text:
This article is the first part of a two part series written by Guest Blogger, Katie Perfitt, the Canada Divestment Organizer with 350.org*. Katie is currently running a campaign calling on the Museum of History in Gatineau, QC to drop the Canadian Association of Petroleum Producers. In this piece, she explores the myth of acceptable oil sponsorship. In the second part, you’ll hear from Katie about why the Museum of History is well placed to be on the leading edge of the Fossil Free Culture movement in Canada.
Supporters demonstrate outside the Museum of History at the launch of the Right Side of History campaign in early April.
About 5 years ago, the Canadian Museum of History (CMH) (then the Museum of Civilization) was approached by the Canadian Association of Petroleum Producers (CAPP) — the official lobby group for the biggest oil and gas companies operating in Canada. At the time, CAPP was seeking out sponsorship opportunities in the National Capital Region. An access to information request revealed that CAPP was looking to fund cultural institutions like art galleries and museums close to Parliament Hill, pending they could use those spaces to elevate the profile of Canada’s oil and gas sector.
Within months, the funding partnership was announced by way of a press release issued by the Canadian Museum of History. It was an immediate return on investment for CAPP: they were congratulated as a shining star of corporate philanthropy by the Museum’s own CEO, Mark O’Neill, while also giving CAPP a platform to promote fossil fuel expansion. The resulting press provided cover for CAPP lobbyists who were out lobbying the Harper government to gut Canada’s most precious environmental laws.
Fossil fuel companies, and industry associations that represent them, cultivate relationships with arts and cultural centers because it helps to create an image of social license for the industry. This acceptability, becoming increasingly fragile, is necessary for Big Oil to continue to dig, drill, strip mine and frack, pipe, ship and store increasing amounts of oil and gas, despite the worsening climate crisis. It’s not a new tactic — in fact, it’s one taken right from the tobacco industry’s playbook.
It wasn’t that long ago that tobacco companies were seen as respectable sponsors for cultural institutions. But thanks to people powered movement calling out these dirty sponsorships, museums and galleries across the world cut ties to the tobacco industry.
Big Oil must see the same fate if we wish to tackle climate change with the boldness this crisis requires. Half measures or meekness won’t keep +80% of the world’s known fossil fuel reserves in the ground — what climate scientists have deemed necessary to stay within 2°c of global warming.
Community members calling on the Museum of History to cut ties with CAPP at the Museum’s Annual General Meeting in April.
We need every corner of society to flex their muscle and stand up to an industry which has knowingly misled the public on climate change, that continues to lobby against climate action in every corner of the planet, and perpetrates human rights abuses around the world. We need all hands on deck, and to use every tool in our toolbox to fight the power of the fossil fuel industry.
This shift is underway. Already, over 700 institutions worldwide have heeded the call to cut ties with Big Oil, and the public is starting to clearly see the evil PR genius behind oil sponsorship of arts and cultural institutions. Museums, Art Galleries, and other cultural institutions have been forced to answer the calls by their patrons to end sponsorship deals, divest their assets from fossil fuel companies, or by removing Big Oil CEOs from their boards.
We know that these actions alone won’t stop climate impacts from happening, or bring justice to Indigenous Peoples living near the Alberta tar sands whose water and lands have been destroyed, but it will stir up a critical public conversation about the social acceptability of these companies in our trusted and beloved cultural institutions. In so doing, we strengthen the calls for climate leadership in our political and financial spheres.
How can museum workers get involved in the fossil free culture movement?
Community members calling on the Museum of History to cut ties with CAPP for the launch of the Right Side of History campaign in April 2017.
by insisting on the resignation of Big Oil executives from decision making bodies of museums, art galleries, and other cultural centres.
If that strikes a cord, start organizing your people. This divestment guide is a great resource if you’re not sure where to get started. It was made for students in mind, but most of the content is translatable to other campaigns and movement spaces!
In an era of climate change, we must stand united against the fossil fuel industry’s attempts to co-opt cultural institutions. We must send a big message that the age of big oil deceiving the public for its own gain is over.
350.org supports a global grassroots climate movement that hold leaders accountable to science and justice. This global movement works together to oppose new coal, oil and gas projects, take money out of the companies that are heating up the planet, and build 100% clean energy solutions that work for all. We believe in a just, prosperous, and equitable world built with the power of ordinary people. If you want to support 350.org‘s campaign to have the Museum of History cut ties with Big Oil, you can sign the petition at: www.rightsideofhistory.ca and contact Katie to learn more.
Previous From Outputs to Outcomes – Are You Making the Shift?
Museums being caught up in the ethical implications of accepting sponsorship money from companies and industries aiming to garner a “social license to operate” is not new – but it seems to ebb and flow over time. I recall some large public protests in the late ’70s when a forestry company/industry had sponsored a large, travelling Canadian landscape show (I think it was a Vancouver Art Gallery show). It certainly struck a chord with many museums and artists. Not too long after, the same was true of the tobacco industry sponsoring all sorts of things – museums, sports, community events, music and more. Now the fossil fuel industry is, deservedly, in the spotlight.
For me, this is not only an opportunity to take an important ethical stand for museums, but also an opportunity to become creative about where our sector is going into the future. Given the pattern that exists with museums and sponsorship in recent decades, I wonder if, after stating its unwillingness to be supported by the fossil fuel industry, it is not time to take a big step back and ask ourselves how we can change the system that keeps generating this problem of economic dependence on unethical money. By this I mean that museums are habitually in need of money – and they generate relatively little money themselves, except through the presumed largesse of governments and donors/sponsors. And so we are vulnerable to simply ending up in the same situation again – with expensive exhibits and a short-fall of money. Perhaps we can rethink the basic ‘enterprise model’ for museums (and I am using this term instead of the more common term ‘business model’, because we don’t want to simply try to adopt traditional business practices, which has been a trend in museums over recent decades). Can we imagine a way to generate public engagement and community impacts that add to quality of life and wellbeing, by shifting our modus operandi? Are there ways, perhaps outside-the-box ideas that go beyond exhibits and on-site programs, in which to engage both likely and unlikely partners that actually share goals and values?
