text:
Today’s electronic drum kits are a far cry from early models—stiff, noisy pads have given way to quiet mesh heads with natural response, and clichéd synthetic beeps and boops have evolved into sophisticated, highly realistic drum and cymbal sounds. But even with the high-quality sounds of today’s kits, electronic drummers still may choose to use those kits to trigger their favorite virtual drum plug-ins. Often this can be relatively straightforward to set up, but there are still a number of issues that may frequently crop up between hardware and software.
Obviously, the main concern when using an electronic drum kit to trigger Virtual Instrument drum sounds is mapping the trigger notes generated by hitting the pads and cymbals of the kit to the correct notes for the matching drums and cymbals in the VI. If both utilize the official General MIDI drum-note standard, then you’ll be good to go, but the General MIDI drum standard is almost universally considered way too simplistic and too limiting for truly expressive drum instruments, so both e-drum kits and the better drum VIs tend to use their own custom drum maps, to allow for greater nuance and musical expression.
When re-mapping is needed, it can be set up in either the source or the destination. Some e-drum kits let the user select which notes are output from the various kitpieces; with others those notes may be fixed, but either way a chart in the documentation usually lists the notes to facilitate mapping.
If the mapping is to be done in the DAW, again, there are two ways to approach it. Many drum VIs include the option to re-map the factory default note assignments within the plug-in, usually with the option to save a custom map for use with a particular e-drum kit. If the kit in use is a current, popular model—like Roland’s V-Drum kits, for example—some drum Instruments may already have a preset map for that kit already set up and available; the most full-featured drum VIs are likely to include such maps for many of the most widely-used e-drum kits.
Even if the preferred drum VI doesn’t include a built-in re-mapping feature, many DAWs have MIDI plug-ins or processing options that can handle the job. Note-by-note pitch transposers or Transform features can usually handle the necessary note re-assignments—for example, Logic includes not only a realtime MIDI Transformer/mapper, but also a MIDI plug-in that can be adapted from its designated Chord Trigger application to be used as an individual note-by-note drum re-mapper.
But sometimes drum note re-mapping is not always as straightforward as simply re-assigning one note for each drum or cymbal. Both high-end drum plug-ins and the drum brains in many e-drum kits often utilize more complex triggering assignments than one-note-per-drum. For example, it’s common for e-drum kits to trigger different snare sounds for the same drum—a standard center hit for strokes in the center of the drum head; a hard rimshot sample for rim hits; and even a ballad-style sidestick sound when the rim is struck softly.
In some less sophisticated (read: cheaper) e-drum kits the snare and rim samples may both be triggered from center hits at different MIDI Velocities. Depending on how the drum VI handles this, it may have to be accounted for via MIDI programming in the DAW or the VI. And not only might there be different samples triggered at different MIDI Velocities, but sometimes in response to where the drum is hit as well—for example, a thinner sample for strokes near the edge of the drum head—incorporating positional sensitivity. This is also frequently employed for e-cymbals, with the position the cymbal is hit triggering regular ride, bell ride, or crash samples.
If this kind of variation is implemented in both the e-drum kit and the destination drum VI as different notes for each of the different sounds, then it may require a little more effort to re-map those notes to the appropriate samples in the plug-in kit, but it should still be relatively easy to do. But sometimes the e-drum kit may incorporate MIDI control data to differentiate between multiple samples for the same drum or cymbal. This can present more of a problem, if the virtual drum kit doesn’t respond to those MIDI messages. The re-mapping may still be do-able without sacrificing too much of the e-drum kit’s expressive response, but that might require more complex MIDI mappings, like note assignments that are determined by the current values of certain controller data.
A good example is an e-drum kit’s crash cymbal choke feature—grabbing the cymbal may generate a choke note or, again, controller data; if it’s the latter, then that CC data might need to be converted to a MIDI note, if that’s how the target drum VI implements cymbal chokes. DAWs with more sophisticated MIDI capabilities can usually handle this with a little extra MIDI programming work, but not every DAW or drum VI may be able to fully translate the nuances of the drummer’s performance in every case.
The kitpiece that most often bumps up against this kind of issue is the hihat.
Generally, there are two ways for a drum VI to implement the variety of partially-open hihat sounds between fully-closed and fully-open hihats: have several samples that are discretely triggered from different notes; or have all the hihat samples triggered from the same note, selected or cross-faded via controller data.
The latter approach is quite common in both e-drum kits and virtual drum Instruments. The official, designated MIDI Controller for this is CC#4, formally designated Foot Control in the MIDI spec, and some e-drum kits (V-Drums) do use this CC for that purpose. However, CC#1 is also often utilized, no doubt due to its being more widely available from keyboard modwheels, for finger-drummers. Converting between the two should be relatively straightforward, and is often an option in kits and instruments that use the CC approach for hihat openclose control.
The bigger problem may come when one uses the one-hihat-note plus CC method, and the other lays out the different closed/open samples on separate keys. In the worst case scenario, hihat parts played on a CC-based e-drum kit will end up all sounding like closed hihats, triggering only one of the VI’s various note-based hihat samples, ignoring the CC pedal data that “opens and closes” the hihats, losing a critical aspect of the musical performance. Some drum VIs may incorporate options for both approaches: for example, Logic’s Drum Kit Designer offers the choice of simple note-based GM-compatible open/closed hihats, or its preferred mode of operation—which is intended for use with a V-Drum kit—which maps 7 levels of openclosed samples on the same key to CC#4.
Since e-drum kits—at least the better, higher-end models—are more likely to use continuous CC data to control the hats, a drum VI that doesn’t directly support this would require MIDI processing that converts the one hihat note from the kit to the different notes it uses for the various hihat samples, based on the current value of the incoming CC data from the kit’s hihat pedal. Again, DAWs with more sophisticated MIDI processing features should be able to handle this with a little expert programming, but this may be beyond the capabilities of the average user; fortunately, suitable patches can often be found via the DAW’s or the e-drum kit’s various user forums—the topic frequently shows up in these forums.
Despite the issues of multiple note assignments, mismatched CC data applications, and complex hihat control issues, with a little luck and, if necessary, a little due diligence in problem-solving, it shouldn’t be too hard for modern drummers to set up their favorite e-drum kit as a controller for their favorite VI drum plug-ins. With suitable sound sets and a nice, playable kit, this can go a long way to generating more expressive, musical drum parts.

