Howdy, great web site you've got right now.
I'm sure some neighborhood aunty can be prepared to shell out some money for the teachings.
In this review, he talks about accidentally building a misconfigured server (without cPanel) and also assistance walking him via ruining the old VPS and developing a brand-new one, without support intervention.
Um novo estudo publicado no Aesthetic Surgery Journal, uma revista americana, admitiu que fossem identificados quatro fatores exteriores sobre que podemos tomar precau??es.
Just wished to mention I am thankful I stumbled onto your web page.
In den Jahren 2004 und 2005 wurde das Projekt von besonders interessierten Schulklassen begleitet.


text:
Thu 6 Oct 2016 09:58 AM
Oman to develop new building green code
New codes could reduce the life-cycle costs of buildings and result in reduced consumption of energy
A general view of Muscat. (Getty Images)
Oman's Supreme Council for Planning has set up a committee to develop a comprehensive green design code to meet the requirement of proposed unified GCC Building Code, Ahmed Mazroui, board member of the Oman Green Building Council (OGBC) and Oman Society of Engineers (OSE), told Muscat Daily.
No details were given on the upcoming building code or the estimated date of implementation.
Simon Wilson, Vice Chairman, OGBC, said high level discussions have been taking place at GCC Secretariat level to agree to the terms of reference for the work.
"Buildings have an initial capital cost for their construction, but they also have an operating cost and a design life so the associated costs need to be considered over the whole life cycle of a building. If the life of a building is extended from 25 to 50 years it is likely that the initial construction costs will increase incrementally, but the overall cost of the building per year over its life time basis will be dramatically reduced."
Wilson said the new codes have the potential to reduce the life-cycle costs of buildings and result in macro-economic benefits such as reduced consumption of energy at the national level.
Qatar sees foreign intervention 'changing equation' of Syria war
Bahrain's foreign reserves halve since 2014 amid oil price slump
Iran tells Saudi navy vessels to avoid its waters
Saudi Arabia starts naval war game exercises in Gulf
Oman to build an integrated central market in Salalah
Modest oil price recovery to boost GCC growth, says IMF

redpajama_set_name: RedPajamaCommonCrawl


Local members of the Baha'i faith are celebrating the 200th anniversary of the birth of the faith's founder Baha'u'llah on Oct. 21 and 22 in Upland.
The Oct. 21 event is set for 6 p.m. at 508 East 22nd St. and will include prayers, stories, music and a dinner.
The Oct. 22 event is set for 2 to 5 p.m. at the Landecena Center, 1325 San Bernardino Road.


Reader may recall that, not very long ago, I was reading A Budget of Paradoxes by Augustus de Morgan, and that when de Morgan used the term paradox he did not use in in the sense of an apparent truth which seems to fly in the face of reason, but in the older sense of a tenet opposed to received opinion. De Morgan was especially concerned with cases of heterodoxy to which no credibility would be ascribed by the established mainstream.
Some paradoxes would later move from heterodoxy to orthodoxy, as when the Earth came to be viewed as closely approximated by a sphere, and with no particular claim to being the center of the universe. But most paradoxes are unreasonable, and have little chance of ever becoming orthodoxy.
I began reading de Morgan's Budget largely because I have at least a passing interest in cranky ideas. But reading it at the time that I did was not conducive to my mental health.
Under ideal circumstances, one would not use a weight of opinion — whether the opinion were popular or that of experts — to approximate most sorts of truth. But circumstances are seldom ideal, and social norms are often less than optimal whatever the circumstances. When confronted with work that is heterodox about foundational matters, the vast majority of people judge work to be crackpot if it is not treated with respect by some ostensibly relevant population.
In cases where respect is used as the measure of authority, there can be a problem of whose respect is itself taken to have some authority; often a layering obtains. The topology of that layering can be conceptualized in at least three ways, but the point is that the layers run from those considered to have little authority beyond that to declare who has more authority, to those who are considered to actually do the most respected research, with respected popularizers usually in one of the layers in-between. In such structures, absurdities can obtain, such as presumptions that popularizers have themselves done important research, or that the more famous authorities are the better authorities.
As I was reading de Morgan's book, my paper was waiting for a response from the seventh journal to which it had been offered. The first rejection had been preëmptory; no reason was given for it, though there was some assurance that this need not be taken as indicating that the paper were incompetent or unimportant. The next three rejections (2nd, 3rd, 4th) were less worrisome, as they seemed to be about the paper being too specialized, and two of them made a point of suggesting what the editor or reviewer thought to be more suitable journals. But then came the awful experience of my paper being held by Theory and Decision for more than a year-and-a half, with editor Mohammed Abdellaoui refusing to communicate with me about what the Hell were happening. And this was followed by a perverse rejection at the next journal from a reviewer with a conflict of interest. Six rejections might not seem like a lot, but there really aren't that many academically respected journals which might have published my paper (especially as I vowed never again to submit anything to a Springer journal); I was running-out of possibilities.
I didn't produce my work with my reputation in mind, and I wouldn't see damage to my reputation as the worst consequence of my work being rejected; but de Morgan's book drew my attention to the grim fact that my work, which is heterodox and foundational, was in danger of being classified as crackpot, and I along with it.
As things went from bad to worse for my paper, I dealt with how I felt by compartmentalization and dissociation. When the paper was first given conditional acceptance, my reäction was not one of happiness nor of relief; rather, with some greater prospect that the paper would be published, the structure of compartmentalization came largely undone, and I felt traumatized.
Meanwhile, some other things in my life were going or just-plain went wrong, at least one of which I'll note in some later entry. In any case, the recent quietude of this 'blog hasn't been because I'd lost interest in it, but because properly to continue the 'blog this entry was needed, and I've not been in a good frame-of-mind to write it.