Rather than simply taking up an ‘anti’ position, is there a way to achieve the goal of distancing museums from oil companies, while generating effective cultural shifts towards a sustainable future? The complexities of cultural change are formidable, but what sector is better positioned than museums to really think this through? I was looking at the Happy Museum Project website today (an innovative, capacity-building museum initiative in the UK) and saw the idea being floated of a “Museum of Fossil Fuels”. I haven’t gone into it in depth yet, but at the top level it is a pretty fascinating initiative. There seems to be a strong message that the fossil fuel industries have been at the heart of most of the advancements in human knowledge and ability that are associated with the past couple centuries. The suggestion is that the museum acknowledges the role of fossil fuels for what it is and the achievements it has brought. There is clearly a need for the museum to state clearly that the industry can no longer serve human or planetary needs, but that hopefully, it can contribute innovation and resources to new solutions as it transforms itself. This museum seems to see the history of the oil industry containing insights and innovations that need to be honoured and understood for what they are, as well as to be applied to the building of a sustainable future. Reading about this museum triggered for me a more nuanced approach to museums as facilitators of cultural change. Such an approach might have much more far-reaching impacts than simply to demonize the existing hydrocarbon industry (an industry that I have been struggling against for 20 years). What do others think here?
I just want to respond to your helpful suggestion for a more nuanced approach of exposing and exploring, rather than demonising the fossil fuel industries. I’ve been involved in the UK’s campaign coalition on this issue, for a few years, Art Not Oil (artnotoil.org.uk) and am now supporting a new initiative called Culture Unstained. My role has mostly been in the nuanced end of things, doing background research, exploring the ethical issues, and developing and promoting alternative models of business/finance/partnership so that divestment and ethical sponsorship become financially and socially beneficial as well as ethical. There has been a bit of playful ‘demonising’ in the creative actions against oil sponsorship, and sometimes it has made me feel a bit uncomfortable – but then it is meant to be disturbing. Fossil fuel companies have known about the globally catastrophic impacts (genocide and ecocide on an unthinkable scale) of their industry for 35 years, yet have ploughed billions of dollars into disruptive research, lobbying, advertising and sponsorship deals that deny the realities of climate change and that provide them with a ‘social licence to operate’. We as ecological activists don’t have those billions of dollars and control of the media, and we have to try different approaches to break through, ranging from calm investigation to lively creative protest. Another dimension Art Not Oil members aim to expose is the extreme social injustice (extrajudicial murders, imprisonment, land grabbing, local ecocides and civilian deaths in oil wars etc etc) that takes place in relation to extraction sites. Ethical policies of museums often state that they don’t collaborate with organisations that do such things, but turn a blind eye to fossil fuel companies that perpetuate or conceal their involvement in these ravages on indigenous people and their land. One thing we are very clear about is that we never intend to harm the cultural institution – always focusing on the fossil fuel sponsor, highlighting how much the sponsor benefits for what are very small donations. I think in the UK we have a different context where we have expected cultural organisations to be publicly funded, with corporate sponsorship only as an added extra, and the change in our funding system, combined with unliveably low salaries and zero hours contracts, has felt quite rapid and brutal. There are three areas of focus for those of us frustrated by this whole situation: ending oil sponsorship (as oil is the epitome of unethical sponsors); ending unethical sponsorship (e.g. arms industry or general); returning to a situation where culture is properly supported by public finance. I’ve argued sometimes for more engagement with fossil fuel sponsors, to converse with them about their impacts and mission, but it’s always been hard to know how to go about it.
I really appreciate this thoughtful dialogue, and I’m looking forward to seeing further response to this post and to pt. 2.
What I want to explore in this is how the Museum of History is positioned well to be able to make a bold statement like this. This sponsorship is actually quite small in relation to this museums very larg budget. It’s a drop in the bucket. Not every museum is in this kind of position, I understand. And that’s part of why I think the Museum of History has a responsibility to show this kind of leadership.
Cutting ties with an institution like CAPP — a clear villain in the face of climate change — would be a very appropriate statement about what we don’t want — organizations that lobby against climate action and Indigenous rights, that have spent years trying to mislead the public on the science of climate change, and had a hand in dismantling some of Canada’s most important environmental laws). It also presents itself as an opportunity to clearly articulate the future we must rapidly transition to — that’s one where we significantly reduce our dependence on fossil fuels and show respect and allyship with Indigenous peoples.
The power of divestment (and I consider this within the realm of fossil fuel divestment) is the symbolism. It has a real impact because it can be perspective shifting for audiences. The power to do that is so important in the era of a climate crisis, because the shift we have to make is tranformative.
I think we need to explore many approaches to tackling the climate crisis, and I don’t think these options are mutually exclusive. I love so many of the ideas that have been coming through this blog. I also think we loose an opportunity if we discount this tactic. Divestment in it’s different forms has made critical gains in both the conversation around climate, the economics of it: exposing the true cost and risk of the energy system on which we currently rely, and pushing forward the next energy economy.
I’d love to see, right now, the museums that can cut all types with oil sponsorship. But as Katie says, some heritage organisations would have a much tougher time with that, because it funds quite a lot. It’s easier said than done to go ‘we don’t want to associate with this anymore, but not doing so means losing 50% of our budget’. But for museums that can, I think it should be a main priority. That’s a message to oil companies right there. It’s also a message to governments that museums need other funding sources that are ethical. But if everyone continues to rely on oil sponsorship, nothing will change.