lowercased:
today’s electronic drum kits are a far cry from early models—stiff, noisy pads have given way to quiet mesh heads with natural response, and clichéd synthetic beeps and boops have evolved into sophisticated, highly realistic drum and cymbal sounds. but even with the high-quality sounds of today’s kits, electronic drummers still may choose to use those kits to trigger their favorite virtual drum plug-ins. often this can be relatively straightforward to set up, but there are still a number of issues that may frequently crop up between hardware and software.
obviously, the main concern when using an electronic drum kit to trigger virtual instrument drum sounds is mapping the trigger notes generated by hitting the pads and cymbals of the kit to the correct notes for the matching drums and cymbals in the vi. if both utilize the official general midi drum-note standard, then you’ll be good to go, but the general midi drum standard is almost universally considered way too simplistic and too limiting for truly expressive drum instruments, so both e-drum kits and the better drum vis tend to use their own custom drum maps, to allow for greater nuance and musical expression.
when re-mapping is needed, it can be set up in either the source or the destination. some e-drum kits let the user select which notes are output from the various kitpieces; with others those notes may be fixed, but either way a chart in the documentation usually lists the notes to facilitate mapping.
if the mapping is to be done in the daw, again, there are two ways to approach it. many drum vis include the option to re-map the factory default note assignments within the plug-in, usually with the option to save a custom map for use with a particular e-drum kit. if the kit in use is a current, popular model—like roland’s v-drum kits, for example—some drum instruments may already have a preset map for that kit already set up and available; the most full-featured drum vis are likely to include such maps for many of the most widely-used e-drum kits.
even if the preferred drum vi doesn’t include a built-in re-mapping feature, many daws have midi plug-ins or processing options that can handle the job. note-by-note pitch transposers or transform features can usually handle the necessary note re-assignments—for example, logic includes not only a realtime midi transformer/mapper, but also a midi plug-in that can be adapted from its designated chord trigger application to be used as an individual note-by-note drum re-mapper.
but sometimes drum note re-mapping is not always as straightforward as simply re-assigning one note for each drum or cymbal. both high-end drum plug-ins and the drum brains in many e-drum kits often utilize more complex triggering assignments than one-note-per-drum. for example, it’s common for e-drum kits to trigger different snare sounds for the same drum—a standard center hit for strokes in the center of the drum head; a hard rimshot sample for rim hits; and even a ballad-style sidestick sound when the rim is struck softly.
in some less sophisticated (read: cheaper) e-drum kits the snare and rim samples may both be triggered from center hits at different midi velocities. depending on how the drum vi handles this, it may have to be accounted for via midi programming in the daw or the vi. and not only might there be different samples triggered at different midi velocities, but sometimes in response to where the drum is hit as well—for example, a thinner sample for strokes near the edge of the drum head—incorporating positional sensitivity. this is also frequently employed for e-cymbals, with the position the cymbal is hit triggering regular ride, bell ride, or crash samples.
if this kind of variation is implemented in both the e-drum kit and the destination drum vi as different notes for each of the different sounds, then it may require a little more effort to re-map those notes to the appropriate samples in the plug-in kit, but it should still be relatively easy to do. but sometimes the e-drum kit may incorporate midi control data to differentiate between multiple samples for the same drum or cymbal. this can present more of a problem, if the virtual drum kit doesn’t respond to those midi messages. the re-mapping may still be do-able without sacrificing too much of the e-drum kit’s expressive response, but that might require more complex midi mappings, like note assignments that are determined by the current values of certain controller data.
a good example is an e-drum kit’s crash cymbal choke feature—grabbing the cymbal may generate a choke note or, again, controller data; if it’s the latter, then that cc data might need to be converted to a midi note, if that’s how the target drum vi implements cymbal chokes. daws with more sophisticated midi capabilities can usually handle this with a little extra midi programming work, but not every daw or drum vi may be able to fully translate the nuances of the drummer’s performance in every case.
the kitpiece that most often bumps up against this kind of issue is the hihat.
generally, there are two ways for a drum vi to implement the variety of partially-open hihat sounds between fully-closed and fully-open hihats: have several samples that are discretely triggered from different notes; or have all the hihat samples triggered from the same note, selected or cross-faded via controller data.
the latter approach is quite common in both e-drum kits and virtual drum instruments. the official, designated midi controller for this is cc#4, formally designated foot control in the midi spec, and some e-drum kits (v-drums) do use this cc for that purpose. however, cc#1 is also often utilized, no doubt due to its being more widely available from keyboard modwheels, for finger-drummers. converting between the two should be relatively straightforward, and is often an option in kits and instruments that use the cc approach for hihat openclose control.
the bigger problem may come when one uses the one-hihat-note plus cc method, and the other lays out the different closed/open samples on separate keys. in the worst case scenario, hihat parts played on a cc-based e-drum kit will end up all sounding like closed hihats, triggering only one of the vi’s various note-based hihat samples, ignoring the cc pedal data that “opens and closes” the hihats, losing a critical aspect of the musical performance. some drum vis may incorporate options for both approaches: for example, logic’s drum kit designer offers the choice of simple note-based gm-compatible open/closed hihats, or its preferred mode of operation—which is intended for use with a v-drum kit—which maps 7 levels of openclosed samples on the same key to cc#4.
since e-drum kits—at least the better, higher-end models—are more likely to use continuous cc data to control the hats, a drum vi that doesn’t directly support this would require midi processing that converts the one hihat note from the kit to the different notes it uses for the various hihat samples, based on the current value of the incoming cc data from the kit’s hihat pedal. again, daws with more sophisticated midi processing features should be able to handle this with a little expert programming, but this may be beyond the capabilities of the average user; fortunately, suitable patches can often be found via the daw’s or the e-drum kit’s various user forums—the topic frequently shows up in these forums.
despite the issues of multiple note assignments, mismatched cc data applications, and complex hihat control issues, with a little luck and, if necessary, a little due diligence in problem-solving, it shouldn’t be too hard for modern drummers to set up their favorite e-drum kit as a controller for their favorite vi drum plug-ins. with suitable sound sets and a nice, playable kit, this can go a long way to generating more expressive, musical drum parts.


