service Selection Commission (UPSSSC) has started the facility for UPSSSC Forest Guard Form Correction 2019. The form correction facility for UPSSSC Forest Guard 2019 can be done by online mode only at upsssc.gov.in. No offline request is accepted for this. To edit details in the application correction form 2019, applicants require to login by entering their Registration number and date of birth. The last date for UPSSSC Forest Guard Form Correction is till August 16, 2019. In the form correction facility, aspirants do not require to pay any extra amount. Check more details on UPSSSC Forest Guard 2019 Application Form Correction from this page.
Latest: UPSSSC Forest Guard Application Form Correction 2019 facility started. edit details using the direct link below.
UPSSSC Forest Guard Application Form Correction 2019
The facility for form correction is provided to those candidates who have paid the application fee and submitted the form. Candidates can edit details in the form as many times as they want to, however, after the last date they will not be allowed to edit the details. Candidates can check the schedule for UPSSSC Forest Guard Online Form Correction 2019 from this page
|UPSSSC Forest Guard Application Form Correction 2019
|Last date to submit the UPSSSC Forest Guard Application Form 2019
|8 Aug 2019
|Last date to edit details in the UPSSSC Forest Guard 2019 Application Form
|16 Aug 2019
Edit Details Here: Click Here to edit details in UPSSSC Forest Guard Application Form 2019.
Documents Required for UPSSSC Forest Guard Application Form Correction 2019
The candidate must keep the document for which corrections are to be done. However, he must cross verify other details as well. The documents required for correction form verification are:
- 10th class mark sheet
- 12th class mark sheet
- Category certificate
- Scanned photo
- Scanned signature
- Scanned age proof
- Scanned address proof
Image Specification in UPSSSC Forest Guard Application Form 2019
Following is the specification of passport size photo and signature that may be applicable as per the details:
|Passport size photo
|3.5×6 cm
|3-30 kb
|3.5×1.5 cm
|2-20 kb
Instructions for the photo to be uploaded in UPSSSC Forest Guard Application Form Correction 2019
Following are the instruction of the passport size photo which will be uploaded in the application form correction:
- The photo should show your face clearly.
- The peak of you chin show be clearly visible.
- Both ears should be visible in the photo.
- The photo should have 70% of are covered for face.
- Photo should not be older than 6 months.
- Candidate's eyes should be open and the mouth should be closed.
- The photo should be take in simple and plain back ground.
- The candidate must look straight in the photo.
- In case, candidate is wearing specs, his eyes should be clearly visible.
What Details Can be Edited in UPSSSC Forest Guard Application Form 2019?
Following are the information that can be corrected from the application form:
- Name of the candidate
- Father's name of the candidate
- Mother's name
- Address
- Contact no.
- Mail ID
- Education details
- Other details
- Marital status
- Documents can be uploaded or changed.
- Reservation categories can be changed.
What Details cannot be Edited in the UPSSSC Forest Guard Application Form 2019?
Following are the information that cannot be changed in the application correction form:
- Registration no.
- Transaction no.
- Application notification no.
- Bank Name
- Transaction amount
- Payment mode
- Type of recruitment
How to Edit Details in UPSSSC Forest Guard Form 2019?
The candidate must have Registration no. to fill the correction form. The last date of correction form is August 8, 2019. Following are the steps to fill the application correction form:
Step 1: Click on the direct link which is provided on this page to edit the details.
Step 2: Next, the candidates have to login by entering their registration number, date of birth, mobile number.
Step 3: Click on the "Click Here to proceed" button to submit the details.
Step 4: In the next screen, the candidates can the relevant details which they wish to.
Step 5: Update the information in the application form and then review it once before finally submitting it.
Step 6: Submit the corrected application form.
Step 7: Finally, take a print out of it for future reference.
Note: There are no fees charged for modifying the application form. The applicant can modify the application form many times till the last date of form correction.
Importance of UPSSSC Forest Guard Application Form Correction 2019
Once the candidates successfully edit details in the form, the updated and latest form will be valid for the application process. Following are the reasons why application form is important:
- If there is a mistake in the application form, then wrong information will invalidate the application form.
- Stating wrong facts can debar the candidate from the exam.
- If the information stated makes the candidate non-eligible, but the candidate is eligible for the post in reality, then correction form will help the candidate.
- The candidate can claim reservation for one category only.
- The candidate with multiple reservation criteria can choose from the categories and change the Category.
- There is no fee charged for updating your application form.
UPSSSC Forest Guard Admit Card 2019
Admit Card of UPSSSC forest guard post exam is released on the official website of UPSSSC. The candidate will need candidate registration no. and DOB to have access to admit card of the written exam. Candidate must download the admit card beforehand to avoid any casualties of last-minute rush. No admit card will be sent to the candidate through post or mail. The candidate must take a pen and photo ID proof to the exam center with the admit card. The admit card will be uploaded on the website after the application process is over.
About UPSSSC Forest Guard Exam
UPSSSC had declared recruitment for 655 vacancies for the post of forest guard and wildlife guard. The recruitment process for forest guard consists of written test, physical test, physical endurance test and medical test. The written test is of 3 hours which can be conducted online. The result of the written test will the basis for candidates to appear in the physical eligibility examination.