lowercased:
this article is the first part of a two part series written by guest blogger, katie perfitt, the canada divestment organizer with 350.org*. katie is currently running a campaign calling on the museum of history in gatineau, qc to drop the canadian association of petroleum producers. in this piece, she explores the myth of acceptable oil sponsorship. in the second part, you’ll hear from katie about why the museum of history is well placed to be on the leading edge of the fossil free culture movement in canada.
supporters demonstrate outside the museum of history at the launch of the right side of history campaign in early april.
about 5 years ago, the canadian museum of history (cmh) (then the museum of civilization) was approached by the canadian association of petroleum producers (capp) — the official lobby group for the biggest oil and gas companies operating in canada. at the time, capp was seeking out sponsorship opportunities in the national capital region. an access to information request revealed that capp was looking to fund cultural institutions like art galleries and museums close to parliament hill, pending they could use those spaces to elevate the profile of canada’s oil and gas sector.
within months, the funding partnership was announced by way of a press release issued by the canadian museum of history. it was an immediate return on investment for capp: they were congratulated as a shining star of corporate philanthropy by the museum’s own ceo, mark o’neill, while also giving capp a platform to promote fossil fuel expansion. the resulting press provided cover for capp lobbyists who were out lobbying the harper government to gut canada’s most precious environmental laws.
fossil fuel companies, and industry associations that represent them, cultivate relationships with arts and cultural centers because it helps to create an image of social license for the industry. this acceptability, becoming increasingly fragile, is necessary for big oil to continue to dig, drill, strip mine and frack, pipe, ship and store increasing amounts of oil and gas, despite the worsening climate crisis. it’s not a new tactic — in fact, it’s one taken right from the tobacco industry’s playbook.
it wasn’t that long ago that tobacco companies were seen as respectable sponsors for cultural institutions. but thanks to people powered movement calling out these dirty sponsorships, museums and galleries across the world cut ties to the tobacco industry.
big oil must see the same fate if we wish to tackle climate change with the boldness this crisis requires. half measures or meekness won’t keep +80% of the world’s known fossil fuel reserves in the ground — what climate scientists have deemed necessary to stay within 2°c of global warming.
community members calling on the museum of history to cut ties with capp at the museum’s annual general meeting in april.
we need every corner of society to flex their muscle and stand up to an industry which has knowingly misled the public on climate change, that continues to lobby against climate action in every corner of the planet, and perpetrates human rights abuses around the world. we need all hands on deck, and to use every tool in our toolbox to fight the power of the fossil fuel industry.
this shift is underway. already, over 700 institutions worldwide have heeded the call to cut ties with big oil, and the public is starting to clearly see the evil pr genius behind oil sponsorship of arts and cultural institutions. museums, art galleries, and other cultural institutions have been forced to answer the calls by their patrons to end sponsorship deals, divest their assets from fossil fuel companies, or by removing big oil ceos from their boards.
we know that these actions alone won’t stop climate impacts from happening, or bring justice to indigenous peoples living near the alberta tar sands whose water and lands have been destroyed, but it will stir up a critical public conversation about the social acceptability of these companies in our trusted and beloved cultural institutions. in so doing, we strengthen the calls for climate leadership in our political and financial spheres.
how can museum workers get involved in the fossil free culture movement?
community members calling on the museum of history to cut ties with capp for the launch of the right side of history campaign in april 2017.
by insisting on the resignation of big oil executives from decision making bodies of museums, art galleries, and other cultural centres.
if that strikes a cord, start organizing your people. this divestment guide is a great resource if you’re not sure where to get started. it was made for students in mind, but most of the content is translatable to other campaigns and movement spaces!
in an era of climate change, we must stand united against the fossil fuel industry’s attempts to co-opt cultural institutions. we must send a big message that the age of big oil deceiving the public for its own gain is over.
350.org supports a global grassroots climate movement that hold leaders accountable to science and justice. this global movement works together to oppose new coal, oil and gas projects, take money out of the companies that are heating up the planet, and build 100% clean energy solutions that work for all. we believe in a just, prosperous, and equitable world built with the power of ordinary people. if you want to support 350.org‘s campaign to have the museum of history cut ties with big oil, you can sign the petition at: www.rightsideofhistory.ca and contact katie to learn more.
previous from outputs to outcomes – are you making the shift?
museums being caught up in the ethical implications of accepting sponsorship money from companies and industries aiming to garner a “social license to operate” is not new – but it seems to ebb and flow over time. i recall some large public protests in the late ’70s when a forestry company/industry had sponsored a large, travelling canadian landscape show (i think it was a vancouver art gallery show). it certainly struck a chord with many museums and artists. not too long after, the same was true of the tobacco industry sponsoring all sorts of things – museums, sports, community events, music and more. now the fossil fuel industry is, deservedly, in the spotlight.
for me, this is not only an opportunity to take an important ethical stand for museums, but also an opportunity to become creative about where our sector is going into the future. given the pattern that exists with museums and sponsorship in recent decades, i wonder if, after stating its unwillingness to be supported by the fossil fuel industry, it is not time to take a big step back and ask ourselves how we can change the system that keeps generating this problem of economic dependence on unethical money. by this i mean that museums are habitually in need of money – and they generate relatively little money themselves, except through the presumed largesse of governments and donors/sponsors. and so we are vulnerable to simply ending up in the same situation again – with expensive exhibits and a short-fall of money. perhaps we can rethink the basic ‘enterprise model’ for museums (and i am using this term instead of the more common term ‘business model’, because we don’t want to simply try to adopt traditional business practices, which has been a trend in museums over recent decades). can we imagine a way to generate public engagement and community impacts that add to quality of life and wellbeing, by shifting our modus operandi? are there ways, perhaps outside-the-box ideas that go beyond exhibits and on-site programs, in which to engage both likely and unlikely partners that actually share goals and values?
rather than simply taking up an ‘anti’ position, is there a way to achieve the goal of distancing museums from oil companies, while generating effective cultural shifts towards a sustainable future? the complexities of cultural change are formidable, but what sector is better positioned than museums to really think this through? i was looking at the happy museum project website today (an innovative, capacity-building museum initiative in the uk) and saw the idea being floated of a “museum of fossil fuels”. i haven’t gone into it in depth yet, but at the top level it is a pretty fascinating initiative. there seems to be a strong message that the fossil fuel industries have been at the heart of most of the advancements in human knowledge and ability that are associated with the past couple centuries. the suggestion is that the museum acknowledges the role of fossil fuels for what it is and the achievements it has brought. there is clearly a need for the museum to state clearly that the industry can no longer serve human or planetary needs, but that hopefully, it can contribute innovation and resources to new solutions as it transforms itself. this museum seems to see the history of the oil industry containing insights and innovations that need to be honoured and understood for what they are, as well as to be applied to the building of a sustainable future. reading about this museum triggered for me a more nuanced approach to museums as facilitators of cultural change. such an approach might have much more far-reaching impacts than simply to demonize the existing hydrocarbon industry (an industry that i have been struggling against for 20 years). what do others think here?
i just want to respond to your helpful suggestion for a more nuanced approach of exposing and exploring, rather than demonising the fossil fuel industries. i’ve been involved in the uk’s campaign coalition on this issue, for a few years, art not oil (artnotoil.org.uk) and am now supporting a new initiative called culture unstained. my role has mostly been in the nuanced end of things, doing background research, exploring the ethical issues, and developing and promoting alternative models of business/finance/partnership so that divestment and ethical sponsorship become financially and socially beneficial as well as ethical. there has been a bit of playful ‘demonising’ in the creative actions against oil sponsorship, and sometimes it has made me feel a bit uncomfortable – but then it is meant to be disturbing. fossil fuel companies have known about the globally catastrophic impacts (genocide and ecocide on an unthinkable scale) of their industry for 35 years, yet have ploughed billions of dollars into disruptive research, lobbying, advertising and sponsorship deals that deny the realities of climate change and that provide them with a ‘social licence to operate’. we as ecological activists don’t have those billions of dollars and control of the media, and we have to try different approaches to break through, ranging from calm investigation to lively creative protest. another dimension art not oil members aim to expose is the extreme social injustice (extrajudicial murders, imprisonment, land grabbing, local ecocides and civilian deaths in oil wars etc etc) that takes place in relation to extraction sites. ethical policies of museums often state that they don’t collaborate with organisations that do such things, but turn a blind eye to fossil fuel companies that perpetuate or conceal their involvement in these ravages on indigenous people and their land. one thing we are very clear about is that we never intend to harm the cultural institution – always focusing on the fossil fuel sponsor, highlighting how much the sponsor benefits for what are very small donations. i think in the uk we have a different context where we have expected cultural organisations to be publicly funded, with corporate sponsorship only as an added extra, and the change in our funding system, combined with unliveably low salaries and zero hours contracts, has felt quite rapid and brutal. there are three areas of focus for those of us frustrated by this whole situation: ending oil sponsorship (as oil is the epitome of unethical sponsors); ending unethical sponsorship (e.g. arms industry or general); returning to a situation where culture is properly supported by public finance. i’ve argued sometimes for more engagement with fossil fuel sponsors, to converse with them about their impacts and mission, but it’s always been hard to know how to go about it.
i really appreciate this thoughtful dialogue, and i’m looking forward to seeing further response to this post and to pt. 2.
what i want to explore in this is how the museum of history is positioned well to be able to make a bold statement like this. this sponsorship is actually quite small in relation to this museums very larg budget. it’s a drop in the bucket. not every museum is in this kind of position, i understand. and that’s part of why i think the museum of history has a responsibility to show this kind of leadership.
cutting ties with an institution like capp — a clear villain in the face of climate change — would be a very appropriate statement about what we don’t want — organizations that lobby against climate action and indigenous rights, that have spent years trying to mislead the public on the science of climate change, and had a hand in dismantling some of canada’s most important environmental laws). it also presents itself as an opportunity to clearly articulate the future we must rapidly transition to — that’s one where we significantly reduce our dependence on fossil fuels and show respect and allyship with indigenous peoples.
the power of divestment (and i consider this within the realm of fossil fuel divestment) is the symbolism. it has a real impact because it can be perspective shifting for audiences. the power to do that is so important in the era of a climate crisis, because the shift we have to make is tranformative.
i think we need to explore many approaches to tackling the climate crisis, and i don’t think these options are mutually exclusive. i love so many of the ideas that have been coming through this blog. i also think we loose an opportunity if we discount this tactic. divestment in it’s different forms has made critical gains in both the conversation around climate, the economics of it: exposing the true cost and risk of the energy system on which we currently rely, and pushing forward the next energy economy.
i’d love to see, right now, the museums that can cut all types with oil sponsorship. but as katie says, some heritage organisations would have a much tougher time with that, because it funds quite a lot. it’s easier said than done to go ‘we don’t want to associate with this anymore, but not doing so means losing 50% of our budget’. but for museums that can, i think it should be a main priority. that’s a message to oil companies right there. it’s also a message to governments that museums need other funding sources that are ethical. but if everyone continues to rely on oil sponsorship, nothing will change.