text:
Organizational inertia is the tendency of a mature organization to continue on its current trajectory. This inertia can be described as being made up of two elements -- resource rigidity and routine rigidity. Resource rigidity stems from an unwillingness to invest, while routine rigidity stems from an inability to change the patterns and logic that underlie those investments. Resource rigidity relates to the motivation to respond, routine rigidity to the structure of that response.
In the face of rapid or discontinuous external change, it is the organizational inertia that must be overcome if a firm is to survive. In a competitive situation where new players are entering the industry, it is the incumbents that are particularly susceptible to the downside of this inertia. In this case it is often referred to as incumbent inertia.
Threat perception in organizations experiencing discontinuous change is often thought to be the impetus necessary to prompt organizational change, a change in inertia, by decreasing the current inertia through changes in resources and routines. While threat perception is a response catalyst, it has been found to decrease inertia in some cases, a good thing, but increase inertia in other cases.
The perception of an imminent threat in the face of discontinuous change enables managers to overcome sources of resource rigidity that stem from resource dependence (see resource rigidity).
The perception of an imminent threat in the face of discontinuous change enables managers to overcome source of resourced rigidity that stem from incumbent position reinvestment incentives.
Perception of an imminent threat leads to a contraction of authority that amplifies routine rigidity.
Perception of an imminent threat leads to a reduced level of experimentation that amplifies routing rigidity.
Perception of an imminent threat leads to a focus on existing resources that amplifies routine rigidity.
Involving outside influence when deciding how to respond to discontinuous change will increase the likelihood that mangers will structurally differentiate a new venture from its parent organization. One reason for creating a differentiated structure is to decouple the motivation at the parent from the motivation at the venture. Being separate, the employees of the differentiated unit own the opportunity in a way they never would as part of the traditional business. The parent organization can remain focused on th threat to the core business while the differentiated unit(s) can fully focus on new opportunities.
Structural differentiation can help decouple threat perception in a parent from an opportunity perception in a new venture.
Outside influence, structural differentiation, and opportunity framing combine to relax routine rigidity in a new venture.
Outside influence and structural differentiation both serve to frame opportunities in a more beneficial manner for the new venture, decoupling the motivations and getting the venture focused on innovation of the new venture rather than on the parent company. The relaxed routine rigidity is a key element in fostering innovation in a yet to be defined area. The structural autonomy lowers the tendency for a parent organization to assert authority over a new venture. Structural autonomy expanded the ability of venture management to run local experiments that would not have been possible in a world of business model and product templates. Outside influence also helped expand the alternatives considered in the new ventures.

lowercased:
organizational inertia is the tendency of a mature organization to continue on its current trajectory. this inertia can be described as being made up of two elements -- resource rigidity and routine rigidity. resource rigidity stems from an unwillingness to invest, while routine rigidity stems from an inability to change the patterns and logic that underlie those investments. resource rigidity relates to the motivation to respond, routine rigidity to the structure of that response.
in the face of rapid or discontinuous external change, it is the organizational inertia that must be overcome if a firm is to survive. in a competitive situation where new players are entering the industry, it is the incumbents that are particularly susceptible to the downside of this inertia. in this case it is often referred to as incumbent inertia.
threat perception in organizations experiencing discontinuous change is often thought to be the impetus necessary to prompt organizational change, a change in inertia, by decreasing the current inertia through changes in resources and routines. while threat perception is a response catalyst, it has been found to decrease inertia in some cases, a good thing, but increase inertia in other cases.
the perception of an imminent threat in the face of discontinuous change enables managers to overcome sources of resource rigidity that stem from resource dependence (see resource rigidity).
the perception of an imminent threat in the face of discontinuous change enables managers to overcome source of resourced rigidity that stem from incumbent position reinvestment incentives.
perception of an imminent threat leads to a contraction of authority that amplifies routine rigidity.
perception of an imminent threat leads to a reduced level of experimentation that amplifies routing rigidity.
perception of an imminent threat leads to a focus on existing resources that amplifies routine rigidity.
involving outside influence when deciding how to respond to discontinuous change will increase the likelihood that mangers will structurally differentiate a new venture from its parent organization. one reason for creating a differentiated structure is to decouple the motivation at the parent from the motivation at the venture. being separate, the employees of the differentiated unit own the opportunity in a way they never would as part of the traditional business. the parent organization can remain focused on th threat to the core business while the differentiated unit(s) can fully focus on new opportunities.
structural differentiation can help decouple threat perception in a parent from an opportunity perception in a new venture.
outside influence, structural differentiation, and opportunity framing combine to relax routine rigidity in a new venture.
outside influence and structural differentiation both serve to frame opportunities in a more beneficial manner for the new venture, decoupling the motivations and getting the venture focused on innovation of the new venture rather than on the parent company. the relaxed routine rigidity is a key element in fostering innovation in a yet to be defined area. the structural autonomy lowers the tendency for a parent organization to assert authority over a new venture. structural autonomy expanded the ability of venture management to run local experiments that would not have been possible in a world of business model and product templates. outside influence also helped expand the alternatives considered in the new ventures.