 Actually five rejections joined with the behavior of Abdellaoui, which was something far worse than a rejection.


text:
Rock Chick: Lindy Morrison
Streamed live at 12:30pm (AEDT), Friday 12th March 2021
Lindy Morrison and Jo Gilmour
Video: 45 minutes
Lindy Morrison has played in her share of bands over the years. From jazz to pop to punk, she's been an ever-present force in Australian music. Join NPG curator Joanna Gilmour for a conversation covering the highs and lows of rock and roll, the Australian music scene and more.
- And make sure that the volume is cool. Hello and welcome everyone to the National Portrait Gallery here in Canberra, the nation's capital. My name is Robert, I'm part of the digital and access and learning team here at the gallery. And it's my pleasure to welcome you to our very special in conversation today with Lindy Morrison. We're going to be crossing, we're gonna be walking through our gallery in a moment to get to our special guests and to our curator, Jo, who are gonna be in conversation, but we'll just get a little bit of housekeeping out of the way first of all. So I'm sure you're all Zoom experts by now, but if you're not, please keep your microphones on mute and feel free to keep your cameras on, we don't mind seeing our audience, but just be aware that we are recording today's session and it may appear on our website at some time in the future. Please communicate with us via the chat function, the chat icon is probably at the bottom of your screen if you're on a laptop or am sure you will find it on your device. We'd love to hear your comments, your memories of the period that we're gonna be talking about, and we'd also like to have any questions that we can throw to our in conversationalists today. Now, today we are streaming out to you live from the Portrait Gallery which is on the lands of the Ngunnawal and Ngambri peoples here in the Canberra region. And I would like to pay my respects to their elders past, present and emerging, and to acknowledge the continuing connection to the lands and the waters and the communities of this region. All right, now Pub Rock is closing very soon, this weekend. So if you haven't got here and you are within driving distance, this is your last opportunity. So we're gonna go for a little wander through and I'll point out a couple of highlights. Matt is doing our camera work, he is operating our new behemoth broadcast trolley, and he's just getting used to it, so it's going to be a little shaky, that's not his fault, that's the wheels. Come this way, now on our wall here, we've got a amazing portrait of Chrissy Amphlett. On the other side of that partition, we have got some, well, we've got a photographic portrait of Chrissy and many other people. On this wall, we've got The Angels with Doc Neeson, Marcia Hines, in the little alcove over to the other side, we've got the Angels and AC/DC. This is a very big exhibition, it's bigger than you think, it covers a couple of different galleries. So we're going into a new gallery now. And as we come through, being careful to not hit the sides of the walls. Here we are, so I'm going to hand you over now to Jo, who is one of the curators Pub Rock.
- Yes, one of several curators of Pub Rock.
- [Robert] Now, we're all set to go?
- We're, all set to go, great thanks Robert. And hello everyone, welcome to the final, it's kind of a swan song, I suppose, for the Pub Rock exhibition, which closes on Sunday, I'm sure Robert has already exhorted everyone to come and see it before it finishes on Sunday. But it's been a real joy to have this exhibition on for the past few months. It's one which we sort of created in a ridiculously short period of time while we were all in lockdown last year, and one which we sort of created very much as a sort of a, I suppose, a celebration so that when we all came out of lockdown and could finally get back to art galleries and all of that sort of stuff, it would be an exhibition that really sort of prompted people to feel a lightness, to have to have something to feel sort of happy about. Yeah, so an exhibition that's been generated completely, started from the gallery's own collection, and then we sort of fleshed it out where we could with works by a group of photographers who Lindy and myself we'll be talking about as this programme progresses. But one of the starting points for the exhibition was the work on the wall behind me, which is three little portraits by Jenny Watson of the Go-Betweens painted in 1981. So Robert Forster, Lindy Morrison and Grant McLennan, and we're absolutely thrilled that Lindy Morrison is here today to talk about not just these portraits but about the whole exhibition. Welcome Lindy, it's really nice to see you.
- Thanks you.
- They are little portraits but they are awesome.
- They are awesome. So when we sort of first started working on this exhibition, we found that surprisingly actually there's sort of representation of popular and rock music in the collection was fairly sort of minimal, and these portraits were one of the sort of few starting points that we had, I guess. And certainly when I started working here 13 years ago, these were one of very, very few sort of portraits of popular musicians and rock musicians that we had in the collection. Obviously the collection has grown a lot since that time.
- They are very prescient of the Go-Between and Jenny Watson at that time.
- Indeed, and I understand you have a little bit of, you can tell us a little bit about the history of these works.
- Yeah, so I can, so first of all, let me say that it's not in '81, these were painted about 40 years, so that's pretty incredible. And Robert and I were living in Spring Hill and Grant was living around the corner in an apartment block in Brisbane, and coming into town was John Nixon who is now deceased, the late John Nixon who is a contemporary artist, and Jenny Watson was his partner at the time, and they were truly exotic creatures from Brisbane. They'd come from Melbourne and he'd come to do a residency, I believe. He also did an exhibition of his very, very minimal paintings in a warehouse, where we punks ran and turned on all the water taps to let it run through the warehouse because we were punks. That's another story for another time. But anyway, Jenny, the Go-Between asked Jenny to do our portraits for the cover of our very first album, "Send Me a Lullaby" which was on Missing Link records, and we were a three-piece then. So she took Polaroids, you know, it was a big Polaroid session where she took me and, you know. And then what she did was she did grids, and you can see the grids, and she'd painted it all in all in the grids, and that's how you get that really extraordinary, weird look about it, that worked so well, and of course it's in oil. And, yeah, so they just came up unbelievably and looked amazing on the cover. But I'm so happy that they stayed together because they were being sold for $50. And I could not find one,
- At the time.
