text:
Becoming a great blogger is a long-term process: it takes practice and it doesn't happen overnight. But becoming a smart blogger is something anyone can achieve right away, by using the right tools.
You remember your good ideas.
You spend less time working on them.
You use feedback to improve your writing.
Let me walk you through a few tips to achieve smarter blogging.
Whether you are driving or walking to work, commuting is one of the least productive times of the day. I will definitely not suggest that you text and drive or walk and text here, but voice-to-text is a safe option that deserves a try.
Voice-to-text will allow you to record your thoughts and never miss out on good ideas and inspirations, whenever they come up. All that’s left to do is to edit and format your text once you get to your desk. There are many apps that will allow you to record audio notes, like Evernote for iPhone or Android.
Forget about scribbling notes on a notebook or saving files on your computer. What you need is to regroup your ideas in the cloud. Whether you're at home, at the office or on your phone, you’ll always have access to a single version of your work.
Documents in the cloud, like Google Docs, will automatically be saved upon closing. No need to worry about a fancy file name or selecting the right folder -- just create a document and close it when you are running out of time.
This may sound odd, but the most honest feedback you will ever get about your content will come from a computer. Using a tool like Atomic Reach, you can get an instant analysis of your writing. Atomic Reach will analyze the linguistic elements and the structure of your post, as well as how it fits your audience and keywords. It will give you a score and you can tweak your content until you are satisfied with the score. Go ahead and test it, you can try it for free!
The editing step is the most important part of blogging and you should not be left on your own, collaboration is key. Smart bloggers always share a copy of their work with their friends or peers for a review. Sometimes, the most crucial part of a blog post will come from the feedback. Most blogging platforms have built-in options that will facilitate collaboration.
An ongoing cheat sheet of grammar tips for when you're just not quite sure.
Leverage LinkedIn's powerful platform and community with these 6 tips to growing your brand page's following.

lowercased:
becoming a great blogger is a long-term process: it takes practice and it doesn't happen overnight. but becoming a smart blogger is something anyone can achieve right away, by using the right tools.
you remember your good ideas.
you spend less time working on them.
you use feedback to improve your writing.
let me walk you through a few tips to achieve smarter blogging.
whether you are driving or walking to work, commuting is one of the least productive times of the day. i will definitely not suggest that you text and drive or walk and text here, but voice-to-text is a safe option that deserves a try.
voice-to-text will allow you to record your thoughts and never miss out on good ideas and inspirations, whenever they come up. all that’s left to do is to edit and format your text once you get to your desk. there are many apps that will allow you to record audio notes, like evernote for iphone or android.
forget about scribbling notes on a notebook or saving files on your computer. what you need is to regroup your ideas in the cloud. whether you're at home, at the office or on your phone, you’ll always have access to a single version of your work.
documents in the cloud, like google docs, will automatically be saved upon closing. no need to worry about a fancy file name or selecting the right folder -- just create a document and close it when you are running out of time.
this may sound odd, but the most honest feedback you will ever get about your content will come from a computer. using a tool like atomic reach, you can get an instant analysis of your writing. atomic reach will analyze the linguistic elements and the structure of your post, as well as how it fits your audience and keywords. it will give you a score and you can tweak your content until you are satisfied with the score. go ahead and test it, you can try it for free!
the editing step is the most important part of blogging and you should not be left on your own, collaboration is key. smart bloggers always share a copy of their work with their friends or peers for a review. sometimes, the most crucial part of a blog post will come from the feedback. most blogging platforms have built-in options that will facilitate collaboration.
an ongoing cheat sheet of grammar tips for when you're just not quite sure.
leverage linkedin's powerful platform and community with these 6 tips to growing your brand page's following.


text:
Hello all, I'm new to 929's and forums, I've been riding motorcycles for 33 years and for the past 30 have ridden and worked on Harley's, I also used to have my own bike shop, I have been a professional mechanic on automobiles and trucks since 1981 and have a state inspection license from my home state.
I'm purchasing an '01 CBR929RR Erion Racing model that belonged to my best friend who was murdered 10 years ago by his girlfriend, she shot him in the back of his head, I just sold a Buell XB9R to make room in my shop for this one, his family has had the bike for the past 10 years and have kept it maintained in a heated basement and took it out a couple of times every summer just to keep it road worthy, I'm looking for any advice from knowledgeable owners about the finer points of owning and maintaining one, I'm not so interested in performance upgrades, it already has a K&N airfilter and a performance muffler, so much as I'm interested in advice for the longevity of the machine, such as, is a Power Commander or equivalent helpful for a richer air/fuel mix so the top-end lasts longer (the newer Harley's benefit from them a good deal, they've got them so lean I've had to hammer valve guides out of them that were baked in harder than any 50 to 60 year old original bike I've ever seen, I've had the heads so hot trying to get them out that the valve seats fall out sometimes), after 30 years of working on Harley's my advice on maintenance to someone who's just getting into them can save them a lot of headaches in the long run and what I would like is any similar advice for these machines.
My best friend that owned this bike had many different Japanese motorcycles from all 4 of the companies over the years (I'm 53 and we met in the 1st grade) and he always said the Honda's were always just a notch or so above the other 3 when it came to the fit and finish on them.
Anyways I'm very happy to be getting my hands on this motorcycle and plan on keeping it for the rest of my days, I had always planned on my one Japanese motorcycle being a mid 80's Honda Interceptor, I was a senior in high school in 83 when they came out and fell in love at first site, and I was finally going to go out and find one when this came up about his family getting rid of his bike and I would much rather have it, so any advice on the finer points of one will be much appreciated, thank you.
Keep the fluids fresh, chain lubed and good tires on it. Then ride the hell out of it.
You may want to look into a steering dampener and setting up the front end for your weight. The stock springs are way to light for most people and the seals are probably overdue. If you keep the valves adjusted, you should have no top end problems.
When you replace the chain, replace the rubber slider too.
When the charging system fails, replace the stator and regulator together.
Thanks, one thing I should have pointed out, I'm not going to be running this bike hard, or on a track, or anything like that, it will probably only get taken out a couple of times a summer like on his birthday, it's one day before mine and he was shot 3 days before them, I'm not looking for performance upgrades so much as advice like the replacement of the chain guide like you mentioned, checking chains and keeping the fluids up is standard maintenance and I've got all that covered from 37 years of being a mechanic, it's maintenance advice for a CBR929RR in particular, ie chain guide replacement everytime a new chain is put on is the kind of advice I'm looking for, this bike is not going to be run hard or used for racing street or track, I've got other bikes for that, it's going to be treated like a vehicle you would see on Jay Lenos Garage or something similar, strictly a collectors piece now, this bike means more to me than I can describe and I cringe at the very thought of it getting even a little scratch on it so needless to say as long as it's in my possession it will never be anywhere near it's redline or get run anywhere near it's potential, I know that's not what they're made for, god knows I have run most everything I own to where it's amazing that they don't all have a connecting rod sticking out of their cases but this one is a different story, is there anything about these engines running so lean that it shortens engine life like on all the new Harley's? I'm wondering if I should get a Power Commander for that reason, any input along those lines will be greatly appreciated, thanks so much for any advice, as I'm sure you can understand this bike means more to me than any other one I've had for the past 33 years.
There is not a lean problem. They tend to run a bit rich if anything. A power commander is only necessary if you want more performance out of it.
Going to look at a 929rr today, need some advice.
Looking at a 929RR. Need advice. Should I buy this one?
going to look at a 929rr...advice?