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Lilly Hiatt shares her drugs, Sorry eye the sunset, Mark Lanegan bleeds and more in today's Roundup. Hey Costco: How about you stop sending multiple daily e-mails trying to sell me tires and TVs, and just alert me when I can safely buy toilet paper again?
1 | Lilly Hiatt | Some Kind Of Drug
THE PRESS RELEASE: "Lilly Hiatt is set to release Walking Proof this Friday. The 11-song set was produced by former Cage The Elephant member Lincoln Parish and features guest appearances by Amanda Shires, Aaron Lee Tasjan, Luke Schneider, and Lilly's father, the legendary singer-songwriter John Hiatt. John's appearance on Some Kind Of Drug marks the first time the pair have appeared together on one of her records. Walking Proof is the anticipated follow up to Lilly's breakthrough Trinity Lane, which appeared on many year-end Best Of 2017 lists. The songs found on Walking Proof walk the line between Lilly's rough, rock and roll exterior and her tender, country roots, exuding a bold vulnerability as she takes a deep and unflinching look in the mirror. What emerges is a maturity in her writing, an abiding sense of calm in the face of chaos as she learns that sometimes, you have to let go in order to get what you want most."
2 | Sorry | As The Sun Sets
THE PRESS RELEASE: "North London's Sorry have revealed new track & video As The Sun Sets, the final preview of their eagerly-anticipated debut album 925, out this Friday. As The Sun Sets comes accompanied by more feverish visuals directed by Flasha, aka Sorry's Asha Lorenz and produced by Poppy Ashton. Together with co-producer James Dring, Lorenz and best friend and co-conspirator in Sorry, Louis O'Bryen, have woven 925 like a dreamscape in which idyllic and hellish scenes intermingle, forcing the question of what is real and what is make believe. Inspired by everything from Hermann Hesse to (Sandy) Alex G, their experimental and holistic approach marks them out as a thoroughly 21st century band; from their open-minded approach to genre to their creativity allowing them to self-produce the music and direct accompanying videos."
3 | Mark Lanegan | Bleed All Over
THE PRESS RELEASE: "With his new album Straight Songs Of Sorrow due for release on May 8, and his memoir Sing Backwards And Weep due to publish on April 28, Mark Lanegan has shared Bleed All Over, one of the many standout tracks from this much-anticipated release. When considering any great work of art, be it a painting, a novel, or a piece of music, it's natural to wonder what might have inspired it: 'the story behind the song'. Lanegan's new album flips that equation. Here are 15 songs inspired by a story: his life story, as documented by his own hand in his forthcoming new memoir. The book is a brutal, nerve-shredding read, thanks to Lanegan's unsparing candor in recounting a journey from troubled youth in eastern Washington, through his drug-stained existence amid the '90s Seattle rock scene, to an unlikely salvation at the dawn of the 21st century. There's death and tragedy, yet also humor and hope, thanks to the tenacity which impels its host, even at his lowest moments."
4 | L'Orchidée Cosmique | Vision / SF12
THE PRESS RELEASE: "A few days after releasing its brand new EP Vision / SF12, French Space-Noise Fuzz-Post-Metal one-man-band L'Orchidée Cosmique aka Flo P. (bass/fuzz/synth/looper) just shared the whole effort for full streaming. It has been since the end of 2015 that the one man band, L'Orchidée Cosmique makes gravitate its riffs in orbit around planet Earth. Alone on board, Flo distills with its bass, its synth and its pedals of effects a musical mix that calls as much for the peaceful trips in weightlessness as for the rough landings of fortune. A flight plan between Mogwai's leaded post-rock, the Sonic Youth noise emergency or A Place To Bury Strangers and the magnetic fuzz of Torche. Pieces sometimes complex, often tortuous, but on arrival always accessible music."
5 | 5RAND | Silent Spring
THE PRESS RELEASE: "Dear friends, today marks the beginning of Spring and we want to dedicate this song to you. We are all living a Silent Spring, here in Italy and all around the world, a tragedy has struck at the heart of our community, but we will get through this… together! Yours, 5RAND." 5RAND is a Melodic Death Metal band from Italy, female fronted with both clean and growling vocals, who plays a modern metal, distinguished by the combination of melody with heavy, aggressive riffing, which leads into a dark, disturbing and violent atmosphere, whose result may recall bands that range from Slipknot to Dark Tranquillity. In september 2019 the band released their critically acclaimed second album Dark Mother."
6 | Next Door to Heaven | Dance With Me
THE PRESS RELEASE: "Russian progressive metalcore band Next Door To Heaven release the new stand-alone single Dance With Me to follow their 2019 album V Ways To Accept. The melodic, djenty and proggy track follows NDTH's signature sound. The song is about relationships, an unconscious feeling of the presence of a close person even if logic and reality tell you this person can't be here now. It differs from V Ways To Accept because the message from Dance With Me is about recovery, not the misery."
7 | Frank Moyo | Beach House
THE PRESS RELEASE: "Frank Moyo is a slow player in a fast world. The Canadian-Italian singer grew up in Toronto and first learned chords as a child, picking up what he could from family, friends and later the live shows he could get into. Frank's new single Beach House is a stripped back, building folk track evoking the sense of escaping to a beach house and running away from reality."
8 | The Brains | Satana Tarantula
THE PRESS RELEASE: "Canadian cult psychobilly trio The Brains will be releasing their 8th studio album Satana Tarantula on April 10. It includes special guest appearances by rockabilly legends Danny B. Harvey (The Head Cat, Swing Cats), Tim Öhrström (Avatar), Patricia Day (Horrorpops) and more! The title track is now available. The Brains continues its theme of combining retro horror-inspired lyrics with high energy, punk-infused rockabilly in this collection of a dozen new songs plus a superb cover of the '80s classic Electric Avenue. "The album has a lot of satanic references but it's also about partying, heartbreak, the occult, and more partying," explains frontman Rene D La Muerte."
9 | Josie Proto | BTEC Lily Allen
THE PRESS RELEASE: "Emerging indie talent Josie Proto releases the official version of her sass-fuelled viral hit BTEC Lily Allen – the perfect introduction to her light-hearted but emotionally compelling style. Josie explains: "After I was called a 'BTEC Lily Allen' by a girl last year, I collated the negative feedback and moulded the words into a song. This year I downloaded TikTok and posted a one-minute clip of the song to my incredible following of 15 people (granted that around 7 were close friends) and left my phone on the side. I came back to my phone a couple of hours later and already had over 10,000 views! Over the next few days, I posted the other 2 minutes of the song and gained over 300,000 views across all the videos and over 10,000 followers! I stuck true to each of the comments and tried to included them in the exact form they were delivered to me initially. It's gratifying knowing that the comments that tried to bring me down have done the opposite."