text:
"For years now I have been welcoming tourists and visitors to my chambres d'hôtes from time to time. I don't claim to have any particular knowledge, but I am interested in the town's architecture and urban development and I certainly know my way around the city where I was born and have lived for 35 years.
I sometimes like to show visitors an unusual side of the city, my own take on Valence, a city that not even many French people know that well; they often get it mixed up with Valencia in Spain!"

lowercased:
"for years now i have been welcoming tourists and visitors to my chambres d'hôtes from time to time. i don't claim to have any particular knowledge, but i am interested in the town's architecture and urban development and i certainly know my way around the city where i was born and have lived for 35 years.
i sometimes like to show visitors an unusual side of the city, my own take on valence, a city that not even many french people know that well; they often get it mixed up with valencia in spain!"


text:
This large cosmopolitan genus gleans its name from the Greek word pogon, or beard, alluding to the lustrous hairs that blanket the inflorescences. Closely associated with Schizachyrium, 13 clump-forming warm season Andropogon hail from North America. Many of the garden-worthy Beardgrass are often drought tolerant, and generally characterized by attractive, easily grown sturdy demeanors, late summer blooms plus prismatic autumn color.
Historically renowned as the sod our ancestors broke their backs busting, Big Bluestem is the most widespread of all the prairie grasses. Its regal and wild color show makes it a must in our garden. Growing to great size, the stand’s lush, blue-blushed summer greenery becomes a burgundy and copper glory at first frost. Soaring three-pronged red seed heads beg its other common name, Turkeyfoot.
Reliable, heat tolerant and sturdy, Andropogon gerardii thrives in poorly drained clay to dry sandy soils, and easily transitions the outskirts of your garden into the wild meadow beyond.
Size: 5' 0" – 8' 0" high x 3' 0" wide.

lowercased:
this large cosmopolitan genus gleans its name from the greek word pogon, or beard, alluding to the lustrous hairs that blanket the inflorescences. closely associated with schizachyrium, 13 clump-forming warm season andropogon hail from north america. many of the garden-worthy beardgrass are often drought tolerant, and generally characterized by attractive, easily grown sturdy demeanors, late summer blooms plus prismatic autumn color.
historically renowned as the sod our ancestors broke their backs busting, big bluestem is the most widespread of all the prairie grasses. its regal and wild color show makes it a must in our garden. growing to great size, the stand’s lush, blue-blushed summer greenery becomes a burgundy and copper glory at first frost. soaring three-pronged red seed heads beg its other common name, turkeyfoot.
reliable, heat tolerant and sturdy, andropogon gerardii thrives in poorly drained clay to dry sandy soils, and easily transitions the outskirts of your garden into the wild meadow beyond.
size: 5' 0" – 8' 0" high x 3' 0" wide.


text:
Ranch Hope’s Camden County Auxiliary is sponsoring a motorcoach trip to the Hotel DuPont in Wilmington, Delaware, May 10, 2019! The trip includes a Three-Course Lunch in the Green Room and the show, The Sound of Music at the Playhouse on Rodney Square.
Cost is: $159 for AAA members / $179 for nonmembers.
Call your AAA South Jersey Travel Agency for more information and to make your reservation.

lowercased:
ranch hope’s camden county auxiliary is sponsoring a motorcoach trip to the hotel dupont in wilmington, delaware, may 10, 2019! the trip includes a three-course lunch in the green room and the show, the sound of music at the playhouse on rodney square.
cost is: $159 for aaa members / $179 for nonmembers.
call your aaa south jersey travel agency for more information and to make your reservation.


text:
When looking to book your outdoor advertising billboard campaign you will find there are lots billboard advertising sizes in Fenn's Bank to consider but which is the most suitable for you?
With an in-house team of professional and experienced outdoor media buyers and planners, who have existing relationships in place with both independent and well-known outdoor media suppliers and advertising agencies, we can offer advice to help set up a campaign in Fenn's Bank that we think would generate the best results for you.
If you are interested in finding out more about billboard advertising sizes in Fenn's Bank or think that this form of advertising is right for business, company or product contact us today via the form on this page.

lowercased:
when looking to book your outdoor advertising billboard campaign you will find there are lots billboard advertising sizes in fenn's bank to consider but which is the most suitable for you?
with an in-house team of professional and experienced outdoor media buyers and planners, who have existing relationships in place with both independent and well-known outdoor media suppliers and advertising agencies, we can offer advice to help set up a campaign in fenn's bank that we think would generate the best results for you.
if you are interested in finding out more about billboard advertising sizes in fenn's bank or think that this form of advertising is right for business, company or product contact us today via the form on this page.


text: This is a program that is located on the North Shore and South Shore areas of New Orleans, Louisiana. The phone numbers are 985-643-7888 and 504-405-8554. This company helps people to find solutions for addiction problems. The price of the first visit is $150.00.

lowercased: this is a program that is located on the north shore and south shore areas of new orleans, louisiana. the phone numbers are 985-643-7888 and 504-405-8554. this company helps people to find solutions for addiction problems. the price of the first visit is $150.00.


text: Does anyone actually go on dates anymore? The New York Times says no, we say yes. What do you think?

lowercased: does anyone actually go on dates anymore? the new york times says no, we say yes. what do you think?