lowercased:
hello all, i'm new to 929's and forums, i've been riding motorcycles for 33 years and for the past 30 have ridden and worked on harley's, i also used to have my own bike shop, i have been a professional mechanic on automobiles and trucks since 1981 and have a state inspection license from my home state.
i'm purchasing an '01 cbr929rr erion racing model that belonged to my best friend who was murdered 10 years ago by his girlfriend, she shot him in the back of his head, i just sold a buell xb9r to make room in my shop for this one, his family has had the bike for the past 10 years and have kept it maintained in a heated basement and took it out a couple of times every summer just to keep it road worthy, i'm looking for any advice from knowledgeable owners about the finer points of owning and maintaining one, i'm not so interested in performance upgrades, it already has a k&n airfilter and a performance muffler, so much as i'm interested in advice for the longevity of the machine, such as, is a power commander or equivalent helpful for a richer air/fuel mix so the top-end lasts longer (the newer harley's benefit from them a good deal, they've got them so lean i've had to hammer valve guides out of them that were baked in harder than any 50 to 60 year old original bike i've ever seen, i've had the heads so hot trying to get them out that the valve seats fall out sometimes), after 30 years of working on harley's my advice on maintenance to someone who's just getting into them can save them a lot of headaches in the long run and what i would like is any similar advice for these machines.
my best friend that owned this bike had many different japanese motorcycles from all 4 of the companies over the years (i'm 53 and we met in the 1st grade) and he always said the honda's were always just a notch or so above the other 3 when it came to the fit and finish on them.
anyways i'm very happy to be getting my hands on this motorcycle and plan on keeping it for the rest of my days, i had always planned on my one japanese motorcycle being a mid 80's honda interceptor, i was a senior in high school in 83 when they came out and fell in love at first site, and i was finally going to go out and find one when this came up about his family getting rid of his bike and i would much rather have it, so any advice on the finer points of one will be much appreciated, thank you.
keep the fluids fresh, chain lubed and good tires on it. then ride the hell out of it.
you may want to look into a steering dampener and setting up the front end for your weight. the stock springs are way to light for most people and the seals are probably overdue. if you keep the valves adjusted, you should have no top end problems.
when you replace the chain, replace the rubber slider too.
when the charging system fails, replace the stator and regulator together.
thanks, one thing i should have pointed out, i'm not going to be running this bike hard, or on a track, or anything like that, it will probably only get taken out a couple of times a summer like on his birthday, it's one day before mine and he was shot 3 days before them, i'm not looking for performance upgrades so much as advice like the replacement of the chain guide like you mentioned, checking chains and keeping the fluids up is standard maintenance and i've got all that covered from 37 years of being a mechanic, it's maintenance advice for a cbr929rr in particular, ie chain guide replacement everytime a new chain is put on is the kind of advice i'm looking for, this bike is not going to be run hard or used for racing street or track, i've got other bikes for that, it's going to be treated like a vehicle you would see on jay lenos garage or something similar, strictly a collectors piece now, this bike means more to me than i can describe and i cringe at the very thought of it getting even a little scratch on it so needless to say as long as it's in my possession it will never be anywhere near it's redline or get run anywhere near it's potential, i know that's not what they're made for, god knows i have run most everything i own to where it's amazing that they don't all have a connecting rod sticking out of their cases but this one is a different story, is there anything about these engines running so lean that it shortens engine life like on all the new harley's? i'm wondering if i should get a power commander for that reason, any input along those lines will be greatly appreciated, thanks so much for any advice, as i'm sure you can understand this bike means more to me than any other one i've had for the past 33 years.
there is not a lean problem. they tend to run a bit rich if anything. a power commander is only necessary if you want more performance out of it.
going to look at a 929rr today, need some advice.
looking at a 929rr. need advice. should i buy this one?
going to look at a 929rr...advice?


text:
Advanced patented chip technology with an innovative laptop platform and an ergonomically designed user console are features of the Terason t3000 Ultrasound System.
The system now provides conventional user controls in a slide out console. The Terason t3000 platform with dual real-time operator interfaces is the optimal choice in a portable ultrasound system, delivering superior image quality, workflow efficiency, standard network connections and protection for your investment, according to the company.

lowercased:
advanced patented chip technology with an innovative laptop platform and an ergonomically designed user console are features of the terason t3000 ultrasound system.
the system now provides conventional user controls in a slide out console. the terason t3000 platform with dual real-time operator interfaces is the optimal choice in a portable ultrasound system, delivering superior image quality, workflow efficiency, standard network connections and protection for your investment, according to the company.