- Just one, it was 50. I was absolutely broke. I mean, you know, Robert and I were living on the dole we were living on, we were eating his mother's fruit cake that she gave to us every week. And, it's probably too much information Jo, but I couldn't afford it. And anyway, a man who became Jenny Watson's second partner bought them, and then he donated them later on to the National Portrait Gallery. So you couldn't be happy that they stayed together because they are a triptych.
- Yes, they are. And it's actually, I mean, they're in the collection now, actually I have a feeling we purchased them, but they were in an exhibition, the only other exhibition that the gallery has ever done about this subject was in 2001-2002, and at that stage, they were still sort of privately owned, but we had them in the exhibition with some other works by Jenny 'cause she was an art teacher in Melbourne, and people like Nick Cave Were some of her students, and she'd done this fabulous series, I think they might be watercolours of Nick Cave and the other guys from Boys Next Door or Birthday Party.
- Yeah, it might have been the Boys Next Door, that's what it was the Boys Next Door. I went to her exhibition in the contemporary MTI Sydney recently that they, her work is fabulous, it's absolutely fabulous. And this is really unlike her work, this is totally anomalous to what she paints now and what she's painted for the last 40 years, I'd say. And that's why we're so lucky because it's so skillful and it captures us clearly, you know. That would be Grant like hiding from the camera. He wouldn't have liked it. He would not have liked it, and that would be him hiding. And I was a serious punk girl, you know, there's Robert with his cheeks sucked in as he would do for photos, and we've been represented beautifully by that.
- Yeah.
- I've got the up on this screen now.
- Oh, great, I'm really glad to see that.
- And I think that's a really interesting point that you make about this being the work that Jenny obviously was doing 40 years ago and not necessarily having any resemblance or relationship to what she's doing now, but one of the things I think we were conscious of in sort of pulling this exhibition together was, there's sort of numerous ways in which art and music kind of intersect, you know. So there's photographers who are, you know, kind of taking the kind of live action shots, I suppose you'd say documenting actual performances, you've got all the kind of publicity photos that are taken for magazines and album covers and all of that sort of stuff. And then you've got artists like Jenny, who as I understand it with these works and say with the portraits that she did of the Birthday Party was documenting the kind of scene that she was part of in Melbourne and Brisbane.
- In Brisbane actually because she really connected with the music, she really with the culture, yep. And that's why she wants to be part of it, that's right. We're very lucky.
- Yeah, really were.
- I wanna hear about the taps in the warehouse.
- So we can have a sit.
- Yeah, we can have a sit. So what he did was, he took over this warehouse in the city.
- And it had a huge lift that came up, a huge, big wooden lift, but on either sides of this wooden lift were taps. And we went to the exhibition in the middle of the day and we turn on all the taps so that they'd run down the centre of the building and ran away. And I saw John Nixon a few years before he died, and I told him the story. He said, "I always wondered who turned those taps on." It was such a ridiculously naughty and wasteful and non-green thing to do, but we still did it.
- But while we're that subject, I'm actually kind of intrigued, I suppose, you said that when John and Jenny came to Brisbane, you felt that they were really kind of these exotic creatures from Melbourne. I was wondering if we kind of could talk maybe a little bit about the sort of Brisbane scene in the 1970s. I guess I'm thinking of a couple of things, partly that, you know, Monday was International Women's Day. And, I mean, I can sort of vaguely remember the '70s, I can't remember them very clearly, but I have some memories of the '70s and, you know, as a sort of a historian, I'm really interested in the way that the '70s was. There was so many groundbreaking things that happened in terms of women's rights in the 1970s, you've got Equal Pay, you've got Women's Refuges being established, you've got well, the election of the Whitlam Government and what that meant in terms of equal opportunity, and all sorts of things.
- And it was the late '60s, that two women chained themselves to a bar Brisbane.
- Merle Thornton was one of those women. And so we had that late, but also remember we were incredibly influenced by Germaine Greer of the Female Eunuch. I mean, all the women my age, we were so fortunate to have that book published and be able to read that because that defined the women's generation. I mean, the most important thing about that period was that that was with the advent of the pill and the pill changed our lives. You know, with the pill became economic power, and that's the only way that women can be liberated, you know, it's through having economic power, the only way you can get economic power is by controlling and reproductive rights. So it was a really fantastic time to be there. Yes, so, I mean, just working in, just living in Brisbane in the '70s, frankly was, you know, it was very, very edgy most of the time, because the Joh Bjelke-Petersen government, but it was the corruption of the place, and they were terribly corrupt. And you know, the Fitzgerald Inquiry expose all of that eventually. But for years and years and years of damage, but I was demonstrating regularly and worked in political theatre, the public theatre troupe in the '70s, and of course then moved into punk music, because it was political and play drums. But, you know, I had my drums confiscated for three months at a pro-choice rally. We used to go and do street theatre all the timing at the rallies. I was arrested for stealing a cops watch when all it had dropped on the ground and picked it up. You know, it was a strange edgy time. And in the end, you know, in the end, you just had to leave really, which is what I did. I mean, I went overseas in the mid '70s for a couple of years, came back and worked in theatre, but it was always on the drums. And then joined the Go-Betweens and we went to Melbourne.
- And that was about 1981.
- '81. Yeah, so would have been just after the portrait was made.