text: After the release, he went on tour in Europe with Kid Ink and members of Batgang to promote their August 2014 release, Batgang: 4B’s. When he returned, he started spending more time in the studio working on his latest project, Nasty Dealer. The 18-track mixtape is a tour de force of trap-heavy beats and gangsta rap lyrics that pair well with the artist’s scratchy, strung-out voice, which is reminiscent of Young Thug and Rich Homie Quan. With production from big names like Metro Boomin and Brodinksi, the mixtape includes verses from Bricc Baby’s usual suspects (Casey Veggies, Young Thug and Kid Ink) as well as the Bay Area’s Lil Debbie.

lowercased: after the release, he went on tour in europe with kid ink and members of batgang to promote their august 2014 release, batgang: 4b’s. when he returned, he started spending more time in the studio working on his latest project, nasty dealer. the 18-track mixtape is a tour de force of trap-heavy beats and gangsta rap lyrics that pair well with the artist’s scratchy, strung-out voice, which is reminiscent of young thug and rich homie quan. with production from big names like metro boomin and brodinksi, the mixtape includes verses from bricc baby’s usual suspects (casey veggies, young thug and kid ink) as well as the bay area’s lil debbie.


text:
Liven up your wardrobe with this stunning pink tie. The pink is accented by a fine cross pattern, giving it a simple and sophisticated texture. This tie is made from 100% silk.
We suggest pairing this tie with a check patterned dress shirt, well tailored navy suit and tan oxford wingtips. This tie is sure to add flair, color and style to any ensemble.

lowercased:
liven up your wardrobe with this stunning pink tie. the pink is accented by a fine cross pattern, giving it a simple and sophisticated texture. this tie is made from 100% silk.
we suggest pairing this tie with a check patterned dress shirt, well tailored navy suit and tan oxford wingtips. this tie is sure to add flair, color and style to any ensemble.


text:
This week at nursery we have loved the outdoors! We noticed that loads of birds were flying over our nursery, we were very intrigued to find out more asking lots of questions about what birds they were, where they came from, where they live and what they eat! After our discussion we decided it would be a kind thing to make the birds some food and place it in our bird feeder. We threaded some cereal onto pipe cleaners and attached them onto our feeder, we were very excited to come in the next day and see if any birds had eaten any of them!
We also went on an Easter egg hunt! Easter bunny came to visit us and told us that there were lots of eggs hidden around our field so we went on a hunt! We were all so excited and found lots of eggs we shared them out and then exchange them for a real chocolate egg!!
We also had a bounce on the bouncy castle!! It was so much fun!! We took our turns well and had a blast bouncing with our friends and teachers too!

lowercased:
this week at nursery we have loved the outdoors! we noticed that loads of birds were flying over our nursery, we were very intrigued to find out more asking lots of questions about what birds they were, where they came from, where they live and what they eat! after our discussion we decided it would be a kind thing to make the birds some food and place it in our bird feeder. we threaded some cereal onto pipe cleaners and attached them onto our feeder, we were very excited to come in the next day and see if any birds had eaten any of them!
we also went on an easter egg hunt! easter bunny came to visit us and told us that there were lots of eggs hidden around our field so we went on a hunt! we were all so excited and found lots of eggs we shared them out and then exchange them for a real chocolate egg!!
we also had a bounce on the bouncy castle!! it was so much fun!! we took our turns well and had a blast bouncing with our friends and teachers too!


text:
We just found a new kind of immunity.
A class of self-reactive immune cells long considered useless or even dangerous to our health, could actually be a kind of secret weapon – lying in wait inside our bodies to fight off dangerous infections.
Using mice, researchers in Australia have discovered that so-called ‘silenced’ B cells – lymphocytes that are seemingly dormant, but which when activated can harm our own bodies in autoimmune conditions – can be ‘redeemed’ to attack harmful microbes our immune systems otherwise struggle to fight off.
“The big question about these cells has been why they are there at all, and in such large numbers,” explains immunogenomics researcher Chris Goodnow from the Garvan Institute of Medical Research.
It now looks like we have an answer. Goodnow, who 30 years ago helped discover these silenced, self-reactive B cells, says the genetic machinery that makes the cells produce antibodies to attack our body’s own tissues can be adapted to instead combat foreign infections.
What’s so exciting here is that the adaptation essentially represents a new kind of immunity we never knew about.
This finding could pave the way to discovering new vaccines to fight infections like HIV and campylobacter, which hide from our immune systems by effectively mimicking our own biological material.
“This completely changes everyone’s thinking about how the immune system works – and it solves this problem of telling the difference between invaders and self,” Goodnow told The Australian Financial Review.
The findings, which so far have been demonstrated in a mouse model, show how DNA mutations of antibody genes in germinal centres – where B cells activate during immune response – reprogram these self-reactive antibodies, making them stop binding to mouse tissue, and increasing their binding capacity to foreign invaders by up to 5,000 times.
“We’ve shown that these silenced cells do have a crucial purpose,” says first author of the study, Deborah Burnett, in a press release.
Now that we know about how this hypermutation in the germinal centre can take place, the researchers are hopeful it could one day lead to new kinds of treatments for dangerous human infections, which are able to evade and elude our bodies’ conventional immune responses.
“The idea that self-reactive cells can contribute to immunity through germinal centre redemption may be particularly important in responses to pathogens that cloak themselves in host antigens to avoid immunity,” explain immunologists Ervin E. Kara and Michel C. Nussenzweig from The Rockefeller University, in a commentary on the findings.
It’s a remarkable turnaround for a class of immune cells long mistaken for dangerous junk – and one which shows there’s still so much we have to learn about what the immune system can do for us, and how its less than perfectly obvious mechanisms might be leveraged to do us good.

lowercased:
we just found a new kind of immunity.
a class of self-reactive immune cells long considered useless or even dangerous to our health, could actually be a kind of secret weapon – lying in wait inside our bodies to fight off dangerous infections.
using mice, researchers in australia have discovered that so-called ‘silenced’ b cells – lymphocytes that are seemingly dormant, but which when activated can harm our own bodies in autoimmune conditions – can be ‘redeemed’ to attack harmful microbes our immune systems otherwise struggle to fight off.
“the big question about these cells has been why they are there at all, and in such large numbers,” explains immunogenomics researcher chris goodnow from the garvan institute of medical research.
it now looks like we have an answer. goodnow, who 30 years ago helped discover these silenced, self-reactive b cells, says the genetic machinery that makes the cells produce antibodies to attack our body’s own tissues can be adapted to instead combat foreign infections.
what’s so exciting here is that the adaptation essentially represents a new kind of immunity we never knew about.
this finding could pave the way to discovering new vaccines to fight infections like hiv and campylobacter, which hide from our immune systems by effectively mimicking our own biological material.
“this completely changes everyone’s thinking about how the immune system works – and it solves this problem of telling the difference between invaders and self,” goodnow told the australian financial review.
the findings, which so far have been demonstrated in a mouse model, show how dna mutations of antibody genes in germinal centres – where b cells activate during immune response – reprogram these self-reactive antibodies, making them stop binding to mouse tissue, and increasing their binding capacity to foreign invaders by up to 5,000 times.
“we’ve shown that these silenced cells do have a crucial purpose,” says first author of the study, deborah burnett, in a press release.
now that we know about how this hypermutation in the germinal centre can take place, the researchers are hopeful it could one day lead to new kinds of treatments for dangerous human infections, which are able to evade and elude our bodies’ conventional immune responses.
“the idea that self-reactive cells can contribute to immunity through germinal centre redemption may be particularly important in responses to pathogens that cloak themselves in host antigens to avoid immunity,” explain immunologists ervin e. kara and michel c. nussenzweig from the rockefeller university, in a commentary on the findings.
it’s a remarkable turnaround for a class of immune cells long mistaken for dangerous junk – and one which shows there’s still so much we have to learn about what the immune system can do for us, and how its less than perfectly obvious mechanisms might be leveraged to do us good.