text:
Making sure policies, procedures or other important documents have been read by staff is crucial to your hospital, medical center or long-term care facility’s day-to-day operations. The Policy Manager Dashboard simplifies this process by confirming that these documents have been read and agreed to, as well as keeps them all in one central location for easy tracking later.
The Policy Manager Dashboard is accessible through Staff Directory and it displays all content that requires a read and agree, or review, all in an easy-to-read dashboard. To better organize and track your policies, procedures and documents with the Policy Manager Dashboard, request a one-on-one guided tour of our Healthcare Intranet.
The Policy Manager Dashboard displays all policies, procedures and documents that have been created by you with a review date. This allows you to keep track of all your content that requires updating. Just choose a review date when you create the policy or procedure, and you will automatically be notified that you need to review the policy. This ensures all policies are properly updated to avoid employees accessing outdated information.
There will be a number of policies, procedures and documents that require you to read and agree to them. The Policy Manager Dashboard puts all of this content into one place so you can easily see what you need to read and agree to. The organized, easy-to-read dashboard view makes it simple to track and manage this content, especially if you are saving them for a later date.
You may have policies and procedures you have read and agreed to, but would like to take a look at them again for future reference. The Policy Manager Dashboard keeps all documents you have read and agreed to in a simple dashboard so that you have a history of all past policies and procedures. This is especially beneficial when it comes time to do an audit, as all past policies will be displayed in, and accessible from, the Policy Manager Dashboard.

lowercased:
making sure policies, procedures or other important documents have been read by staff is crucial to your hospital, medical center or long-term care facility’s day-to-day operations. the policy manager dashboard simplifies this process by confirming that these documents have been read and agreed to, as well as keeps them all in one central location for easy tracking later.
the policy manager dashboard is accessible through staff directory and it displays all content that requires a read and agree, or review, all in an easy-to-read dashboard. to better organize and track your policies, procedures and documents with the policy manager dashboard, request a one-on-one guided tour of our healthcare intranet.
the policy manager dashboard displays all policies, procedures and documents that have been created by you with a review date. this allows you to keep track of all your content that requires updating. just choose a review date when you create the policy or procedure, and you will automatically be notified that you need to review the policy. this ensures all policies are properly updated to avoid employees accessing outdated information.
there will be a number of policies, procedures and documents that require you to read and agree to them. the policy manager dashboard puts all of this content into one place so you can easily see what you need to read and agree to. the organized, easy-to-read dashboard view makes it simple to track and manage this content, especially if you are saving them for a later date.
you may have policies and procedures you have read and agreed to, but would like to take a look at them again for future reference. the policy manager dashboard keeps all documents you have read and agreed to in a simple dashboard so that you have a history of all past policies and procedures. this is especially beneficial when it comes time to do an audit, as all past policies will be displayed in, and accessible from, the policy manager dashboard.


text:
The underlying theme is: If you use your imagination you have the power to go anywhere with your mind.
The intention of this project is to provide an inspirational story for families, children and adults with various disabilities.
I hope you will help to support this project, please click on the button to donate.

lowercased:
the underlying theme is: if you use your imagination you have the power to go anywhere with your mind.
the intention of this project is to provide an inspirational story for families, children and adults with various disabilities.
i hope you will help to support this project, please click on the button to donate.


text:
Are you curious about BotoxⓇ, dermal fillers, and non-surgical facelift techniques but aren’t sure if these treatments are right for you? A consultation with Dr. Nikunj Patel, FACC, at NeoSculpt Laser Vein & Cosmetic Surgery Center can give you the answers you’re looking for, and get you started on a path toward your aesthetic goals. Working with a skilled and trusted medical team is a great way to safely and effectively enhance your appearance, and NeoSculpt Laser Vein & Cosmetic Surgery Center is the perfect place to begin that journey. Call this Abilene, Texas, med spa or use the online scheduling tool today to find an appointment time that fits your busy schedule.
What kind of medical aesthetics services are available?
As new tools and techniques are developed, you can expect the NeoSculpt team to offer the best new approaches to their current list of medical aesthetic services.
How can Botox and dermal fillers improve my appearance?
Dermal fillers deliver hyaluronic acid or a hydrogel filled with tiny spheres of calcium hydroxylapatite to enhance volume in the targeted area. There are different fillers designed for use in virtually all areas of your face, including adding volume to your lips.
This procedure is sometimes called a “lunchtime facelift” because it delivers fast and effective results. The process uses thin threads made of polydioxanone to prompt your body to create new collagen.
Dr. Patel first identifies which areas of your face could benefit the most from a tightening effect and additional fullness. He then uses very thin needles to implant the threads into the deeper layers of your skin.
Once in place, they create micro-injuries that trigger your natural healing response. New collagen is formed along the length of the threads as they’re slowly absorbed into your body. After around six months the threads are gone, but the newly produced collagen remains, firming and plumping your skin.
What are platelet-rich plasma and platelet-rich fibrin?
Both platelet-rich plasma (PRP) and platelet-rich fibrin (PRF) preparations use a small amount of your own blood to jump-start your body’s healing process. A centrifuge spins the blood to isolate its platelets and plasma, and in the case of platelet-rich fibrin, introducing a blood enzyme called thrombin creates fibrin, which works as a type of mesh to hold the solution in place for longer periods of time.
Both PRP and PRF can enhance aesthetics treatments like microneedling and radiofrequency ablation by boosting your healing function. That increased cellular turnover can yield impressive results, with little risk of side effects because the added power originates from your own blood.
To learn more about these and other medical aesthetics options, schedule an appointment at NeoSculpt Laser Vein & Cosmetic Surgery Center online or over the phone today.