text:
Published late last year, The Culture of Curating and the Curating of Culture(s) by Paul O’Neill attempts an analysis of the increased importance of the curator as author within cultural production, presenting curators as the agents responsible for the production of value within exhibition history, and defining curated group exhibitions since the 1980s as the creative work of curator-auteurs.1 The main thrust of the argument focuses on the shift from the primacy of the artist to that of the curator in the late 1980s, which O’Neill identifies with a change in the understanding of the role of the curator: no longer seen as the carers of institutional collections, curators would instead become the authors of a critically engaged and experimental form of exhibition practice.2 The title The Culture of Curating and the Curating of Culture(s) refers to Gerardo Mosquera’s conception of ‘an asymmetrical relationship between “curating cultures” and “curated cultures”’.3 Writing in 1994, Mosquera argued that globalisation had introduced ‘the illusion of a trans-territorial world of multi-cultural dialogue’, in which power continues to be exercised from an artistic centre located in the major metropolises of the West, which integrates art from peripheral countries whilst organising it within a Western-centric criteria, therefore maintaining the existing hierarchy.4 O’Neill stresses the imbalance of power hinted at in the title, affirming that ‘transcultural curating can always be used as a political tool to integrate curated cultures into the established Western canon’.5 However, in so far as O’Neill’s book legitimises the consolidation of the curator as producer of artistic discourse with largely Western historical precedents, it fails to question the status quo.
In so far as O’Neill’s book legitimises the consolidation of the curator as producer of artistic discourse with largely Western historical precedents, it fails to question the present status quo.
In this way, O’Neill aligns himself with the criticism already levelled at ‘Magiciens de la Terre’ since 1989 on the grounds of its neo-colonial approach, arguing that Martin applied the ‘rhetoric of postmodernist “pluralism” of the time’, rather than the postcolonial methodology developed by later curatorial approaches.12 However, he eventually concludes in favour of Martin’s curatorial position as an early attempt to encapsulate cultural heterogeneity, in which the curator accepted that ‘his “ethnocentric” vision [was] an inevitable and inescapable side effect of his own distant pluralistic approach’.13 Indeed, as O’Neill notes, ‘Martin claimed that an “objective, unacculturated” perspective or a “decentered” point of view was impossible’ and ‘ethnographic and hegemonic criterion for selection […] inevitable’.14 O’Neill’s analysis of the homogenisation prompted by a globalised art world finds itself in a similar problematic. He argues that contemporary transcultural curating seldom takes into account localities outside the mainstream Western discourse, while at the same time justifying his own Western approach as an attempt to understand this kind of curatorial practice.
The third chapter builds on the proposition ‘curator-as-artist’ offering an account of the hierarchies at play in the production of contemporary art practice and discourse – namely, the tensions between curatorial intervention and artistic autonomy. Rejecting Theodor Adorno and Max Horkheimer’s account of a fixed division of labour between the artist as agent of cultural production and the manager (or curator) as an administrator,15 O’Neill argues for an overlap of roles: curatorship is seen instead ‘as a far-reaching category, encompassing various organisational forms, cooperative models and collaborative structures’ including ‘generative properties traditionally attributed to artistic production’.16Such blurring of boundaries is the crux of his argument. However, as befits his attempt to overview, the sub-chapter ‘Antagonism to the New Curatorship’ mentions the counter-position raised by authors and curators such as Bart de Baere, Robert Storr, Alex Farquharson, Maria Lind and Irit Rogoff.17 Storr, for instance, is brought to our attention for dismissing curating as a mode of authorship,18 while Rogoff and de Baere are mentioned for suggesting that too often curators dictate modes of participation to the audience ‘in the guise of a democratisation of a cultural experience’.19 Their critique of the ‘curator-as-artist’, is dismissed by O’Neill as reinforcing an unproductive traditional division of roles between artist and curator.
Can the professionalisation of curating contribute to an increased criticality of curatorship? O’Neill’s emphatic affirmation of the curator-as-artist contrasts with the more pluralistic approach of his previously edited volumes, Curating Subjects (2007)20 and Curating and the Educational Turn (2010),21 which he edited with Mick Wilson, compiling a series of essays by different artists, curators and academics with the aim to expand the terms by which we approach curatorial practice. Whereas the anecdotal qualities of these previous readers offered an accessible route into various issues at stake in contemporary curatorship, O’Neill’s attempt at surveying the heterogeneous field of contemporary curatorial practice and discourse in a single volume inevitably fails to account for its complexity and can be rather read as an attempt at validation. And yet, given the large number of symposia and books on exhibition-making and the ‘curatorial’ that have recently been published, it is worth asking whether curatorial practice is in need of such legitimisation.22Can the professionalisation of curating contribute to an increased criticality of curatorship? And if so, how can the legitimatised curatorship contribute to the development of art now? Whereas O’Neill rightly identifies one of the main challenges of current curatorial practice – how to account for the diversity of artistic practices at a global scale – his legitimation of the curator-as-artist from a Western perspective serves to affirm rather than question the ‘curating culture’ and its discourse.
Hyo Gyoung Jeon and Ambra Gattiglia are graduates of the MRes Art: Exhibition Studies at Central Saint Martins College of Art and Design, University of the Arts London.