- Yeah. 'Cause it's interesting, you know, not being an authority on this kind of area of history at all. I found it really interesting in sort of reading about it, that there seemed to have been this assumption that something like punk, it didn't have any place in Australia at the time. So if you look at say, you know, Britain and the Sex Pistols, there's this kind of assumption that, oh, you know, there was stature in Britain and it was gloomy and there was economic depression, and all of that sort of stuff, and therefore punk sort of, was it a kind of a natural reaction to it. Whereas there's this sort of seems to have been this idea among people who've written about this stuff previously that wasn't the case in Australia. It was like, you know, we didn't have that sort of stuff to worry about. And then if things got too gloomy, we could just go to the beach. And whereas to me, sort of looking back on it and certainly hearing you speak, it's like the politics of kind of what was going on at the time, there was just as much kind of impetus for, you know, rebellion as there was anywhere else. And it's interesting actually, that's coming across search as sort of reading through some notes before having this conversation with you this morning, coming across a quote from Ed Cooper, I think who was talking about how, yeah, you know, Brisbane wasn't great in some ways, you were really kind of, you know, on the back foot in certain respects, but in a lot of ways that kind of isolation really makes you, you know, get up and do something. If you want something to change, you have to change it yourself. If you want something to happen, you have to make it happen yourself. So was that you're kind of recollection?
- Absolutely, you have to remember the that he wrote "Brisbane Security City," you know, one of the great songs, not that the scientists ever thought that they were punk, they weren't really, they were just really great rock band.
- But there were lots of punk bands, you know, there really were, "Razor" was one of them and lots of really great, you know, anti-establishment songs, you know, furious, angry songs by lots of these bands. And it was a great time for the counter-culture, it was a great time for theatre people and painters and photographers and hairdressers and everyone, musicians were all hanging out together. And we all had one thing in mind, and that was to keep the shows going, and to ride out the police. But at the same time, marching for, you know, for black rights for the Right to March, you know, Andy Rainium, you know, it was an amazing time really.
- It was a pretty weird time. I grew up in Brisbane at that time, going to university from '82, and the police were just ever present. And any of those Right to March marches, the police presence was overwhelming. And after you left in '82, the Commonwealth games land rights protests, the police brought from all over Queensland and, you know, busting, it was really scary. I noticed we had a comment from Matt Morrison, who might've also grown up in Brisbane at the time, he says, "The Joh Bjelke regime, protests, hyperactive punk, art scene, do it yourself, music and art."
- That's perfect, that's absolutely perfect.
- Yeah, who's that?
- [Robert] That was Matt Morrison.
- Yeah, I know Matt. Hi, Matt, how are you going? Yeah, I mean, that's absolutely true, it was incredible. It was an incredible time. And, you know, they all through the '70s, Brisbane was really great artistically, really was, you have the poster makers as well. You know, like things like that, the people with great posters, you know, all of that was really great.
- [Robert] And the student union always, you know, rebel rousing and supporting the university groups to get involved, and Triple Zed would have had quite work to with the fomenting of dissent.
- I really should have mentioned Triple Zed, it changed everything frankly. You know, getting out on community radio station and that push for descent, but also the push for the Australian music, playing Australian and in particular Brisbane music really, really did make a big difference to our music culture.
- I think the Triple Zed prides itself on being the first radio station to ever broadcast The Angels, was it The Angels? No, the Saints, sorry.
- The Saints, yeah.
- All right, okay, that would be right. I'm pretty sure that'd be right.
- And so how is, you said you started off in like doing street theatre, how did that sort of morphed into a music career?
- I was actually.
- Was it conscious kind of thing?
- I was playing music beforehand. In 1973, I lived, in '74, I lived in an extraordinary house with Geoffrey Rush, Billy Brown, a guy called Stuart Match, another actor called Trevor Stewart, I've got a musician called Frank Millwood. You know, these are all Brisbane names that everybody knows. And Robyn Stacey lived in that house all the time, so Robyn Stacey. It was an incredible house for '73,'74 and there was a music room there, I just moved on to the drums, and then we all went overseas, you know, Geoffrey went to DeCroux and Trevor went to, you know, Trevor went to DeCroux and Geoffrey went to the other one, mime artist, it's name I forget now. And Billy went to Shakespearean company, you know. And when I came back from overseas, I went straight into theatre and worked in The Popular Theatre Troupe, which was a really very political theatre, run by a guy called Richard Fotheringham. And then I also worked in Brian Nason and Brian Nason is like an institution. He put on Shakespeare off the back of trucks in Australia, and it also had a political bend in a way. So I worked in theatre and I was always trying to put drums into shows. And then I went to an audition in Melbourne for the Pram Factory, because I thought I wanted to be an actor and work in a proper theatre, but Melbourne didn't work for me. I got into the thing, but even the very day they told me I couldn't come to terms with Melbourne, it seems so bland after Brisbane.
- I guess you we'd.
- That got so interesting because the conception that a lot of other people would have would be the reverse that, you know, Brisbane was the sort of backwater and Melbourne was the, you know.
- I guess, I think I got addicted to the fight.
- No, I mean it, I think I got addicted to the fight, and I just say, I made my mind up that day, I just said, "That's it, I'm just gonna concentrate on drums." And I went back and shortly after I joined up with this punk go band Zero, and we had the most fabulous time, and we're very, very active, very active politically all the time. And eventually I got sucked into the Go-Betweens.
- Yeah, could you explain that sort of sucking in process?
- Well, I suppose, you know, I really I kind of fell, I guess I fell in love with Robert, and I fell in love with their music. You know, to see those two young men, you know, in this Spring Hill apartment that Grant lived in, they used to play acoustic guitar together all the time over and over and over again, and to go in there, and beautiful, rich brown, polished wooden floors and really old Spring Hill apartment. And the two boys would be sitting there and playing that beautiful music. And I just loved it, and they were so ambitious, and I tell you, all I want to do is get out of town, I was so tired of it, I was so tired. And I was older than everybody, I was seven years older, I'd lived a life, you know, and I just wanted to get out, and they took me out. You know, I joined with them, so, you know, as his song, people says, so pack your bags and your drums, and I'm gonna take you to the kingdom comes and he certainly did that.