text:
I first read about how to make this block in a book but I then came across this video, Exploding Block, by Jenny Doan from the Missouri Star Quilt Company. It’s fast and fun, however I use a different cutting technique that is easier for me so I thought I’d share. Watch the video first, then you’ll understand the difference.
In the video to begin the block you sew two squares right sides facing, stitching all around the outer edges. After drawing diagonal lines on one of the squares you then pinch it up and cut it with scissors to fold it out for your first “exploding” layer.
Then, I sew my two squares right sides together all around the edges. Doing it this way requires only one short snip to be made before folding out the edges. Less chance to accidentally cut through the front square or cut wonky, longer lines.
For every additional “layer” I add, I cut this same way first, before sewing it face down to my other pieces and folding out. If you decide to make blocks using the “exploding” technique I hope my cutting tip helps you out!
I tried it and it is easy.
But you lose the points!
How cool is that!!!! Gonna try it soon.
Thanks for a super idea.
Vera – if you click on the Exploding Block link in the posting, it provides a full video tutorial on how to make the block; and a whole quilt.
I’m using this technique with an “I Spy” quilt for my grandson. With a bit of starch.
I love your method. Should save time and give a more accurate cut. Thanks so much for sharing.
This is awesome, going to give it a try.
How do you keep your square straight after you add on? I’ve tried twice now, and they both turned out crooked.
Very helpful! Thank you!makes it so much easier and neat!
You loose your points on the tips of the triangles.
This is interesting. Always looking for new ideas and quick blocks and stash busters. Happy Quilting.
Wonderful. I’m sure to try it.
I love when people take an idea and make it better! There are lots of ways to make a quilt block. Good Job! Thanks for sharing.
That’s what I really enjoy about your videos Jenny. They show so many creative ways to make blocks and keep it simple so that all levels of quilters can succeed. Thank you for the inspiration that you provide!
I just love this block! It goes together so quickly and uses up my stash. Well done and thank you for the tip.
A great way to make a block. I thought I was doing something wrong as I wasn’t getting “the points”, I like this one better.
What a great idea! I’m definitely going to try this. Thanks for sharing.
Next time. Thank you for sharing ‘ genius!!
I’m stunned this would even be put forth as a method. It’s mathematically doomed from the start, as evidenced by every single point being obliterated systematically. I can’t believe anyone would advocate such a time-wasting convoluted method to get such consistently poor results. Criminy! Just incredulous here! In order for the square that is cut into quarter-square triangles to actually produce points, it needs to be 1 1/4″ longer on the straight edge than the center square. Double-check any 7th grade geometry book, or pick up Donna Lynn Thomas’ book “Shortcuts, A Concise Guide to Rotary Cutting” and learn some basic math concepts. It’s extraordinarily disheartening to see “professionals” in the industry disseminate bad math and sloppy techniques in the name of speed. Take a little pride in your work; show some respect for the monetary investment as well as the skills of the quilters you are addressing.
To clarify measurements: if the finished center square is 3 inches then it’s cut size would be 3 1/2 inches (using a standard 1/4 inch seam. In order to take another square and cut it into quarter square triangles for use, with the longest edge of the triangle to also be finished at 3 inches, that square would have to be cut 4 1/4″ to accommodate the 5/8″ loss that comes at either long tip when using a 1/4 inch seam. Before you waste time on the bogus method put forth in this article; take the time to cut a 3 1/2″ center square, and to cut 4 quarter-square triangles from a 4 1/4″ square. Mark a quarter inch seam around all pieces and then join and press them. You’ll sew pretty little crisp points with a 1/4 margin all around them sew they can be sewn together without loss of the points.
You need to recheck what she is doing. You are talking about quarter square triangles. That is not what these directions are for.
What a very interesting comment you’ve made. First, this block is NOT intended to have points. So for you to rant about how awful it is to have a block that sews together squares in this manner and does not produce points is very odd. The original designer of this block pattern had no desire for the block to end up with points. It’s a design decision that she made and shared with others. There are lots of other quilt block patterns that end up with nice, crisp points if one wants them. Don’t use this pattern if you don’t like the results but don’t criticize others that are happy with how their quilts turn out using this block pattern. There is no need to clarify measurements because obviously you are trying to make a different block. Did you watch the video link?
To each their own. Any way that a quilter decides to design and make their own quilt blocks is fine with me. It’s called creative expression. I’m not going to censor the sharing of someone else’s ideas or methods because I may not want to do it that way. I’d rather be open to all the possibilities. It’s much more fun that way!
Some people get really tight-arsed, don’t they? This is a great, efficient take on an old block. I love the idea and hope to use it soon with denims. I’m a fan of “seat-of-the-pants” quilting rather than fabric fascism. Go, go, go! And thanks for sharing.
Lighten up. This is a charming quick block, and the lack of points doesn’t bother me.
I agree with your version of cutting the one square before sewing them together. It is too easy to make a mistake and cut through and them ruining the square.
Will have to try this design – looks interesting.
Thanks, could you please tell me what size are the blocks?
The block pictured ended up approx. 13 x 13 which includes the 2 1/2″ strip border. I believe I used a 4″center and another 4″ block for the first “layer”. After that was cut and folded out the block became about 5 1/4″. So I cut the next block to equal 5 1/4″ and after sewing, cutting, and folding out the block equaled about 6 3/4″. I added one more layer and ended with a total of about 8 3/4″ before adding my border.
This is a very good tip. Thank you!
You are welcome! Enjoy playing with this block.
This really helps keep everything from stretching too much with those darn diagonal sides!
Yes it does! And I feel making a block is very fast as well.
Thank you for sharing your great idea!
What do you do about the corners being clipped off?
This block was designed to have blunt points. If you would prefer sharp points you may want to make a Square-in-Square, or Economy Block instead.
I’ve thought about doing that too! Go for it. I think it would be so fun and turn out so cool!
We jUst made this square using 5 colors. Cut as you go.
It is easy and fast, thanks!
Excellent! I bet it looks fantastic!
Wouldn’t doing this mean you will always cut off your corners of the inside square when you sew the next pieces on!?
If I understand the question, that is right. You don’t get “points” on your corners, they are blunted, which is the way this block was designed to be. A standard “square-in-square” block gives you a sharp corner. Like the examples I show on the Economy block comparison post from January, 2014.
I’ve just stumbled across your site (I love google meandering) and this tip you’ve shown is brilliant. I think this will be my next quilt fix!
Hope you enjoy making it. The blocks go together quickly.
I am going to try this blck at the week end thanks for you tip .
You are welcome! Have fun with this block. There is so much you can do with it.
Great idea! I just saw that tutorial and wanted to try it, wasn’t looking forward to the cutting like they did it! This makes it much easier!
I felt the same way. Not steady with the scissors so this makes it much easier and consistent for me.