lowercased:
published late last year, the culture of curating and the curating of culture(s) by paul o’neill attempts an analysis of the increased importance of the curator as author within cultural production, presenting curators as the agents responsible for the production of value within exhibition history, and defining curated group exhibitions since the 1980s as the creative work of curator-auteurs.1 the main thrust of the argument focuses on the shift from the primacy of the artist to that of the curator in the late 1980s, which o’neill identifies with a change in the understanding of the role of the curator: no longer seen as the carers of institutional collections, curators would instead become the authors of a critically engaged and experimental form of exhibition practice.2 the title the culture of curating and the curating of culture(s) refers to gerardo mosquera’s conception of ‘an asymmetrical relationship between “curating cultures” and “curated cultures”’.3 writing in 1994, mosquera argued that globalisation had introduced ‘the illusion of a trans-territorial world of multi-cultural dialogue’, in which power continues to be exercised from an artistic centre located in the major metropolises of the west, which integrates art from peripheral countries whilst organising it within a western-centric criteria, therefore maintaining the existing hierarchy.4 o’neill stresses the imbalance of power hinted at in the title, affirming that ‘transcultural curating can always be used as a political tool to integrate curated cultures into the established western canon’.5 however, in so far as o’neill’s book legitimises the consolidation of the curator as producer of artistic discourse with largely western historical precedents, it fails to question the status quo.
in so far as o’neill’s book legitimises the consolidation of the curator as producer of artistic discourse with largely western historical precedents, it fails to question the present status quo.
in this way, o’neill aligns himself with the criticism already levelled at ‘magiciens de la terre’ since 1989 on the grounds of its neo-colonial approach, arguing that martin applied the ‘rhetoric of postmodernist “pluralism” of the time’, rather than the postcolonial methodology developed by later curatorial approaches.12 however, he eventually concludes in favour of martin’s curatorial position as an early attempt to encapsulate cultural heterogeneity, in which the curator accepted that ‘his “ethnocentric” vision [was] an inevitable and inescapable side effect of his own distant pluralistic approach’.13 indeed, as o’neill notes, ‘martin claimed that an “objective, unacculturated” perspective or a “decentered” point of view was impossible’ and ‘ethnographic and hegemonic criterion for selection […] inevitable’.14 o’neill’s analysis of the homogenisation prompted by a globalised art world finds itself in a similar problematic. he argues that contemporary transcultural curating seldom takes into account localities outside the mainstream western discourse, while at the same time justifying his own western approach as an attempt to understand this kind of curatorial practice.
the third chapter builds on the proposition ‘curator-as-artist’ offering an account of the hierarchies at play in the production of contemporary art practice and discourse – namely, the tensions between curatorial intervention and artistic autonomy. rejecting theodor adorno and max horkheimer’s account of a fixed division of labour between the artist as agent of cultural production and the manager (or curator) as an administrator,15 o’neill argues for an overlap of roles: curatorship is seen instead ‘as a far-reaching category, encompassing various organisational forms, cooperative models and collaborative structures’ including ‘generative properties traditionally attributed to artistic production’.16such blurring of boundaries is the crux of his argument. however, as befits his attempt to overview, the sub-chapter ‘antagonism to the new curatorship’ mentions the counter-position raised by authors and curators such as bart de baere, robert storr, alex farquharson, maria lind and irit rogoff.17 storr, for instance, is brought to our attention for dismissing curating as a mode of authorship,18 while rogoff and de baere are mentioned for suggesting that too often curators dictate modes of participation to the audience ‘in the guise of a democratisation of a cultural experience’.19 their critique of the ‘curator-as-artist’, is dismissed by o’neill as reinforcing an unproductive traditional division of roles between artist and curator.
can the professionalisation of curating contribute to an increased criticality of curatorship? o’neill’s emphatic affirmation of the curator-as-artist contrasts with the more pluralistic approach of his previously edited volumes, curating subjects (2007)20 and curating and the educational turn (2010),21 which he edited with mick wilson, compiling a series of essays by different artists, curators and academics with the aim to expand the terms by which we approach curatorial practice. whereas the anecdotal qualities of these previous readers offered an accessible route into various issues at stake in contemporary curatorship, o’neill’s attempt at surveying the heterogeneous field of contemporary curatorial practice and discourse in a single volume inevitably fails to account for its complexity and can be rather read as an attempt at validation. and yet, given the large number of symposia and books on exhibition-making and the ‘curatorial’ that have recently been published, it is worth asking whether curatorial practice is in need of such legitimisation.22can the professionalisation of curating contribute to an increased criticality of curatorship? and if so, how can the legitimatised curatorship contribute to the development of art now? whereas o’neill rightly identifies one of the main challenges of current curatorial practice – how to account for the diversity of artistic practices at a global scale – his legitimation of the curator-as-artist from a western perspective serves to affirm rather than question the ‘curating culture’ and its discourse.
hyo gyoung jeon and ambra gattiglia are graduates of the mres art: exhibition studies at central saint martins college of art and design, university of the arts london.


text: BACKGROUND:Responsible analgesic prescribing is paramount in the opioid epidemic era, yet no standardized protocol exists. We aim to (1) quantify and correlate outpatient opioid need after total knee and hip arthroplasties (TKA and THA) with preoperative objective pain pressure thresholds (PPTs) and subjective pain measures and (2) report incidence of nonsurgical opioid prescriptions 6 weeks postoperatively. METHODS:Prospectively, PPTs were measured using an algometer with a maximum force of 20 pounds in 160 consecutive patients (90 TKA and 70 THA). Two locations were tested: operative joint (medial epicondyle TKA and lateral iliac crest THA) and ipsilateral olecranon for systemic control. Visual Analog Score, Pain Severity Score, Pain Interference Score, and subjective pain threshold were obtained. Six-week outpatient narcotic consumption morphine equivalents recorded and prescriptions crosschecked with the state Controlled Substance Reporting System. Multivariate analysis was performed to evaluate local and/or systemic PPT and subjective measures with narcotic consumption. RESULTS:Average operative site and systemic PPT was 6.91 and 7.72 pounds force, respectively. Subjective averages: Visual Analog Score 7.14, Pain Severity Score 5.05, Pain Interference Score 5.16, and perceived threshold 6.77. Six-week average outpatient narcotic consumption was 314.9 morphine equivalents or 125 five milligram oxycodones. Twenty percent received opioids from outside providers. Linear regression revealed a negative correlation between operative site PPT (-0.26; P = .047) and systemic PPT (-0.31; P = .021). Subjective pain metrics failed to meet significance. CONCLUSION:This novel study demonstrated a statistically significant negative correlation between preoperative pain threshold and outpatient narcotic consumption. Twenty percent of patients received opioid prescriptions outside orthopedic providers in the 6 weeks after surgery highlighting the importance of interdisciplinary communication.