text: Feb 20, 20181 min readMen and Moving!! Saturday, Feb 24thWe could use some help on Saturday, February 24th at 10am to move some items from our storage unit. We will meet at the church. Want to get a bit of a workout and help out? Email Bill, firstname.lastname@example.com if you can help out or tell him at church.Announcement•News


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The 48th annual High Plains Band and Choir Festival at Chadron State College drew students from 29 high schools in Nebraska, Wyoming, and South Dakota last week.
The following students were honored for being selected to the Honor Band or Honor Choir the past three or four consecutive years.
HONOR CHOIR – Four Consecutive Years
Alliance: Aubrey Garrett
Bayard: Daeton Blanco
Gordon-Rushville: Beth Bragg, Josh Sherer
South Dakota
Hill City: Jaydon Rogers
Three Consecutive Years
Gordon-Rushville: Josie Shadbolt
Paxton: Ashleigh Jay
Sidney: Kaitlyn Darnall, Mason Mowery, Sophia Price, Elly Weimer
Valentine: Tim Egelhoff, Jonah Perrett, Elliana Springer
South Dakota
Hill City: Kylie Null, Raylin Spencer
HONOR BAND – Four Consecutive Years
Gering: Adam Flowers, Mark Karpf
Gordon-Rushville: Max Meng
Kimball: Nicole Delaplane
Three Consecutive Years
Alliance: Izzy Middleton, Jewelia Taylor
Ainsworth: Josie Ganser
Chadron: Lauren Collins, Kayley Galbraith
Gering: Victoria Brady, Alethia Henderson, Alannah Ventura
Gordon-Rushville: Kassyl Swinney, Rayne Charging Thunder
Hemingford: Jacob Clouse
Sidney: Alexah Fort


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August 26, 2018
Are you approaching the top or the bottom? Check back on your goals! 😉 Welcome back friends from the US, Japan, India, Brazil, Canada, Portugal, and France,Germany, and Serbia! 😉 Bonnie was in a shock when she went to her, but first this news needs your attention: Strongest, Oldest Arctic Sea Ice Breaks Up for First … More Jobless?


text: Click the "Send" button below if you have tried to reach Tapias Radiators at (702) 838-4422 but couldn't, so we can verify and correct our information. You can visit Tapias Radiators at 4750 E Lake Mead Blvd by clicking the "View Larger Map" link below. Here you can also get driving directions. Are you unsure if you want to visit this business? Click the "Read Merchant Reviews" link to the right and see what others are saying. The business Tapias Radiators, located at 4750 E Lake Mead Blvd in Las Vegas is one of the many businesses found in our Automotive category. You can find businesses similar to Tapias Radiators by clicking Automotive or Auto Parts & Services links above, beside the Las Vegas city name.


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Family Involvement
At St. Peter Early Childhood Center, we believe that building a relationship between parents and teachers is the foundation for the child's positive experiences in school. Families are their children's first teachers and they have a powerful effect on their young children's development. Family engagement during the first years of life can support a preschool child's readiness for school and ongoing academic and lifelong success.
Your participation is eagerly welcomed in our program. Your involvement can take many forms. Some ways in which you may choose to participate include, but are not limited to:
Help us get to know you
Prior to the first day of school we encourage families to:
- Visit your classroom to meet the teacher.
- Provide information about your child's interests, favorite toys, nap routines, likes and dislikes.
- For children whose first language is not English, provide a list of words or phrases in the child's native language.
- Share your goals and priorities for your child.
- Provide photographs of your families for display in the classroom where children can easily see them.
Maintain Open Communication
Copies of the classroom routine and activities are posted on parent bulletin boards outside the preschool rooms. It is helpful for you to review activities planned for the day with your child. This is a great way to talk with your child about his/her day. *Because the curriculum is planned in advance, some changes based on spontaneous learning opportunities, children's interests, and needs can be expected.