- Yeah, and it's really, you know, this is me kind of absorbing everything that I've been reading about this period, I suppose too, and in looking into this exhibition, it's really interesting to me that bands like the Go-Betweens was seemingly kind of overwhelmed by the really sort of blokey, you know, hard rock, the much more sort of deliberately provocative kind of bands. Like I'm thinking here, for example of, say Skyhooks, you know, and the first album that they ever released. There was like five or six songs from it that were banned from commercial radio, 'cause it was all about sex and drugs and rock and roll. Whereas the first song that Grant and Robert recorded was a song about a librarian. The b-side was about Lee Remmick.
- [Lindy] Yeah.
- So, you know, it's.
- And the second single was "People say, I'm mad to love you." Really, that's right. I never thought about that before, that's a really good point.
- It's just these really.
- No wonder I fell in love with them, like seriously, you know, because they were so fey, f-e-y, and so incredibly feminine, and, you know, the men I'd known before, people like Geoffrey and Billy and all those actors, they were beautiful fey men too, you know, and you get drawn to men like that. They're the men that suck me in, always have been, and, you know, I guess I was sucked in.
- Yeah, and then almost as if it seems as if a lot of those more fey bands, shall we say, you had to like go to London or go to New York or somewhere else to be taken seriously. Could you sort of talk maybe a little bit about that sort of first, that leaping, that getting away from Brisbane and how it was when you're in London?
- Oh, God, well, the first thing was, that Missing Links was the Boys Next Door label, and they have that ever happened is totally beyond me, but, you know, Keith from, I've just forgotten his second name, if anyone can remember Keith's second name in there, that would be good. Keith invited us to be on the label and pay for that first album, and we went to Melbourne to live. And then after that first album, rough trade, so they wanted to, so we went to London, but you know, all the bands, you know, the mood was with Claire more on drums, you know, and, well, of course there was another female drummer, Kathy Green. She was with X where you could hardly say that they were feminine they were not, but Kathy Green certainly was. But the fey bands all went overseas. I mean, Laughing Clowns, you know, The Triffids, The Moodists, we were such a great strong gang. It really, we were completely the 'other'. We were the other to what was in Australia at the time.
- I just brought up that image from the other wall.
- Oh, yeah.
- I love that.
- Can you tell us a bit about that? I love the fact that Robert is wearing that kind of midriff top.
- That was during Robert's Prince period. And so he really loved Prince and he, so that was '86, '87 because Amanda's in the band, and so Robert and I would have broken up by then.
- By this stage.
- And when we broke up Robert went through a very wild period, which, you know, was very good for him. And so he was going through that, but we would just look, I always loved the photo session, so I'm not the same now, I find them unbelievably arduous. But I used to love them and we used to play up, and I mean, one of the things I guess to be frank, you know, we always look good in photos because we were young. Maybe that's why I love them, because you always knew you were gonna look good. And, yeah, I, I can't remember much more, I know Warrick Orme took that, I can't remember much more. You know, Bleddyn Butcher took quite a few, you've got his, I think that's his there, of Dave sorry, from the Triffids.
- Yeah, and we've got some of his photos, actually photo of Claire Moore and Dave Graney and some of his photos of Boys Next Door too.
- Of course, yeah, I mean, Bleddyn was always around and he was such a great photographer. And I have to say, he's got a whole series of me. I did a whole Christine Keeler kind of thing with.
- [Jo] Oh, wow.
- Yeah, but after he had taken them, I said, I told him, "You can never use these," but then of course, now that I'm older, I said, "Oh, you can use them." But he's never, ever used them. And now I wish he would, they really out there actually, they're fairly wild. But Bleddyn was always around and always taking photos. That was overseas, and he did so much work, and, you know, it's extraordinary, but I missed out on people because I was overseas, we were overseas for a good seven, eight years, and only came back. I missed out on all the photographers in Australia, and I've only caught up with them. You know, I'm aware that Bob King is everywhere, everywhere I go, I run into Bob King, and I know who he is. And I saw a photograph from 1977 here, 1977?
- We've actually got some photos, I think, from '64 of the AC beats that Bob took. So he must've been like.
- And he is still working.
- Yeah, yeah.
- My very favourite photographer is Tony Mott just because he's so crazy. And I always say to him, you know, "Just take another photograph of me when I look bad," you know, because every photo, and he said, "Well, I just take photograph of naturally Lindy." But he took a photograph of me recently when I got the Ted Albert Award at the ARPA Awards, since that wasn't recent it was about three years ago. The most beautiful photo, you see it all the time, it's all in gold, I'm on drums, and it's beautiful. I've got a bob and it's the most beautiful closeup you've ever seen. So finally he took a really great photo of me and that wasn't natural where I look good. And so that's yeah, but who's not in the exhibition is my very, very dear friend, Robyn Stacey, who's a photographer as well. But that's because she has never, ever unpacked all the band photos she took from, I would say, 1976, '77 through to 1980 when she started getting arty. And she's now an art photographer, if that's what you call photographers who are art photographers And yeah, she's took some beautiful photos of me, and the one that you, again, when you see all the time is me in '79 in little cutoff denim shorts, it's a view of me where she's looking up at me like that, and it's black and white, it's the most stunning photograph of a woman playing drums, you know, yeah, there are some of my stories from the photographers.
- And you've obviously just sort of in the course of the conversation, you've mentioned a lot of performance who are represented in the exhibition as well that you've worked with. Do you want to tell us about some of those I'm really fascinated to know about, for example, the time in London when Nick Cave was sharing a house with you guys, is that right?