lowercased: background:responsible analgesic prescribing is paramount in the opioid epidemic era, yet no standardized protocol exists. we aim to (1) quantify and correlate outpatient opioid need after total knee and hip arthroplasties (tka and tha) with preoperative objective pain pressure thresholds (ppts) and subjective pain measures and (2) report incidence of nonsurgical opioid prescriptions 6 weeks postoperatively. methods:prospectively, ppts were measured using an algometer with a maximum force of 20 pounds in 160 consecutive patients (90 tka and 70 tha). two locations were tested: operative joint (medial epicondyle tka and lateral iliac crest tha) and ipsilateral olecranon for systemic control. visual analog score, pain severity score, pain interference score, and subjective pain threshold were obtained. six-week outpatient narcotic consumption morphine equivalents recorded and prescriptions crosschecked with the state controlled substance reporting system. multivariate analysis was performed to evaluate local and/or systemic ppt and subjective measures with narcotic consumption. results:average operative site and systemic ppt was 6.91 and 7.72 pounds force, respectively. subjective averages: visual analog score 7.14, pain severity score 5.05, pain interference score 5.16, and perceived threshold 6.77. six-week average outpatient narcotic consumption was 314.9 morphine equivalents or 125 five milligram oxycodones. twenty percent received opioids from outside providers. linear regression revealed a negative correlation between operative site ppt (-0.26; p = .047) and systemic ppt (-0.31; p = .021). subjective pain metrics failed to meet significance. conclusion:this novel study demonstrated a statistically significant negative correlation between preoperative pain threshold and outpatient narcotic consumption. twenty percent of patients received opioid prescriptions outside orthopedic providers in the 6 weeks after surgery highlighting the importance of interdisciplinary communication.


text:
It will probably not come as a big surprise to anyone that some of the world's most popular and powerful content management systems - as great as they are - can use a little bit of help when it comes to performance. It will also not be surprising to many that the flexibility of Varnish Cache makes it an ideal complement to these CMSes in boosting performance. Last week, we shared the tutorial on using Varnish with WordPress via the Varnish Developer Wiki... and this week, we bring you another tutorial on another major CMS: straight from the Varnish with Drupal section please read the step-by-step guide to make Drupal 8 site fly with Varnish.
It's a wiki, meaning that we hope and expect that you will help us to expand it and keep it up to date. I'm publishing it here in the blog for reference. In this tutorial, we give the step-by-step process that will help you install and configure Varnish to take your Drupal-based site to the next level. So let's get started.

lowercased:
it will probably not come as a big surprise to anyone that some of the world's most popular and powerful content management systems - as great as they are - can use a little bit of help when it comes to performance. it will also not be surprising to many that the flexibility of varnish cache makes it an ideal complement to these cmses in boosting performance. last week, we shared the tutorial on using varnish with wordpress via the varnish developer wiki... and this week, we bring you another tutorial on another major cms: straight from the varnish with drupal section please read the step-by-step guide to make drupal 8 site fly with varnish.
it's a wiki, meaning that we hope and expect that you will help us to expand it and keep it up to date. i'm publishing it here in the blog for reference. in this tutorial, we give the step-by-step process that will help you install and configure varnish to take your drupal-based site to the next level. so let's get started.


text:
Committed to guaranteeing quality facilities and experiences to our guests, AMResorts® continually invests in our hotels, ensuring we not only achieve guest satisfaction but exceed expectations. In line with the award-winning resort’s dedication to providing guests of all ages with an unforgettable Unlimited-Luxury® vacation experience, Dreams Riviera Cancun Resort & Spa recently completed a major investment in several upgrades throughout the property.
With this considerable initiative, guests can now enjoy enhanced facilities, elevated accommodations, updated restaurants, new activities, and much more.
Contact Your Travel Consultant to Book Today!

lowercased:
committed to guaranteeing quality facilities and experiences to our guests, amresorts® continually invests in our hotels, ensuring we not only achieve guest satisfaction but exceed expectations. in line with the award-winning resort’s dedication to providing guests of all ages with an unforgettable unlimited-luxury® vacation experience, dreams riviera cancun resort & spa recently completed a major investment in several upgrades throughout the property.
with this considerable initiative, guests can now enjoy enhanced facilities, elevated accommodations, updated restaurants, new activities, and much more.
contact your travel consultant to book today!


text:
Valparaiso. A tumbling, chaotic mess of art, colour and music hanging on to the side of Chile’s dramatic coast. Its decay is poetic, its wonder is in the mess and charm hides in the most unexpected corners. It’s so close to Santiago you’d be a fool to miss this affordably trendy, hippy town whose vibrant heart is a beating drum-circle behind a funicular railway station. Here are eight reasons to go to Valpo, stat.
Valpo is covered from top to toe in bright, popping street art. Some of it is politically inspired, some is rooted in the city’s music scene, some is just downright weird, but all of it is legal. Street art is, in fact, encouraged by the city’s authorities and paint is provided free of charge to anyone who wants to express themselves on the walls and stairways of town. The only rule is that artists must gain permission from whoever owns the building before painting all over it. The result is a boho, relaxed town with an ever-changing scenery.
Ain’t no boho town without a kitsch nightlife to go with it. From converted train carriages come-cocktail-bar to murky jazz clubs with a sultry double bass player making love to strings in a dank corner, there’s a boozy tavern to suit every hipster, beatnik and vagabond. My favourite dive-bar I found myself in was one that only opened, between sheets of corrugated iron, when all other bars had shut. Graffiti smeared the walls and only beer was sold until that evening’s stash ran out, or the police shut it down for being too loud.
Just opposite the apartment we rented for three nights in the heart of Valpo was a kind of square, and in said square popped up an open mic afternoon where locals and tourists alike could all get up to sing a song, play some guitar, do some dancing or recite poetry to the crowd. Every single person was welcome and every single person was cheered with great enthusiasm. If that doesn’t encapsulate the spirit of Valparaiso, I’m not sure what does.
Valpo is a city that goes up and up and up until it touches the sky. Because of this, there are countless bars, bistros and cafes which cling precariously onto the edge of nothing, overlooking the city falling away beneath them to the sea. With the ocean breeze cooling your sunburnt skin, a pisco sour, tea or beer in your hand, there is no better way to spend a lazy hour in this stunning Chilean town. At night, these hills light up and twinkle like stars.
Because of Valpo’s steep hills the city has loads of little funicular railways to help get you around, and I must say, this is maybe the most fun way to travel around a city in the whole world. They’ll set you back between 50p and £1 a pop, but when they save your lungs and deposit you at amazing viewpoints, who on earth cares?
You could be on your way home, slightly bedraggled from a few too many bevvies and suddenly find yourself dancing with a tambourine man down a staircase painted to look like piano keys, with a whole host of salsa dancers, guitar players and singers prancing down behind you. No, you haven’t taken any hallucinogens and no, you are not in Alice in Wonderland, you my friend have found yourself victim to one of Valpo’s famous street parties. They can happen any time after 11, anywhere in the city and carry on until the small hours. Watch your pockets, a boozed up gringo is a pickpocket’s dream.
In a magical place, far far away, wine flows in the streets and is as cheap as chips! Yes, the stories are true, wine in Valpo is cheaper than a bottle of water. So go forth, buy litres of smooth, local Carmenere and slosh it down with that gorgeous view for good measure.
If you happen to be in Chile over New Year, Valparaiso has rapidly gained the reputation of being the best place to be to bring in the next turn of the sun. Not only do the residents know how to party, hard, but the fireworks display over the harbour is something to be admired. Thanks to Valpo’s higgledy-piggledy positioning, you’ll have a great view of the show from wherever you are perched.
If Lauren's inspired you to visit Valparaiso, take a look at Round the World Experts' Chile holidays and give our Experts a call today.