Each child will have a backpack for communication such as newsletters, homework, or important notices from the school office. Please check your child's backpack daily.
A Parent bulletin board is available with announcements for you to view and read. Please take the time to scan the parent board regularly to keep informed on what is happening in the Preschool.
We encourage you to provide our Center with an email address. This can facilitate timely communication and notification of special classroom and Center events.
We will also host a page on Facebook and maintain our website and Preschool App where happenings and pictures will be posted on to the members of page.
Sharing information is not always easy since parents and teachers are busy. If you have a concern or special insight that would help us with your child, please visit or email your child's teacher, call and leave a message, or drop a note for the director at the office.
This will make things go smoother for your child, you, and the Center.
*** Your input is very important and always welcomed***
Proper parent communication is imperative when working with young children. It is difficult to communicate when cell phones are in use. Please end all calls prior to entering the building.
Parent Teacher Conferences
Please feel free to talk to your child's teacher in the classroom or drop a note at the office to request a call back or note of response. Parents are expected to escort their child to the classroom. This is a good time to share a comment or a few words with the teacher of special joys, sorrows, or change in routine for your child. Since it is necessary for the teacher to devote their time during the school day to the children, we ask that you please set a conference appointment if you need to confer with a teacher at length.
Formal Individual Parent Teacher conferences are held twice a year. Conferences for the school year will be held in the Fall and in the Spring. During this time, you will review the Developmental and Academic summary of your child. You will also have the opportunity to provide input on setting goals and monitoring your child's progress. Teachers will share ways in which you can support your child's development at home.
School officials will discuss the child's progress with parents or those they designate. Privacy Acts prevents discussing a child's progress with aunts, uncles, cousins, grandparents or other persons.
Volunteer Opportunities
- Field trip supervision
- Classroom coordinator
- Attending or planning parent workshops/events
- Visit the classroom (share special talents, read aloud, guest speaker-community helper)
- Contribute snacks or supplies (ask your child's teacher)
Volunteers: VIRTUS Information –Safe Environment for Children
The Archdiocese of Cincinnati requires all regularly scheduled volunteers to participate in a VIRTUS Training Session, be current in VIRTUS training bulletins/modules, and obtain a background check through Selection.com. For more information, visit the school office.
Upon entering the building, the parent must check-in at the office.
Get Involved in the PTO
The PTO is made up parents from the ECC and the elementary school.
What does the PTO do? We organize and fund events such as Autumn Harvest, field trips to Victoria Theater for some of the ECC classes, family movie night, book fairs, staff appreciation luncheon, and much more.
How do they do it? We do it all with help from parents just like you and through our fundraisers, which this year is only one-the mum sale.
How can you get involved? Email [email protected] to be added to the volunteer list. We will ask for help with food item donations, help at book fair, etc.
St. Peter ECC Evaluation
Parents have an opportunity to evaluate the Early Childhood Center on an annual basis. These evaluations are very important to improving the program. Please take time to complete our online surveys.