lowercased:
i first read about how to make this block in a book but i then came across this video, exploding block, by jenny doan from the missouri star quilt company. it’s fast and fun, however i use a different cutting technique that is easier for me so i thought i’d share. watch the video first, then you’ll understand the difference.
in the video to begin the block you sew two squares right sides facing, stitching all around the outer edges. after drawing diagonal lines on one of the squares you then pinch it up and cut it with scissors to fold it out for your first “exploding” layer.
then, i sew my two squares right sides together all around the edges. doing it this way requires only one short snip to be made before folding out the edges. less chance to accidentally cut through the front square or cut wonky, longer lines.
for every additional “layer” i add, i cut this same way first, before sewing it face down to my other pieces and folding out. if you decide to make blocks using the “exploding” technique i hope my cutting tip helps you out!
i tried it and it is easy.
but you lose the points!
how cool is that!!!! gonna try it soon.
thanks for a super idea.
vera – if you click on the exploding block link in the posting, it provides a full video tutorial on how to make the block; and a whole quilt.
i’m using this technique with an “i spy” quilt for my grandson. with a bit of starch.
i love your method. should save time and give a more accurate cut. thanks so much for sharing.
this is awesome, going to give it a try.
how do you keep your square straight after you add on? i’ve tried twice now, and they both turned out crooked.
very helpful! thank you!makes it so much easier and neat!
you loose your points on the tips of the triangles.
this is interesting. always looking for new ideas and quick blocks and stash busters. happy quilting.
wonderful. i’m sure to try it.
i love when people take an idea and make it better! there are lots of ways to make a quilt block. good job! thanks for sharing.
that’s what i really enjoy about your videos jenny. they show so many creative ways to make blocks and keep it simple so that all levels of quilters can succeed. thank you for the inspiration that you provide!
i just love this block! it goes together so quickly and uses up my stash. well done and thank you for the tip.
a great way to make a block. i thought i was doing something wrong as i wasn’t getting “the points”, i like this one better.
what a great idea! i’m definitely going to try this. thanks for sharing.
next time. thank you for sharing ‘ genius!!
i’m stunned this would even be put forth as a method. it’s mathematically doomed from the start, as evidenced by every single point being obliterated systematically. i can’t believe anyone would advocate such a time-wasting convoluted method to get such consistently poor results. criminy! just incredulous here! in order for the square that is cut into quarter-square triangles to actually produce points, it needs to be 1 1/4″ longer on the straight edge than the center square. double-check any 7th grade geometry book, or pick up donna lynn thomas’ book “shortcuts, a concise guide to rotary cutting” and learn some basic math concepts. it’s extraordinarily disheartening to see “professionals” in the industry disseminate bad math and sloppy techniques in the name of speed. take a little pride in your work; show some respect for the monetary investment as well as the skills of the quilters you are addressing.
to clarify measurements: if the finished center square is 3 inches then it’s cut size would be 3 1/2 inches (using a standard 1/4 inch seam. in order to take another square and cut it into quarter square triangles for use, with the longest edge of the triangle to also be finished at 3 inches, that square would have to be cut 4 1/4″ to accommodate the 5/8″ loss that comes at either long tip when using a 1/4 inch seam. before you waste time on the bogus method put forth in this article; take the time to cut a 3 1/2″ center square, and to cut 4 quarter-square triangles from a 4 1/4″ square. mark a quarter inch seam around all pieces and then join and press them. you’ll sew pretty little crisp points with a 1/4 margin all around them sew they can be sewn together without loss of the points.
you need to recheck what she is doing. you are talking about quarter square triangles. that is not what these directions are for.
what a very interesting comment you’ve made. first, this block is not intended to have points. so for you to rant about how awful it is to have a block that sews together squares in this manner and does not produce points is very odd. the original designer of this block pattern had no desire for the block to end up with points. it’s a design decision that she made and shared with others. there are lots of other quilt block patterns that end up with nice, crisp points if one wants them. don’t use this pattern if you don’t like the results but don’t criticize others that are happy with how their quilts turn out using this block pattern. there is no need to clarify measurements because obviously you are trying to make a different block. did you watch the video link?
to each their own. any way that a quilter decides to design and make their own quilt blocks is fine with me. it’s called creative expression. i’m not going to censor the sharing of someone else’s ideas or methods because i may not want to do it that way. i’d rather be open to all the possibilities. it’s much more fun that way!
some people get really tight-arsed, don’t they? this is a great, efficient take on an old block. i love the idea and hope to use it soon with denims. i’m a fan of “seat-of-the-pants” quilting rather than fabric fascism. go, go, go! and thanks for sharing.
lighten up. this is a charming quick block, and the lack of points doesn’t bother me.
i agree with your version of cutting the one square before sewing them together. it is too easy to make a mistake and cut through and them ruining the square.
will have to try this design – looks interesting.
thanks, could you please tell me what size are the blocks?
the block pictured ended up approx. 13 x 13 which includes the 2 1/2″ strip border. i believe i used a 4″center and another 4″ block for the first “layer”. after that was cut and folded out the block became about 5 1/4″. so i cut the next block to equal 5 1/4″ and after sewing, cutting, and folding out the block equaled about 6 3/4″. i added one more layer and ended with a total of about 8 3/4″ before adding my border.
this is a very good tip. thank you!
you are welcome! enjoy playing with this block.
this really helps keep everything from stretching too much with those darn diagonal sides!
yes it does! and i feel making a block is very fast as well.
thank you for sharing your great idea!
what do you do about the corners being clipped off?
this block was designed to have blunt points. if you would prefer sharp points you may want to make a square-in-square, or economy block instead.
i’ve thought about doing that too! go for it. i think it would be so fun and turn out so cool!
we just made this square using 5 colors. cut as you go.
it is easy and fast, thanks!
excellent! i bet it looks fantastic!
wouldn’t doing this mean you will always cut off your corners of the inside square when you sew the next pieces on!?
if i understand the question, that is right. you don’t get “points” on your corners, they are blunted, which is the way this block was designed to be. a standard “square-in-square” block gives you a sharp corner. like the examples i show on the economy block comparison post from january, 2014.
i’ve just stumbled across your site (i love google meandering) and this tip you’ve shown is brilliant. i think this will be my next quilt fix!
hope you enjoy making it. the blocks go together quickly.
i am going to try this blck at the week end thanks for you tip .
you are welcome! have fun with this block. there is so much you can do with it.
great idea! i just saw that tutorial and wanted to try it, wasn’t looking forward to the cutting like they did it! this makes it much easier!
i felt the same way. not steady with the scissors so this makes it much easier and consistent for me.


text: This flag of Burundi is an amazing patch design! You could sew this on polos, shirt sleeves or create a patch to commemorate your visit! Easy Embroidery is happy to present Burundi Flag machine embroidery design which has 9054 stitches and is [63.76 mm x 63.76 mm] large. If you would like to view more embroidery patterns please search on our embroidery designs page.

lowercased: this flag of burundi is an amazing patch design! you could sew this on polos, shirt sleeves or create a patch to commemorate your visit! easy embroidery is happy to present burundi flag machine embroidery design which has 9054 stitches and is [63.76 mm x 63.76 mm] large. if you would like to view more embroidery patterns please search on our embroidery designs page.


text: Great points! Guilt is only helpful if it motivates you to change. Otherwise it's an anchor that drags you down and immobilizes you.

lowercased: great points! guilt is only helpful if it motivates you to change. otherwise it's an anchor that drags you down and immobilizes you.