lowercased:
valparaiso. a tumbling, chaotic mess of art, colour and music hanging on to the side of chile’s dramatic coast. its decay is poetic, its wonder is in the mess and charm hides in the most unexpected corners. it’s so close to santiago you’d be a fool to miss this affordably trendy, hippy town whose vibrant heart is a beating drum-circle behind a funicular railway station. here are eight reasons to go to valpo, stat.
valpo is covered from top to toe in bright, popping street art. some of it is politically inspired, some is rooted in the city’s music scene, some is just downright weird, but all of it is legal. street art is, in fact, encouraged by the city’s authorities and paint is provided free of charge to anyone who wants to express themselves on the walls and stairways of town. the only rule is that artists must gain permission from whoever owns the building before painting all over it. the result is a boho, relaxed town with an ever-changing scenery.
ain’t no boho town without a kitsch nightlife to go with it. from converted train carriages come-cocktail-bar to murky jazz clubs with a sultry double bass player making love to strings in a dank corner, there’s a boozy tavern to suit every hipster, beatnik and vagabond. my favourite dive-bar i found myself in was one that only opened, between sheets of corrugated iron, when all other bars had shut. graffiti smeared the walls and only beer was sold until that evening’s stash ran out, or the police shut it down for being too loud.
just opposite the apartment we rented for three nights in the heart of valpo was a kind of square, and in said square popped up an open mic afternoon where locals and tourists alike could all get up to sing a song, play some guitar, do some dancing or recite poetry to the crowd. every single person was welcome and every single person was cheered with great enthusiasm. if that doesn’t encapsulate the spirit of valparaiso, i’m not sure what does.
valpo is a city that goes up and up and up until it touches the sky. because of this, there are countless bars, bistros and cafes which cling precariously onto the edge of nothing, overlooking the city falling away beneath them to the sea. with the ocean breeze cooling your sunburnt skin, a pisco sour, tea or beer in your hand, there is no better way to spend a lazy hour in this stunning chilean town. at night, these hills light up and twinkle like stars.
because of valpo’s steep hills the city has loads of little funicular railways to help get you around, and i must say, this is maybe the most fun way to travel around a city in the whole world. they’ll set you back between 50p and £1 a pop, but when they save your lungs and deposit you at amazing viewpoints, who on earth cares?
you could be on your way home, slightly bedraggled from a few too many bevvies and suddenly find yourself dancing with a tambourine man down a staircase painted to look like piano keys, with a whole host of salsa dancers, guitar players and singers prancing down behind you. no, you haven’t taken any hallucinogens and no, you are not in alice in wonderland, you my friend have found yourself victim to one of valpo’s famous street parties. they can happen any time after 11, anywhere in the city and carry on until the small hours. watch your pockets, a boozed up gringo is a pickpocket’s dream.
in a magical place, far far away, wine flows in the streets and is as cheap as chips! yes, the stories are true, wine in valpo is cheaper than a bottle of water. so go forth, buy litres of smooth, local carmenere and slosh it down with that gorgeous view for good measure.
if you happen to be in chile over new year, valparaiso has rapidly gained the reputation of being the best place to be to bring in the next turn of the sun. not only do the residents know how to party, hard, but the fireworks display over the harbour is something to be admired. thanks to valpo’s higgledy-piggledy positioning, you’ll have a great view of the show from wherever you are perched.
if lauren's inspired you to visit valparaiso, take a look at round the world experts' chile holidays and give our experts a call today.


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please read this agreement carefully before accessing or using the website. by accessing or using any part of the web site, you agree to become bound by the terms and conditions of this agreement. if you do not agree to all the terms and conditions of this agreement, then you may not access the website or use any services. if these terms and conditions are considered an offer by interpret4london, acceptance is expressly limited to these terms. the website is available only to individuals who are at least 13 years old.
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Seasons : From early winter starts to lazy summer evening rides, all the routes in this guide book are perfect as part of your year-round training regime.
Centres : Sevenoaks, Maidstone, Brighton, Reading, Windsor, High Wycombe, Portsmouth, Southampton, Basingstoke, Newbury, Eastbourne, Fleet, Reigate, Dorking, Redhill, Brockenhurst, Marlow, Theale, Hungerford, Oxford.
Difficulty : Sportive cyclists of all levels of fitness and ability will benefit from a mix of flat, cadence training specific rides to unforgiving lung-bursting routes where climbing is the name of the game. Check out the hill grades to each ride and choose the route on which you want to train. Don't forget to mix-and-match your routes for variation of training.
Must See : 20 cycle sportive training rides that cover the most challenging and scenic areas of the Southeast of England: The New Forest, North and South Downs, the High Weald, Surrey Hills, Chiltern Hills and the Berkshire Downs all have mile upon mile of cycle friendly roads on which to train for your favourite cycle sportive event.

lowercased:
seasons : from early winter starts to lazy summer evening rides, all the routes in this guide book are perfect as part of your year-round training regime.
centres : sevenoaks, maidstone, brighton, reading, windsor, high wycombe, portsmouth, southampton, basingstoke, newbury, eastbourne, fleet, reigate, dorking, redhill, brockenhurst, marlow, theale, hungerford, oxford.
difficulty : sportive cyclists of all levels of fitness and ability will benefit from a mix of flat, cadence training specific rides to unforgiving lung-bursting routes where climbing is the name of the game. check out the hill grades to each ride and choose the route on which you want to train. don't forget to mix-and-match your routes for variation of training.
must see : 20 cycle sportive training rides that cover the most challenging and scenic areas of the southeast of england: the new forest, north and south downs, the high weald, surrey hills, chiltern hills and the berkshire downs all have mile upon mile of cycle friendly roads on which to train for your favourite cycle sportive event.