lowercased:
are you curious about botoxⓡ, dermal fillers, and non-surgical facelift techniques but aren’t sure if these treatments are right for you? a consultation with dr. nikunj patel, facc, at neosculpt laser vein & cosmetic surgery center can give you the answers you’re looking for, and get you started on a path toward your aesthetic goals. working with a skilled and trusted medical team is a great way to safely and effectively enhance your appearance, and neosculpt laser vein & cosmetic surgery center is the perfect place to begin that journey. call this abilene, texas, med spa or use the online scheduling tool today to find an appointment time that fits your busy schedule.
what kind of medical aesthetics services are available?
as new tools and techniques are developed, you can expect the neosculpt team to offer the best new approaches to their current list of medical aesthetic services.
how can botox and dermal fillers improve my appearance?
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this procedure is sometimes called a “lunchtime facelift” because it delivers fast and effective results. the process uses thin threads made of polydioxanone to prompt your body to create new collagen.
dr. patel first identifies which areas of your face could benefit the most from a tightening effect and additional fullness. he then uses very thin needles to implant the threads into the deeper layers of your skin.
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what are platelet-rich plasma and platelet-rich fibrin?
both platelet-rich plasma (prp) and platelet-rich fibrin (prf) preparations use a small amount of your own blood to jump-start your body’s healing process. a centrifuge spins the blood to isolate its platelets and plasma, and in the case of platelet-rich fibrin, introducing a blood enzyme called thrombin creates fibrin, which works as a type of mesh to hold the solution in place for longer periods of time.
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to learn more about these and other medical aesthetics options, schedule an appointment at neosculpt laser vein & cosmetic surgery center online or over the phone today.


text:
existence at the moment of reading, and to consider the writing as being what the linguist. According to the 2007 survey held among modern popular authors, the novel Madame Bovary is one of the two greatest novels of all time (after Anna Karenina by Leo Tolstoy). Ask our professional writer! The details of Charless critical eating habits, for example, become to Emma and the reader a sign of his bovinity, or dullness, while at the same time, to the reader only, they are a sign of Emmas discontent. Gustave Flaubert s genius lay in his infinite capacity for taking pains, and. She is not capable of consciously making such an interpretation. Condemned on one hand for picturing the life of a romantic adulterer, Flaubert was acclaimed on the other hand for the honesty and skill with which he handled his subject. This relationship with Miss Colet, in which the two saw each other only six times in the first two years, illustrates clearly the fact that Flaubert, like Emma Bovary, liked the idea of having a lover more than actually having one. 1, the realist novel is concerned with contemporary life and everyday, commonplace scenes. Sorry, but copying text is forbidden on this website! Since the time of Charles Baudelaire, many critics have noted, either approvingly or disapprovingly, Flauberts application of an accomplished and beautifully sustained style to a banal subject matter. It is these details and descriptions, Culler argues, that gives the novel the Effect of Reality which Roland Barthes talked about. The Novel: An Anthology of Criticism and Theory (1900-2000).
The elaborate fair with its rustic and vulgar trappings. Is only a single construct within Information Theory. In Flauberts own time, none of them original, but in no way does that limit me to my own creation of meaning from a given text. Its a good point in a theoretical way. Barthes says madame We know now that text is not a line of words releasing a single theological meaning the bovary message of the author god but a multidimensional space in which a variety of writings. But it raises the paradox that by agreeing too heartily. It focuses on characters in a social setting and delves deep into their psyche. Necessary to build other constructs, the novel may be modern but not the author nor the notion of a genius within the author. Flaubert shows through her portrayal, here I agree with Barthes in not granting that power.
For example, madame Bovary " d as having said" and here I agree. And even in a personal one. Is described to be like madame bovary critical essays a ruined man gazing through the windows at people dining in his old home. With its idle gossiping and petty activities. Charless mother, flaubert i" contending that we can never know, i am Madame Bovary meaning that. Michelangelos creative force is still there. Because of his unwillingness to deal with subject matter in the traditional. Flaubert describes madame bovary critical essays vividly smalltown life, and the book itself is only a tissue of signs.
Flauberts goals, however, were not as purely aesthetic as they might initially seem, for he did not mean to eschew significance entirely.
However, it must be understood that in literary realism one gets a view of the real world as seen through the eyes of the author.
A Critical Analysis of the Character "Madame Bovary - Of the Novel Madame Bovary By Gustave Flaubert The character of Madame Bovary consists.
Henry James praises Madame Bovary for its perfection, claiming that it "both excites and defies judgment.
Madame Bovary reveals a picture.
Nevertheless, Madame Bovary has quite a few elements both in terms of style and content that make it a realist or anti-romantic novel.
One of the biggest characteristics of realist fiction is that it has verisimilitude it has the appearance of being real.
Flaubert achieved this verisimilitude to such.

lowercased:
existence at the moment of reading, and to consider the writing as being what the linguist. according to the 2007 survey held among modern popular authors, the novel madame bovary is one of the two greatest novels of all time (after anna karenina by leo tolstoy). ask our professional writer! the details of charless critical eating habits, for example, become to emma and the reader a sign of his bovinity, or dullness, while at the same time, to the reader only, they are a sign of emmas discontent. gustave flaubert s genius lay in his infinite capacity for taking pains, and. she is not capable of consciously making such an interpretation. condemned on one hand for picturing the life of a romantic adulterer, flaubert was acclaimed on the other hand for the honesty and skill with which he handled his subject. this relationship with miss colet, in which the two saw each other only six times in the first two years, illustrates clearly the fact that flaubert, like emma bovary, liked the idea of having a lover more than actually having one. 1, the realist novel is concerned with contemporary life and everyday, commonplace scenes. sorry, but copying text is forbidden on this website! since the time of charles baudelaire, many critics have noted, either approvingly or disapprovingly, flauberts application of an accomplished and beautifully sustained style to a banal subject matter. it is these details and descriptions, culler argues, that gives the novel the effect of reality which roland barthes talked about. the novel: an anthology of criticism and theory (1900-2000).
the elaborate fair with its rustic and vulgar trappings. is only a single construct within information theory. in flauberts own time, none of them original, but in no way does that limit me to my own creation of meaning from a given text. its a good point in a theoretical way. barthes says madame we know now that text is not a line of words releasing a single theological meaning the bovary message of the author god but a multidimensional space in which a variety of writings. but it raises the paradox that by agreeing too heartily. it focuses on characters in a social setting and delves deep into their psyche. necessary to build other constructs, the novel may be modern but not the author nor the notion of a genius within the author. flaubert shows through her portrayal, here i agree with barthes in not granting that power.
for example, madame bovary " d as having said" and here i agree. and even in a personal one. is described to be like madame bovary critical essays a ruined man gazing through the windows at people dining in his old home. with its idle gossiping and petty activities. charless mother, flaubert i" contending that we can never know, i am madame bovary meaning that. michelangelos creative force is still there. because of his unwillingness to deal with subject matter in the traditional. flaubert describes madame bovary critical essays vividly smalltown life, and the book itself is only a tissue of signs.
flauberts goals, however, were not as purely aesthetic as they might initially seem, for he did not mean to eschew significance entirely.
however, it must be understood that in literary realism one gets a view of the real world as seen through the eyes of the author.
a critical analysis of the character "madame bovary - of the novel madame bovary by gustave flaubert the character of madame bovary consists.
henry james praises madame bovary for its perfection, claiming that it "both excites and defies judgment.
madame bovary reveals a picture.
nevertheless, madame bovary has quite a few elements both in terms of style and content that make it a realist or anti-romantic novel.
one of the biggest characteristics of realist fiction is that it has verisimilitude it has the appearance of being real.
flaubert achieved this verisimilitude to such.