text:
This could be the only web page dedicated to explaining the meaning of FAE (FAE acronym/abbreviation/slang word).
Ever wondered what FAE means? Or any of the other 9127 slang words, abbreviations and acronyms listed here at Internet Slang? Your resource for web acronyms, web abbreviations and netspeak.
The definition of FAE is "From"
So now you know - FAE means "From" - don't thank us. YW!
What does FAE mean? FAE is an acronym, abbreviation or slang word that is explained above where the FAE definition is given.

lowercased:
this could be the only web page dedicated to explaining the meaning of fae (fae acronym/abbreviation/slang word).
ever wondered what fae means? or any of the other 9127 slang words, abbreviations and acronyms listed here at internet slang? your resource for web acronyms, web abbreviations and netspeak.
the definition of fae is "from"
so now you know - fae means "from" - don't thank us. yw!
what does fae mean? fae is an acronym, abbreviation or slang word that is explained above where the fae definition is given.


text:
A pair of press releases concerning the planned Coast Guard Museum, both notably from Connecticut. First from Senator Chris Murphy.
WASHINGTON – U.S. Senator Chris Murphy (D-Conn.), U.S. Senator John Boozman (R-Ark.), U.S. Representative Joe Courtney (CT-2), and U.S. Senator Richard Blumenthal (D-Conn.) reintroduced on Wednesday the bipartisan United States Coast Guard Commemorative Coin Act, a bill to honor the men and women of the Coast Guard and support the National Coast Guard Museum in New London. The Coast Guard plays a broad and important role in homeland security, law enforcement, search and rescue, marine environmental pollution response, and the maintenance of river, intra-coastal and offshore aids to navigation.
Under the United States Coast Guard Commemorative Coin Act, proceeds from the sale of the Coast Guard Commemorative Coin would be used to support the development and operation of the National Coast Guard Museum via the National Coast Guard Museum Association, a nonprofit association dedicated to improving public understanding of the history, service and missions of the Coast Guard. Once the museum is completed, each branch of the U.S. Armed Forces will finally have a national museum through which to share its history and legacy with the American public.
“Our Coast Guard plays a crucial role in protecting our borders, stopping the flowing of illegal drugs and keeping our shores safe. The men and women who serve in this capacity are called on during times of emergency, natural disasters and foreign conflict. I’m proud to recognize their service and sacrifice with a commemorative coin that will help in the efforts to build a museum that preserves and features the history of the Coast Guard,” Boozman said.
Murphy, Boozman, Courtney, and Blumenthal have been longtime advocates of the U.S. Coast Guard and the National Coast Guard Museum. The Omnibus Appropriations bill released earlier this week includes the first federal funding – $5 million – for the museum. In the Appropriations Committee, Murphy first succeeded in including the provision in the U.S. Department of Homeland Security (DHS) Appropriations Act for Fiscal Year 2017, which passed the committee last May and served as the basis for the DHS portion of the current funding bill. Blumenthal, Courtney, and Murphy successfully eliminated the ban on federal funds within the Coast Guard Authorization Act, which was signed into law last year.
Prior to passage of the Coast Guard Authorization Act of 2016 with the support of the Connecticut delegation, the Coast Guard was prohibited from using federal funding to support the design and construction of the museum. While a national private fundraising campaign was underway to raise the funds necessary to build the museum, the old law limited the ability for the Coast Guard to support efforts to preserve and display artifacts from its 225-year history at the museum. Section 219 of the Coast Guard Authorization Act of 2016 amended the 2004 law to ensure that the Coast Guard can provide funding for “the design, fabrication, and installation of exhibits or displays in which such artifacts are included.
Courtney is a co-chair of the bipartisan House Coast Guard Caucus.
Both of these found thanks to Bryant’s Maritime Consulting Blog.
Thanks for bringing this to our attention…keep me up to date on if this passes, I would certainly consider purchasing one.

lowercased:
a pair of press releases concerning the planned coast guard museum, both notably from connecticut. first from senator chris murphy.
washington – u.s. senator chris murphy (d-conn.), u.s. senator john boozman (r-ark.), u.s. representative joe courtney (ct-2), and u.s. senator richard blumenthal (d-conn.) reintroduced on wednesday the bipartisan united states coast guard commemorative coin act, a bill to honor the men and women of the coast guard and support the national coast guard museum in new london. the coast guard plays a broad and important role in homeland security, law enforcement, search and rescue, marine environmental pollution response, and the maintenance of river, intra-coastal and offshore aids to navigation.
under the united states coast guard commemorative coin act, proceeds from the sale of the coast guard commemorative coin would be used to support the development and operation of the national coast guard museum via the national coast guard museum association, a nonprofit association dedicated to improving public understanding of the history, service and missions of the coast guard. once the museum is completed, each branch of the u.s. armed forces will finally have a national museum through which to share its history and legacy with the american public.
“our coast guard plays a crucial role in protecting our borders, stopping the flowing of illegal drugs and keeping our shores safe. the men and women who serve in this capacity are called on during times of emergency, natural disasters and foreign conflict. i’m proud to recognize their service and sacrifice with a commemorative coin that will help in the efforts to build a museum that preserves and features the history of the coast guard,” boozman said.
murphy, boozman, courtney, and blumenthal have been longtime advocates of the u.s. coast guard and the national coast guard museum. the omnibus appropriations bill released earlier this week includes the first federal funding – $5 million – for the museum. in the appropriations committee, murphy first succeeded in including the provision in the u.s. department of homeland security (dhs) appropriations act for fiscal year 2017, which passed the committee last may and served as the basis for the dhs portion of the current funding bill. blumenthal, courtney, and murphy successfully eliminated the ban on federal funds within the coast guard authorization act, which was signed into law last year.
prior to passage of the coast guard authorization act of 2016 with the support of the connecticut delegation, the coast guard was prohibited from using federal funding to support the design and construction of the museum. while a national private fundraising campaign was underway to raise the funds necessary to build the museum, the old law limited the ability for the coast guard to support efforts to preserve and display artifacts from its 225-year history at the museum. section 219 of the coast guard authorization act of 2016 amended the 2004 law to ensure that the coast guard can provide funding for “the design, fabrication, and installation of exhibits or displays in which such artifacts are included.
courtney is a co-chair of the bipartisan house coast guard caucus.
both of these found thanks to bryant’s maritime consulting blog.
thanks for bringing this to our attention…keep me up to date on if this passes, i would certainly consider purchasing one.


text:
1 What is jessica lange plastic surgery aimed at?
2 Are traces left after jessica lange plastic surgery?
Who would not want to be even more beautiful? Who can fix in himself what he does not like? Each person has a different understanding of beauty and attitude towards themselves will change in a negative direction if you do not like yourself. And if you do not love yourself, then confidence disappears. Internal contradictions will eat you up from the inside, creating a vacuum over time. There will be problems in personal affairs, because you will not trust your partner due to self-doubt. Every morning in front of a mirror, your mood will deteriorate. Humanity has solved this problem. The creation of jessica lange plastic surgery in medicine made it possible for everyone to change.
What is jessica lange plastic surgery aimed at?
From the very beginning, it was used to correct functional disorders. It happened that people were injured, after which it was scary to go out. Their psychological state was at the lowest level. Thanks to medicine, which has taken such a risky step to change the appearance. How many lives were saved thanks to a jessica lange plastic surgery procedure. How many people have found a new opportunity for self-realization. Subsequently, this procedure began to be used for cosmetic purposes. As already noted, many people are dissatisfied with their appearance and they turned to plastic surgery in order to become happier. Become more attractive. After all, everyone deserves a new chance in his life. Acquire the ability to change what was lost by nature. The jessica lange plastic surgery do not just change you, they create something new in you that you did not have enough to soothe your soul.
Are traces left after jessica lange plastic surgery?