text:
This is a placeholder page for Clair Anderson, which means this person is not currently on this site. We do suggest using the tools below to find Clair Anderson.
You are visiting the placeholder page for Clair Anderson. This page is here because someone used our placeholder utility to look for Clair Anderson. We created this page automatically in hopes Clair Anderson would find it. If you are not Clair Anderson, but are an alumni of Kenmore West High School, register on this site for free now.

lowercased:
this is a placeholder page for clair anderson, which means this person is not currently on this site. we do suggest using the tools below to find clair anderson.
you are visiting the placeholder page for clair anderson. this page is here because someone used our placeholder utility to look for clair anderson. we created this page automatically in hopes clair anderson would find it. if you are not clair anderson, but are an alumni of kenmore west high school, register on this site for free now.


text: Eight years later, some time in November 1874, Sri Ramakrishna was seized with an irresistible desire to learn the truth of the Christian religion. He began to listen to readings from the Bible, by Sambhu Charan Mallick, a gentleman of Calcutta and a devotee of the Master. Sri Ramakrishna became fascinated by the life and teachings of Jesus. One day he was seated in the parlour of Jadu Mallick's garden house (This expression is used throughout to translate the Bengali word denoting a rich man's country house set in a garden.) at Dakshineswar, when his eyes became fixed on a painting of the Madonna and Child. Intently watching it, he became gradually overwhelmed with divine emotion. The figures in the picture took on life, and the rays of light emanating from them entered his soul. The effect of this experience was stronger than that of the vision of Mohammed. In dismay he cried out, "O Mother! What are You doing to me?" And, breaking through the barriers of creed and religion, he entered a new realm of ecstasy. Christ possessed his soul. For three days he did not set foot in the Kali temple. On the fourth day, in the afternoon, as he was walking in the Panchavati, he saw coming toward him a person with beautiful large eyes, serene countenance, and fair skin. As the two faced each other, a voice rang out in the depths of Sri Ramakrishna's soul: "Behold the Christ, who shed His heart's blood for the redemption of the world, who suffered a sea of anguish for love of men. It is He, the Master Yogi, who is in eternal union with God. It is Jesus, Love Incarnate." The Son of Man embraced the Son of the Divine Mother and merged in him. Sri Ramakrishna krishna realized his identity with Christ, as he had already realized his identity with Kali, Rama, Hanuman, Radha, Krishna, Brahman, and Mohammed. The Master went into samadhi and communed with the Brahman with attributes. Thus he experienced the truth that Christianity, too, was a path leading to God-Consciousness. Till the last moment of his life he believed that Christ was an Incarnation of God. But Christ, for him, was not the only Incarnation; there were others — Buddha, for instance, and Krishna.

lowercased: eight years later, some time in november 1874, sri ramakrishna was seized with an irresistible desire to learn the truth of the christian religion. he began to listen to readings from the bible, by sambhu charan mallick, a gentleman of calcutta and a devotee of the master. sri ramakrishna became fascinated by the life and teachings of jesus. one day he was seated in the parlour of jadu mallick's garden house (this expression is used throughout to translate the bengali word denoting a rich man's country house set in a garden.) at dakshineswar, when his eyes became fixed on a painting of the madonna and child. intently watching it, he became gradually overwhelmed with divine emotion. the figures in the picture took on life, and the rays of light emanating from them entered his soul. the effect of this experience was stronger than that of the vision of mohammed. in dismay he cried out, "o mother! what are you doing to me?" and, breaking through the barriers of creed and religion, he entered a new realm of ecstasy. christ possessed his soul. for three days he did not set foot in the kali temple. on the fourth day, in the afternoon, as he was walking in the panchavati, he saw coming toward him a person with beautiful large eyes, serene countenance, and fair skin. as the two faced each other, a voice rang out in the depths of sri ramakrishna's soul: "behold the christ, who shed his heart's blood for the redemption of the world, who suffered a sea of anguish for love of men. it is he, the master yogi, who is in eternal union with god. it is jesus, love incarnate." the son of man embraced the son of the divine mother and merged in him. sri ramakrishna krishna realized his identity with christ, as he had already realized his identity with kali, rama, hanuman, radha, krishna, brahman, and mohammed. the master went into samadhi and communed with the brahman with attributes. thus he experienced the truth that christianity, too, was a path leading to god-consciousness. till the last moment of his life he believed that christ was an incarnation of god. but christ, for him, was not the only incarnation; there were others — buddha, for instance, and krishna.


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We host a wide variety of events. Perhaps you'd like to participate in one or more of them?
Find out what came in for the first time ever!
Wish to see if we have a product in stock? Check here and see for yourself!
A sampling of the wide variety of manufacturers we stock.
We have an in-store network of six computers in West Windsor, with a wide selection of games to play!
Remember, if we don't have what you want, or you don't see it... simply ask. We might be able to find it for you!!!
We ship anywhere... no minimum order necessary!

lowercased:
we host a wide variety of events. perhaps you'd like to participate in one or more of them?
find out what came in for the first time ever!
wish to see if we have a product in stock? check here and see for yourself!
a sampling of the wide variety of manufacturers we stock.
we have an in-store network of six computers in west windsor, with a wide selection of games to play!
remember, if we don't have what you want, or you don't see it... simply ask. we might be able to find it for you!!!
we ship anywhere... no minimum order necessary!


text:
Invented by Craft’s own Jacob Kudrna, this cocktail uses British produce, reflecting the winter season. Using homemade blackberry liqueur, this is a mix of jammy sweetness and bitter orange, making it a delicious, lightly spicy, winter warmer.
De-stem and wash the blackberries, then blitz them on high speed until they have a puree consistency.
Split the mixture into two sealable jars, filling each to just below the halfway mark. This ensures the mixture has room to breathe, as the process creates a lot of gas while fermenting.
Leave for 24 hours, and then stir the mixture to allow it to breathe. Wait another 24 hours before stirring again.
After another 24 hours, add 500g of the sugar to each jar and stir again thoroughly.
Leave the mixture for a day and then stir again.
After a final 24 hours, add 500ml of the vodka to each jar and stir.
Pour all ingredients into a glass, stir for roughly 40 rotations and then serve in a coupette. No garnish necessary.