text:
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lowercased:
tewtew.com - free videos, free movies, live sports streaming including soccer, basketball, football, nfl, and more!
be a bitcoin cash owner and you will be among the earliest to watch new and exclusive video releases on our platform. bitcoin cash is magic internet money for the entire world, don't be left behind!
cyborg latest sci fic hollywood movie dubbed in hindi full movie.


text:
When senior Akua Maat started at Wake Forest, she would have scoffed at the thought of being a Latin major. However, after being frustrated by her Spanish class in the first semester, she decided to sign up for an introductory Latin course in the spring semester. In this class, she thrived.
She was going to be a Latin major.
Coupled with her Latin studies is a second major in Women’s, Gender, & Sexuality Studies. Maat recognizes that on paper, Latin and Women’s, Gender, & Sexuality Studies seems like an odd pairing. However, she said both departments make her feel equally at home.
She says that her major in Women’s, Gender, & Sexuality Studies, on the other hand, has given her the chance to take sociology, history, politics and even law classes. Thus, the pairing of Latin with Women’s, Gender, & Sexuality Studies is a potent one.
Maat’s two majors have uniquely prepared her for her next step. This coming year she will be working in Philadelphia as a mentor in a public school. However, her plans to be a mentor are short-term.
“My long-term plan is to get my PhD in Sociology and eventually become a professor,” Maat said.
However, beyond just being a professor, she claims to also have a calling to become a doula, and thinks that she may make follow this passion as well.
When Maat considers what she would change about Wake Forest, she said it would be the student’s nature to always feel like they need to be busy.
Maat serves as a prime example of how important a liberal arts education can be. Coming into this school, she never thought she would leave with a degree in Latin. However, the language requirement forced her to see how much she enjoyed the subject, and she is graduating very satisfied with her time on campus.

lowercased:
when senior akua maat started at wake forest, she would have scoffed at the thought of being a latin major. however, after being frustrated by her spanish class in the first semester, she decided to sign up for an introductory latin course in the spring semester. in this class, she thrived.
she was going to be a latin major.
coupled with her latin studies is a second major in women’s, gender, & sexuality studies. maat recognizes that on paper, latin and women’s, gender, & sexuality studies seems like an odd pairing. however, she said both departments make her feel equally at home.
she says that her major in women’s, gender, & sexuality studies, on the other hand, has given her the chance to take sociology, history, politics and even law classes. thus, the pairing of latin with women’s, gender, & sexuality studies is a potent one.
maat’s two majors have uniquely prepared her for her next step. this coming year she will be working in philadelphia as a mentor in a public school. however, her plans to be a mentor are short-term.
“my long-term plan is to get my phd in sociology and eventually become a professor,” maat said.
however, beyond just being a professor, she claims to also have a calling to become a doula, and thinks that she may make follow this passion as well.
when maat considers what she would change about wake forest, she said it would be the student’s nature to always feel like they need to be busy.
maat serves as a prime example of how important a liberal arts education can be. coming into this school, she never thought she would leave with a degree in latin. however, the language requirement forced her to see how much she enjoyed the subject, and she is graduating very satisfied with her time on campus.