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Just giving. The Panyaden community get together to celebrate 'Giving Week'. Market stalls selling food and second-hand goods raised money for the school's chosen charity of 2016, Viengping Children's Home, which looks after orphans and street children. The chair of Friends of Panyaden teacher and parent group, Khun Sarinporn, also officially handed over a cheque for 36,160 baht which has been collected by parents to buy instruments for the school band.
Click for more Panyaden Giving Week flea market photos.


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RAAS - Chhatrasagar
Raj Mahal Palace, Jaipur
Bungalow 99, New Delhi
RAAS - Chhatrasagar
Avesh's work mainly focuses on photography & films for Architecture, Interior, Hotels, Real Estate, Developers, Industrial & Corporate sectors.
His journey started in 2011 while he was still studying. Gradually his passion intensified and his work started getting recognition on various levels.
He captures the real essence of any space effortlessly. Being involved in various genres of photography & films, he molds himself as per the requirement, be it an art project or a commercial shoot, his main goal is to deliver the best suited for his clients.


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The Mississauga Urban Design Advisory Panel (MUDAP) was formed in 2007 and provides professional, objective advice to City staff on designs that affect Mississauga's public spaces, architecture and sustainability, in line with the City's Official Plan and design guidelines.
If you have any questions about MUDAP or need to contact us, please call the Panel Coordinator, Mike Votruba on 905-615-3200 ext. 5759 or email email@example.com.
If a MUDAP review is required as part of your development application, make sure you follow these steps.
1. Address any issues with your application identified during your Development Application Review Committee meeting. City staff must confirm that your project is ready to be presented to MUDAP before scheduling your panel review. Panel spaces are booked on a first come first serve basis and spaces cannot be held in advance.
2. Read the MUDAP Terms of Reference. Complete the Project Information Form and email it to the Panel Coordinator at email@example.com.
3. The Panel Coordinator will confirm your meeting date and send you the following forms. Each form will have a submission deadline:
4. Complete the forms and send them back to the Panel Coordinator before 4:30 p.m. on the submission deadline. We'll review your submission and notify you if you need to make any changes. Once your submission is complete, we'll email you an agenda with the time and location of your presentation.
All meetings will be held virtually using Webex until further notice due to the COVID-19 situation.
When in person meetings can occur again, meetings will be held from 12:45 to 4 p.m. in the Living Arts Centre at 4141 Living Arts Drive. We'll email you the meeting details.
|2022 meeting date
|Information package submission deadline
|January 25
|January 4
|February 22
|February 1
|March 22
|March 1
|April 19
|April 5
|May 17
|May 3
|June 28
|June 7
|July 26
|July 5
|September 20
|September 6
|October 18
|October 4
|November 29
|November 1
MUDAP is comprised of independent design professionals including architects, landscape architects, and transportation specialists. These individuals volunteer to meet and review development proposals submitted to the Planning and Building Department.
The panel members are:


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Prótesis capilar
La opinión de Alex
Undetectable hair system review, Before and After
My hair started to shed over the years and it became noticeable, so I was looking for a solution, but nothing gave me what I needed. One day a friend offered me this opportunity. Honestly, I didn't know whether it would work or not, whether I would get the result I wanted or not. I showed up at the Hair Inspira office, and all my questions were sincerely answered, both for and against certain products. I was not tricked; the customer service was spectacular and after a while, of wearing a hair system I can only thank Hair Inspira for this solution and the chance of feeling good with myself again. So, I would really recommend to all those guys who start having a hair problem at an early age, to go for it. I am 20 years old and I am very proud of this great result.
Alex's video
Don't miss the video of Alex's hair system review.


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VA is for haters
A politician discussing deploying the National Guard to enforce gun control. What could possibly go wrong?
A politician discussing deploying the National Guard to enforce gun control. What could possibly go wrong?
Hilarious that these morons think the Stonewall Brigade (the combat arms units of the VA National Guard) would be on their side.
Ironic that the bit in the 2A referring to militias—y'know, the part gun-grabbers always point to when claiming citizens have no right to keep and bear arms outside of a militia—might actually be the very part of the 2A that will explain to VA Dems exactly what the 2A was intended for: against threats foreign AND domestic.
Yes, that'll go well. I can just imagine the optics of humvees in small town USA, going to forcibly take Grandma's Glock, all on TV.
I'm pretty sure that if someone orders the Guard to confiscate citizen's guns, the Guard will tell them to pound sand.
I was in the California Army National Guard at the time of the Rodney King Riots in '92. We were told that we might get orders to shoot looters. The common consensus was that we would refuse to follow those orders since we there to protect citizens, that we weren't going to shoot someone who's running out of a store with a TV or armload of clothes. That stuff could be replaced, a citizen's life cannot be.
Besides, the Guard is a part of the citizenry. The same citizenry that the communist politicians would want to sic them on.
Well, I don't think the compliance with unlawful orders rate will be anywhere close to 100%, but there are always some that will.
Lon Horiuchi comes to mind. Granted that was a long time ago, nevertheless he sleeps like a baby at night I'd guess. A baby in the arms of a mother that wasn't blown away like lint.
@MrSatyre, IF the 2nd Amendment is read objectively as a grammatical sentence, "militia" in the beginning subordinate clause must agree with "the People" in the main clause of the sentence which presents the main idea. That meaning is also corroborated by quotes from the founders such as Tench Coxe and George Mason who said, "I ask, Sir, what is the militia? It is the whole People except for a few public officials".
Also the 2nd Amendment references Article I, Section 8.15-16 where the Federal Government only has delegated power "for governing such PART OF THEM (the militia) as may be EMPLOYED in its device." Therefore, the fedgov has NO power for any gun laws pertaining to the People EXCEPT those EMPLOYED in its service. Otherwise the militia is the free People of "a free State", one of "the several States" which delegated "few and defined" powers to the Federal Government. It has NO LAWFUL POWER for gun laws pertains to the People.
Welcome to clown world
@ Heath J, these people are not clowns, but dangerous criminals who are now threatening lethal force against peaceable, law abiding citizens for exercising their God-given, Constitutional protected rights!!!
I figure they will most likely grab people one at a time. If during the course of business as usual, they find a person in possession of newly banned items, they'll crucify one gun owner at a time. To try to make some draconian example, and to lessen the chance of some Bundy standoff scenario.
Actually, the National Guard HAS been used to grab guns from the people. You can find video of them dog-piling a grandmother for her .38 revolver, among other scenes. During the Katrina floods, they were driving around the countryside in their trucks going house to house, taking guns. They were never returned, btw. They all ended up being stored in seawater filled barrels, which destroyed them by the time lawyers were able to pry them away from the government. Process took at least a year, IIRC.
Those clowns were assisted by CHP officers (in uniform) that were on loan.
Yes, I recall the granny getting manhandled. I'm sure those guys all go to bed at night thinking they are good cops too.