lowercased:
1 what is jessica lange plastic surgery aimed at?
2 are traces left after jessica lange plastic surgery?
who would not want to be even more beautiful? who can fix in himself what he does not like? each person has a different understanding of beauty and attitude towards themselves will change in a negative direction if you do not like yourself. and if you do not love yourself, then confidence disappears. internal contradictions will eat you up from the inside, creating a vacuum over time. there will be problems in personal affairs, because you will not trust your partner due to self-doubt. every morning in front of a mirror, your mood will deteriorate. humanity has solved this problem. the creation of jessica lange plastic surgery in medicine made it possible for everyone to change.
what is jessica lange plastic surgery aimed at?
from the very beginning, it was used to correct functional disorders. it happened that people were injured, after which it was scary to go out. their psychological state was at the lowest level. thanks to medicine, which has taken such a risky step to change the appearance. how many lives were saved thanks to a jessica lange plastic surgery procedure. how many people have found a new opportunity for self-realization. subsequently, this procedure began to be used for cosmetic purposes. as already noted, many people are dissatisfied with their appearance and they turned to plastic surgery in order to become happier. become more attractive. after all, everyone deserves a new chance in his life. acquire the ability to change what was lost by nature. the jessica lange plastic surgery do not just change you, they create something new in you that you did not have enough to soothe your soul.
are traces left after jessica lange plastic surgery?


text:
7 Steam Gunboats of the SGB class. 1 of them was lost.
See all Steam Gunboat classes.

lowercased:
7 steam gunboats of the sgb class. 1 of them was lost.
see all steam gunboat classes.


text:
From outer space, our planet looks like a giant blue marble. But it is a marble that is also washed in green.
From the forest floor to the canopy, and from the tropics to the Taiga, this film celebrates the marvelous ecosystems that make up the world’s great forests. They moderate our climates, sequester our carbon, and recharge our atmosphere. They envelope the Earth, and we should be so grateful that they do.

lowercased:
from outer space, our planet looks like a giant blue marble. but it is a marble that is also washed in green.
from the forest floor to the canopy, and from the tropics to the taiga, this film celebrates the marvelous ecosystems that make up the world’s great forests. they moderate our climates, sequester our carbon, and recharge our atmosphere. they envelope the earth, and we should be so grateful that they do.


text:
LenMus Phonascus is a program for studying music theory that allows you to focus on specific skills and exercises, on both theory and aural training.
TuxGuitar is a free guitar tabulature editor and player, similar to the proprietary Guitar Pro. It can open GuitarPro, PowerTab and TablEdit files.
After over four years of development and a lot of work from over 400 contributors, MuseScore 2.0 is finally available! You can download it from musescore.org.
Fans of MuseScore will be happy to know that version 2.0 is getting closer. A date for the release candidate has now been set for March.
Full details about the release schedule can be found at the MuseScore forum.
You'll also find a useful rundown of the features in the up and coming 2.0 release on this blog post.
Denemo is a music notation program that lets you rapidly enter notation which it typesets using the LilyPond music engraver. Music can be typed in at the PC-Keyboard, or played in via MIDI controller, or input acoustically into a microphone.
LilyPond processes human-readable text files that can be edited in any text editor. These files contain all the information about the content of the score, which LilyPond compiles taking care of every detail to create a beautiful score. It also allows the user to change the layout of the score by adding human-readable layout information to the same text file.
MuseScore is a powerful music notation editor for the creation, editing and printing of various types of musical scores.
Some features include WYSIWYG creation and editing, support for unlimited staves, unlimited score length, up to four independent voices per staff, percussion notation, a plug-in architecture, and excellent looking notation.

lowercased:
lenmus phonascus is a program for studying music theory that allows you to focus on specific skills and exercises, on both theory and aural training.
tuxguitar is a free guitar tabulature editor and player, similar to the proprietary guitar pro. it can open guitarpro, powertab and tabledit files.
after over four years of development and a lot of work from over 400 contributors, musescore 2.0 is finally available! you can download it from musescore.org.
fans of musescore will be happy to know that version 2.0 is getting closer. a date for the release candidate has now been set for march.
full details about the release schedule can be found at the musescore forum.
you'll also find a useful rundown of the features in the up and coming 2.0 release on this blog post.
denemo is a music notation program that lets you rapidly enter notation which it typesets using the lilypond music engraver. music can be typed in at the pc-keyboard, or played in via midi controller, or input acoustically into a microphone.
lilypond processes human-readable text files that can be edited in any text editor. these files contain all the information about the content of the score, which lilypond compiles taking care of every detail to create a beautiful score. it also allows the user to change the layout of the score by adding human-readable layout information to the same text file.
musescore is a powerful music notation editor for the creation, editing and printing of various types of musical scores.
some features include wysiwyg creation and editing, support for unlimited staves, unlimited score length, up to four independent voices per staff, percussion notation, a plug-in architecture, and excellent looking notation.


text:
So, is it Star Wars Black, or Star Wars Blecch? Series 2 of the 6-inchers is confirmed to have Han Solo (finally), Slave Leia (A good thing, or exploitation of women?), Boba Fett (just not the exclusive), and Greedo (A good thing, or exploitation of Rodians?). So, now we know for sure that Fett isn’t just a con exclusive, and we are indeed getting our Han Solo!
Meanwhile, the 3 3/4″ Black series (essentially what used to be regular 3 3/4″ figures) is going to include a character who people have been clamoring for: Mara Freaking Jade! You know, Luke Skywalker’s wife who is a hot redhead, the super-secret second-in-command to the Emperor, an ultra-powerful Jedi, and totally not a Mary Sue.
Ridureyu is an editor and college professor who has been collecting toys since he got that first pack of MUSCLEs on his fourth birthday. He founded (but does not currently own) littlerubberguys.com, is a regular contributor at nerditis.com, has written for Michael Crawford and actionfigurefury.com, and can be found uploading random junk to his Flickr account almost every day.
Are those MU-style hips on Solo? Also not crazy about the head sculpt.
I really liked the head sculpting Han, but that 3.75" line is very meh.
Not a great head sculpt….but the same can be said for nearly every Hasbro Star Wars figure.

lowercased:
so, is it star wars black, or star wars blecch? series 2 of the 6-inchers is confirmed to have han solo (finally), slave leia (a good thing, or exploitation of women?), boba fett (just not the exclusive), and greedo (a good thing, or exploitation of rodians?). so, now we know for sure that fett isn’t just a con exclusive, and we are indeed getting our han solo!
meanwhile, the 3 3/4″ black series (essentially what used to be regular 3 3/4″ figures) is going to include a character who people have been clamoring for: mara freaking jade! you know, luke skywalker’s wife who is a hot redhead, the super-secret second-in-command to the emperor, an ultra-powerful jedi, and totally not a mary sue.
ridureyu is an editor and college professor who has been collecting toys since he got that first pack of muscles on his fourth birthday. he founded (but does not currently own) littlerubberguys.com, is a regular contributor at nerditis.com, has written for michael crawford and actionfigurefury.com, and can be found uploading random junk to his flickr account almost every day.
are those mu-style hips on solo? also not crazy about the head sculpt.
i really liked the head sculpting han, but that 3.75" line is very meh.
not a great head sculpt….but the same can be said for nearly every hasbro star wars figure.