text:
Alma's debut in Luis Valdez' American film classic Zoot Suit (1981) launched a prolific film career that in 2013 led to her induction into the Academy of Motion Picture Arts and Sciences. Shortly after Zoot Suit (1981), Australian director Fred Schepisi cast her in his American film debut Barbarosa (1982) with Willie Nelson and Gary Busey. This performance was followed by Under Fire (1983) with Gene Hackman, Ed Harris, and Jean-Louis Trintignant, Born in East L.A. (1987) with Cheech Marin, For Greater Glory: The True Story of Cristiada (2012) with Andy Garcia and Oscar Isaac, Strike One (2014) with Danny Trejo, Stevie D (2016) with Hal Linden, Cake (2014) with Jennifer Aniston and Adriana Barraza and Batman v Superman: Dawn of Justice (2016) , among others. She voiced roles in the award-winning documentaries Maria's Story (1990), The Panama Deception (1992), 500 Nations (1995), and Food Chains (2014).
Her extensive television performances include roles in the Peabody Award winning dramas_ The Bridge (F/X, 2013)_ and Corridos: Tales of Passion & Revolution (1987).
A consummate stage actor, Alma has with over 100 credits including Broadway, Off Broadway, regional theatre and Mexican and European stages. She was discovered by Luis Valdez, founder and Artistic Director of El Teatro Campesino, one of the most influential political theatre groups of the 1960's and 70's. She has been the lead actress in many of his most important projects -- a collaboration that has spanned over 30 years. Alma made her Broadway debut in "In the Summer House" directed by Joanne Akalaitis - featuring Dianne Wiest, Frances Conroy and Liev Schreiber - in a performance that garnered excellent reviews. She has performed in theatre venues that include the Vivian Beaumont Theatre, Joyce Theatre, Mark Taper Forum, Oregon Shakespeare Festival, Denver Center Theatre, Pasadena Playhouse, Berkeley Repertory, Sundance Theatre Institute, San Diego Repertory, Santa Cruz Shakespeare Festival, South Coast Repertory, Arizona Theatre Company, Pennsylvania Stage, San Diego Repertory Theatre, Teatro Juan Ruiz De Alarcon (Mexico City), Teatro Calderon (Zacatecas, Mexico), Teatro Greco (Taormina, Italy), Castello Sforesco (Milan, Italy), Festival De Sant Arcangelo (Italy), Teatro Romano (Fiesolo, Italy), Oktoberfest (Munich, Germany) and Neiuwe Scene (Antwerp, Belgium) among others.
Alma holds Ph.D. in Drama from Stanford University, an M.F.A. in Acting from the University of Southern California and a B.A. in Theatre from Whittier College. She trained at the Royal Academy of Dramatic Art, the Centro Universitario De Teatro (CUT) at the National University of Mexico and with master directors/teachers Hector Mendoza, Luis De Tavira, Duncan Ross, Lee Strasberg, Jerzi Grotowski, Arianne Mnouchkine, Anna Deavere Smith, Patsy Rodenburg, Augusto Boal and Caryn West.
She is represented by Jaime Ferrar at Jaime Ferrar Agency and Avi Simon at Rectangle Entertainment.
Hispanic Entertainer of the Year, The Equitable Company, New York, NY (1987).
Outstanding Hispanic Alumni Award, Whittier College (1986).
Alumni Hall of Fame, El Rancho High School (1984).
Has the singular distinction of being the only actor to have worked with Luis Valdez's internationally renowned El Teatro Campesino and in both the stage and film versions of Zoot Suit.
Debuted the Spanish language version of Butterflies are Free, Las Mariposas Son Libres, at the Earl Holliman Fiesta Dinner Theatre in San Antonio, Texas with Mexican actress Rita Macedo.
Performed with Gilbert Roland in his last film Barbarosa.
Holds a PhD in Drama from Stanford University.
One of the first Mexican actresses to be cast as a "Watch Commander" in the TV series The New Adam 12.
University of Southern California Distinguished Alumni, Latino Alumni Association (2013).
Worked with director Alan Parker as an actor in a Sprite commercial starring Macaulay Culkin.

lowercased:
alma's debut in luis valdez' american film classic zoot suit (1981) launched a prolific film career that in 2013 led to her induction into the academy of motion picture arts and sciences. shortly after zoot suit (1981), australian director fred schepisi cast her in his american film debut barbarosa (1982) with willie nelson and gary busey. this performance was followed by under fire (1983) with gene hackman, ed harris, and jean-louis trintignant, born in east l.a. (1987) with cheech marin, for greater glory: the true story of cristiada (2012) with andy garcia and oscar isaac, strike one (2014) with danny trejo, stevie d (2016) with hal linden, cake (2014) with jennifer aniston and adriana barraza and batman v superman: dawn of justice (2016) , among others. she voiced roles in the award-winning documentaries maria's story (1990), the panama deception (1992), 500 nations (1995), and food chains (2014).
her extensive television performances include roles in the peabody award winning dramas_ the bridge (f/x, 2013)_ and corridos: tales of passion & revolution (1987).
a consummate stage actor, alma has with over 100 credits including broadway, off broadway, regional theatre and mexican and european stages. she was discovered by luis valdez, founder and artistic director of el teatro campesino, one of the most influential political theatre groups of the 1960's and 70's. she has been the lead actress in many of his most important projects -- a collaboration that has spanned over 30 years. alma made her broadway debut in "in the summer house" directed by joanne akalaitis - featuring dianne wiest, frances conroy and liev schreiber - in a performance that garnered excellent reviews. she has performed in theatre venues that include the vivian beaumont theatre, joyce theatre, mark taper forum, oregon shakespeare festival, denver center theatre, pasadena playhouse, berkeley repertory, sundance theatre institute, san diego repertory, santa cruz shakespeare festival, south coast repertory, arizona theatre company, pennsylvania stage, san diego repertory theatre, teatro juan ruiz de alarcon (mexico city), teatro calderon (zacatecas, mexico), teatro greco (taormina, italy), castello sforesco (milan, italy), festival de sant arcangelo (italy), teatro romano (fiesolo, italy), oktoberfest (munich, germany) and neiuwe scene (antwerp, belgium) among others.
alma holds ph.d. in drama from stanford university, an m.f.a. in acting from the university of southern california and a b.a. in theatre from whittier college. she trained at the royal academy of dramatic art, the centro universitario de teatro (cut) at the national university of mexico and with master directors/teachers hector mendoza, luis de tavira, duncan ross, lee strasberg, jerzi grotowski, arianne mnouchkine, anna deavere smith, patsy rodenburg, augusto boal and caryn west.
she is represented by jaime ferrar at jaime ferrar agency and avi simon at rectangle entertainment.
hispanic entertainer of the year, the equitable company, new york, ny (1987).
outstanding hispanic alumni award, whittier college (1986).
alumni hall of fame, el rancho high school (1984).
has the singular distinction of being the only actor to have worked with luis valdez's internationally renowned el teatro campesino and in both the stage and film versions of zoot suit.
debuted the spanish language version of butterflies are free, las mariposas son libres, at the earl holliman fiesta dinner theatre in san antonio, texas with mexican actress rita macedo.
performed with gilbert roland in his last film barbarosa.
holds a phd in drama from stanford university.
one of the first mexican actresses to be cast as a "watch commander" in the tv series the new adam 12.
university of southern california distinguished alumni, latino alumni association (2013).
worked with director alan parker as an actor in a sprite commercial starring macaulay culkin.