- Yeah, he was sharing a house with us in London. You know, it's well documented that Nick and, a number of, you know, he would have been, Tracy Pew was living there, Tracy Pew's partner. I think Nick, did Nick have a partner living there at the time? I don't know. But other people would come and stay, well, it was a fairly dynamic house, and I would say it was it was very exciting, it was edgy, is an understatement.
- Understatement.
- And the story goes, I'm not gonna tell all the stories, you know, you know, Tracy Thorne has a book coming out on May called "My Rock and Roll Friend" there is a story of that if you wanna read that. But, you know, Grant did throw Nick out.
- [Jo] Oh!
- Yeah, and Nick has never forgave Grant for doing that. And it was always my kind of favourite story that Grant of old people, you know, Mr. Absolutely charming and you very well mannered man, would perfect impeccable manners in the end, took it on himself to throw Nick out. Yeah, it was a wild house.
- Yeah, obviously I'm the who ever did the cleaning.
- So the same old domestic roles.
- [Robert] We have a comment from, let me see, from Craig, who says he remembers seeing the three piece Go-Betweens at the and bull in Civic here in Canberra. And Lindy helped me let some punks in free through the back door. Does that sound like something you would do?
- Yes, of course, I would have let them in. I actually remember coming to Canberra at that period, and I mean, it, it really was always exciting to come to Canberra. I have to say, Canberra really used to have a lot of drugs around, there were always tonnes and tonnes of drugs, I don't know if that person comment on that, But Canberra was kind of known for the back stage, or if you're playing at the university, the tables outside the.
- Behind new bar.
- Yeah. There are always lots of people dealing. It's probably not like that now, we hope it's not like that now. And, but we always had so much fun coming to Canberra, I absolutely loved coming to Canberra still do, yep.
- Yeah, that's a really interesting observation because that's one of the things, then another thing that we wanted to do with the exhibition was really demonstrate that Canberra has this history, because a lot of people who don't live in Canberra just think of it as a place that's full of, you know, politicians and public servants, and that it was, you know, kind of ends field, particularly in the '70s and '80s, the sort of place that, the only gigs that happened were gigs that happened because bands were sort of stopping here on their way between Sydney and Melbourne. So it's got, you know, there's all of these kinds of negative connotations about Canberra, I guess.
- You had Gutthega pipeline.
- Gutthega pipeline, all of which are documented, you can't see them because they are off-camera.
- Are The Numbers from here? Are The Numbers from here?
- Yes, The Numbers are from here.
- I remember Gutthega Pipeline where we played with them. They were the most beautiful boys. They really were, I loved them.
- I mean, Steve Kilbey.
- That's right, Steve. They lived in Canberra.
- And people like Midnight Oil they kind of started out when Peter Garrett was a law student at ANU, you know, so it does have this real history, which we've managed to sort of capture in the exhibition with all of these photographs by a man named well his photographer name was 'pling Kevin Prideaux, who was sort of public servant by day, edgy photographer by night, and he'd go around to all of these venues in Canberra, and document all of the bands, not just sort of locally grown bands like Gutthega Pipeline, but also the big name bands who were sort of stopping up here to do gigs at the ANU.
- We've got the whole wall of the things.
- Oh, you've got them on. Thanks Robert, yeah.
- Some on the other side as well.
- So it's a, I mean, and that's been a real eye opener to me, I'm not someone who's from Canberra, I didn't grow up here. And to know that there was this incredibly thriving scene has been, you know, that was like a real eye opener for me, a really sort of great discovery. And then to hear it sort of backed up.
- Yeah, fantastic.
- Yeah, I actually did a tour to Canberra with Zero.
- That's the band you were in?
- Yeah, we came and played in Canberra as well. And that was a trip to remember too. Someone put us up in their house and I managed to break the washing machine and the coffee percolator.
- A whole spread of appliances.
- Robert has just given us the five minute warning.
- You've got five minutes, which is plenty of time to still address a few things. But I was just wondering how did Lindy get involved with Tracey Thorne from Everything About the Girl.
- That would that because I mentioned the book.
- [Robert] Yes, perhaps.
- Well, I mean, she's got it all in the book, but in the eighties, I walked into her dressing room when we were doing a gig together, she was the Marine Girls and I was in the Go-Betweens, and I tell you, I have to be at two I guess, and asked to borrow her lipstick, and we became great friends, incredible friends, now that were very, very successful. And she and been able to organise all these fantastic old houses, where they would holiday, and I would have us to come and stay with them in the country. And they would have me to dinner regularly at their Hampstead place. And we became very, very good friends, and I have so many letters, she discovered I had all these letters from her, and she had kept a lot of mine. And she wanted to readdress what she saw as a retailing and remaking of history about the Go-Betweens prior to the documentary 'Right Here', the story of the Go-Betweens coming out, where the Go-Betweens had become Robert and Grant, post our breakup. And that my participation was totally diminished, and she wanted to readdress that, yeah. And she wrote the book. I tell you what, there's lots of stuff in the book, it's an outrageous book in some respects, you know, she had my diary, she had all my letters, it's all primary sources and she went through interviews. So some of it's fairly shocking and, but you've just got to live with it.
- Yeah, have you ever thought about writing?
- I thought about it so often, you know, I've really thought about it a lot, and I just, well, one, I'm not sure I'm a writer, you know, you can't just say, "Oh, I'm gonna be a writer." I'm not sure I'm a writer, but it's so much work to do that, it really is a lot of work. And also I'm not sure about my memory. So I have to really think about it. I mean, Tracy's book is her perspective on our friendship and her insights into what she thinks the music industry does to women, so it's with lots of really gritty stories in there, but it wouldn't be how I would write it. But I don't think or write one, I'll probably die before I write one.