lowercased:
invented by craft’s own jacob kudrna, this cocktail uses british produce, reflecting the winter season. using homemade blackberry liqueur, this is a mix of jammy sweetness and bitter orange, making it a delicious, lightly spicy, winter warmer.
de-stem and wash the blackberries, then blitz them on high speed until they have a puree consistency.
split the mixture into two sealable jars, filling each to just below the halfway mark. this ensures the mixture has room to breathe, as the process creates a lot of gas while fermenting.
leave for 24 hours, and then stir the mixture to allow it to breathe. wait another 24 hours before stirring again.
after another 24 hours, add 500g of the sugar to each jar and stir again thoroughly.
leave the mixture for a day and then stir again.
after a final 24 hours, add 500ml of the vodka to each jar and stir.
pour all ingredients into a glass, stir for roughly 40 rotations and then serve in a coupette. no garnish necessary.


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We have made these planes before and they were a huge hit with the kids. My son and I were testing out different-shaped wings and came up with the triangle wing which flew quite well. Make them, launch them, race them!
First, cut two strips of paper, one 21cm x 2cm and the other 11cm x 2cm.
Glue the ends of the longer piece together and shape into a triangle.
Glue the ends of the smaller piece together and shape into a triangle.
Attach the large triangle to the end of the straw with sticky tape.
Attach the smaller triangle to the other end of the straw to make the plane.Throw the plane into the air and watch it fly!

lowercased:
we have made these planes before and they were a huge hit with the kids. my son and i were testing out different-shaped wings and came up with the triangle wing which flew quite well. make them, launch them, race them!
first, cut two strips of paper, one 21cm x 2cm and the other 11cm x 2cm.
glue the ends of the longer piece together and shape into a triangle.
glue the ends of the smaller piece together and shape into a triangle.
attach the large triangle to the end of the straw with sticky tape.
attach the smaller triangle to the other end of the straw to make the plane.throw the plane into the air and watch it fly!


text:
"We speak to journalists, activists and experts inside and outside of Pakistan about the consequences of the strikes in the tribal FATA region."
The Ecuadorian Institute of Intellectual Property (IEPI) plans to impose an additional tax of 4%-10% on the importation of all music and video players.
A large diversity of migrants in Argentina allows us to enjoy a wide array of international dishes often shared in feasts for the various immigrant communities throughout the country.
The Baloch Sunni-muslim insurgent group Jaish al-Adl (Army of Justice) claimed responsibility and published a photo of the abducted soldiers through social media .
"A physical meeting place, a hub, will go a long way to provide a platform for the experienced bloggers in the organisation to train students and professionals."

lowercased:
"we speak to journalists, activists and experts inside and outside of pakistan about the consequences of the strikes in the tribal fata region."
the ecuadorian institute of intellectual property (iepi) plans to impose an additional tax of 4%-10% on the importation of all music and video players.
a large diversity of migrants in argentina allows us to enjoy a wide array of international dishes often shared in feasts for the various immigrant communities throughout the country.
the baloch sunni-muslim insurgent group jaish al-adl (army of justice) claimed responsibility and published a photo of the abducted soldiers through social media .
"a physical meeting place, a hub, will go a long way to provide a platform for the experienced bloggers in the organisation to train students and professionals."


text:
Darylynn Eyewear sunglasses model Siren Sabine 1. A pair of handmade tortoiseshell coloured square Darylynn Eyewear designer sunglasses with acetate front and metal sides. These stylish full rim designer sunglasses are handmade in Italy and are ideal for women's glasses. It is a large-sized pair of sunglasses with optical measurements 61x14 and side length 135mm. They come with a edgy large darylynn eyewear case and a cleaning cloth.
Darylynn Eyewear describe this colour as tortoiseshell but we would call it tortoiseshell it is a large sized pair of sunglasses.
All our Darylynn Eyewear spectacles & Darylynn Eyewear sunglasses are supplied direct from the manufacturer and authorised for the designer glasses UK & international markets.
We offer a broad range of Darylynn Eyewear sunglasses from Darylynn Eyewear Eyewear and you can buy Darylynn Eyewear prescription sunglasses online or in person by appointment. The Siren Sabine 1 Darylynn Eyewear designer sunglasses are usually carried in stock and we offer fast shipping worldwide.
Buy Darylynn Eyewear sunglasses model Siren Sabine 1. A pair of handmade tortoiseshell coloured square Darylynn Eyewear designer sunglasses with acetate front and metal sides. These stylish full rim designer sunglasses are handmade in Italy and are ideal for women's glasses. It is a large-sized pair of sunglasses with optical measurements 61x14 and side length 135mm. They come with a edgy large darylynn eyewear case and a cleaning cloth.

lowercased:
darylynn eyewear sunglasses model siren sabine 1. a pair of handmade tortoiseshell coloured square darylynn eyewear designer sunglasses with acetate front and metal sides. these stylish full rim designer sunglasses are handmade in italy and are ideal for women's glasses. it is a large-sized pair of sunglasses with optical measurements 61x14 and side length 135mm. they come with a edgy large darylynn eyewear case and a cleaning cloth.
darylynn eyewear describe this colour as tortoiseshell but we would call it tortoiseshell it is a large sized pair of sunglasses.
all our darylynn eyewear spectacles & darylynn eyewear sunglasses are supplied direct from the manufacturer and authorised for the designer glasses uk & international markets.
we offer a broad range of darylynn eyewear sunglasses from darylynn eyewear eyewear and you can buy darylynn eyewear prescription sunglasses online or in person by appointment. the siren sabine 1 darylynn eyewear designer sunglasses are usually carried in stock and we offer fast shipping worldwide.
buy darylynn eyewear sunglasses model siren sabine 1. a pair of handmade tortoiseshell coloured square darylynn eyewear designer sunglasses with acetate front and metal sides. these stylish full rim designer sunglasses are handmade in italy and are ideal for women's glasses. it is a large-sized pair of sunglasses with optical measurements 61x14 and side length 135mm. they come with a edgy large darylynn eyewear case and a cleaning cloth.