- All right, well, I think we're almost there unless you got something to wrap up.
- No, just it's, I could probably keep talking all day.
- Yeah, we could probably keep talking all day. I know we could.
- But it's been really, it's so great that Lindy has been able to come here and see the exhibition, see the paintings again, see all of this and yeah, it's been great to meet you and great to chat. So thanks so much, Lindy.
- I wanna thank you for the invitation, I can't tell you how thrilled I was to have the invitation. It was right out of the blue and I just went, "Wow, that really is wild to be asked you to do this."
- Thank you so much.
- And I should say, I'm sorry if I've just kind of glazed over, I am a massive fan.
- Oh, oh really?
- So if I've kind of totally lost my train of thought or I've just been sort of looking adoringly at you, it's because you're wonderful, and the Go-Betweens has sort of been the soundtrack of my youth, I suppose, and even more so that I've been working on this exhibition, it's been the soundtrack for the past 12 months for me, so thank you
- Oh, right, wow, thank you. Thanks everyone.
- Thank you very much, Jo and Lindy, that was fascinating going on a memory lane, walk down. Thanks for joining us today for our fortnightly conversation. Come back in another fortnight or so, check the detail under what's on on the National Portrait Gallery website, and you'll see all of our virtual programmes, and our programmes here on site. And we have a new exhibition opening very shortly as well, and you'll hear lots more about that. On Tuesday at 12:30 with our regular Virtual Highlights Tour, we have got style and substance, fashionistas in the gallery. So that sounds like one not to miss. All right, we will see you next time, bye bye.
Chiselled features
Virtual sculpture workshop
NPG Wellington, Edinburgh and Canberra
15 minutes of frame
Drawing workshop
Focus on the face with Nicholas Harding


Competition in Class A and Class B were divided into six districts. The six district champions, plus two wild card teams, qualified for the state tournament. The wild card teams for Class A were: Boys - Omaha Burke, Omaha Creighton Prep; Girls - Lincoln Southeast; Norfolk. In Class B the wild card teams were: Boys - Omaha Skutt Catholic, South Sioux City; Girls - Elkhorn, Omaha Gross Catholic.
The first round and semifinal matches of the Class A Girls State Soccer Tournament were played at Omaha Bergquist Stadium with the finals at Omaha Bryan High Stadium. The Class A Boys State Soccer Tournament matches were played at Bryan. The tournament matches were played on May 13-15-17, 2000. The Class B Girls State Soccer Tournament was played at Lincoln's Abbott Sports Complex. The first round and semifinal matches of the Class B Boys State Soccer Tournament were played at Lincoln's Seacrest Field with the championship at Abbott. Paid Attendance: 13,716.


This coastal combination done in soft hues of green and blue will create a serene atmosphere. Set against a soft textured background, the design features a blue crab and sea creatures.
All of our products are digitally printed to create crisp, vibrant colors and images. Printed on imported fabric. Please allow 5-7 days for items to ship.


Now, more than ever, the Kansas City community needs entrepreneurial, ambitious developers to focus on urban projects that meet the needs of residents and small enterprises. As part of the 7th Annual Community Development Workshop, LISC is again hosting its popular Real Estate Development Training on Friday, March 8th from 9:00am to 3:00pm. All who complete the training will receive a certificate of completion.
The real estate development training is valued at $300. LISC is able to offer a discounted registration fee of $80 for those who register before February 28th. Lunch will be provided. Due to limited space, please contact us if you intend on sending more than three people from your organization.
Real Estate Training, register today!
The annual Community Development Workshop (CDW) is an opportunity to learn with leaders in community development, collaborate with other neighborhood changemakers, and be empowered to transform your community. The 7th Annual CDW will take place on Saturday, March 9, 8:30 am-1:30 pm, at the Kauffman Foundation Conference Center.
The morning session will feature Youth Speak by Youth Ambassadors, a non-profit, strength-based employment program serving teenagers in the Kansas City metropolitan area, followed by four breakout tracks to choose from. The tracks—Affordable Housing, Community Engagement, Healthy Communities, Neighborhood Safety—will offer a discussion of opportunities and challenges, as well as connections to local resources and available tools.
Registration is now open. The event is free but registration is required.
CDW is organized by Community Capital Fund, Center for Neighborhoods, Greater Kansas City LISC, and Livable Neighborhoods.


South Dakota is home to many criminal justice programs, including associate's and bachelor's degree programs as well as professional certificates. Criminal justice-related specialties that you can study in South Dakota include forensic science, wildlife law enforcement, and military science. The University of South Dakota also offers an online criminal justice degree. On this page, you'll learn more about the criminal justice programs available in South Dakota so that you can make an informed decision.
Schools in South Dakota offer opportunities to earn criminal justice degrees on campus, online, or through a combination of both with hybrid study. Many criminal justice jobs in South Dakota require only a high school degree to qualify, but graduates with a college degree are typically preferred. In some cases, earning a degree is an entry-level requirement. For example, Rapid City's police department requires an associate's degree or at least four years of law enforcement experience for police department applicants. Many federal government jobs require a bachelor's degree if candidates do not have significant prior experience. As a result, earning your criminal justice degree in South Dakota can lead to increased salary potential and expanded career opportunities.
University of South Dakota: The Department of Criminal Justice at the University of South Dakota offers a Bachelor of Arts and a Bachelor of Science in Criminal Justice as well as a Master of Public Administration with a Criminal Justice Emphasis. Students also have the option to double major in Criminal Justice with Sociology or Political Science. The department has several affiliates including the Civic Leadership Studies/ Farber Center (an interdisciplinary center focused on public leadership) and the Chiesman Fund (supports projects that promote democracy). For majors needing some financial assistance, there are over a dozen different scholarships and awards that they can apply for through the Criminal Justice office.
University of Sioux Falls: The University if Sioux Falls has a Bachelor of Arts in Criminal Justice offered through the Criminal Justice Department. This is an interdisciplinary program in which students enroll in psychology, sociology, philosophy, political science, and social work courses. The Criminal Justice Department provides numerous internship opportunities with local and state agencies, as well as potential travel for students who wish to attend conferences and seminars throughout the country. Five full-time faculty and one adjunct teach courses like Juvenile Justice, Rules of Evidence and Corrections and Operations Issues.
With double-digit population growth in its two largest cities over the past decade and a growing senior population, the government of South Dakota is actively investing in programs to attract and retain qualified workers. With no state income tax, a significantly lower cost of living than the national average, and the second lowest crime rate in the nation, there are many advantages to pursuing a career in criminal justice in South Dakota.
South Dakota offers a wide range of possibilities including career paths in traditional law enforcement, emergency and fire services, games, fish, and parks law enforcement, corrections, paralegal, criminal investigation, law enforcement education, and many others. South Dakota graduates of criminal justice programs can also pursue jobs with the federal government. The FBI and US Marshals are among the federal agencies that employ criminal justice professionals in the state.
Open positions are estimated from opportunities due to both jobs growth and replacements.
The Mercatus Center, a conservative think tank, rated and analyzed the long-term solvency of each state government. South Dakota ranked 5th in the nation.17 This shows sound employment practices, and new employees can be relatively confident in the state's ability to fulfill its employee pension obligations.
If you live in South Dakota and are interested in pursuing an associate's, bachelor's, or master's degree in the growing field of criminal justice, we recommend finding an accredited campus-based or online criminal justice program.
Tip: If you don't live near a campus-based school that offers a program of interest, consider an online degree or a university in an adjacent state (Wyoming, Montana, North Dakota, Minnesota, Iowa, or Nebraska).


text:
Cirque du Soleil celebrates its 30th
The Montreal-based company enjoys its international success
A giant turtle at centre stage represents the origins of life on earth. The creature's shell is whisked away to reveal an effervescent community of amphibians and fish that lives beneath its carapace. (Photo: OSA Images)
It could be like Van Gogh's sunflower fields brought to life, or some utterly far-fetched street scene. Every Cirque du Soleil performance should seem like a vision of a place you long to visit, says co-founder and artistic guide Gilles Ste-Croix. And the Canadian company, which celebrates its 30th anniversary this year, is as worldly as its performances are otherworldly: nearly 150 million people in 300 world cities have been delighted and transported by a Cirque du Soleil show, and out of around 4,000 employees, its 1,300 performers hail from at least 50 different countries.
In 1984, though, what's now the world's best-loved circus was provincial. That was when the Quebec government hired a motley group of street performers from Baie-Saint-Paul — acrobats, stilt and wire walkers, jugglers and musicians — to help celebrate the 450th anniversary of Jacques Cartier's landing in North America. The small troupe, by then already calling themselves Cirque du Soleil, took their new blue-and-yellowstriped big top to 11 towns and cities across the province.
That tent was the only truly "traditional" thing about the company. Led by Ste-Croix and Guy Laliberté, Cirque du Soleil was at the forefront of the revitalization of the circus. Refusing to rely on the exotic animals and daredevil stunts typical of many circuses, Cirque has always leaned instead on the captivating theatricality of its sets and lighting, costumes, dance, music and acrobatics.
As its orbits expanded — Ontario in 1985, Western Canada the next year, California in 1987, Paris and London in 1990 — it became the "flavour of the month" in each new place. That was fortunate, because as Laliberté said of their second trip to Los Angeles in 1988, "If we failed, there was no cash for gas to come home." Each new venture simply had to work.
Many international host cities and corporations have wanted to keep this Montreal-headquartered phenomenon. Of its 19 distinct currently running shows, nine are resident — which means that like the production O in Las Vegas's Bellagio casino, shows play in a permanent, made-to-specification theatre. But, says Ste-Croix, "We have always insisted on keeping all artistic control: we will listen to what you want and create something very unique for the public you want to target, but we keep control."
Just in time for the anniversary, a brand new show, christened KURIOS — Cabinet of curiosities, will debut in April 2014 in Montreal (as is the tradition for new touring titles). But on your travels, whether you catch another tour in Japan, Sweden or Argentina, the Canadian flag flies proudly over every big top.


text:
A Hallowedding
By Sue Long | Photography by David Naples
October 31, 2015 | Heidi Derstler and Matt Eckman
A holiday that is fast becoming the domain of adults, DIY ingenuity and a band that included the father of the bride, helped to make this wedding one that guests are still talking about.
Heidi and Matt both grew up in the Mountville area. "We lived a mile apart," she notes. But, their two-and-a-half year age difference prompted them to move in different social circles. Sometimes, however, their social circles would intersect or Matt would come to the Derstlers' house with mutual friends. "I guess you could call us passing acquaintances," she says. After graduating from high school, the two went their separate ways. Then, late in 2011, they reconnected through Facebook. A lunch date followed. They became inseparable. He proposed in April 2014.
As they were in the process of buying a house that would require a great deal of restoration work, they wanted a simple wedding. "If it was up to Matt, we would have had a pig roast in a park," Heidi says. Wanting to take it up a notch, Heidi, who agreed with him on the outdoor aspect of a wedding, began exploring her options. Through The Knot, she discovered the Eicher Arts Center in Ephrata. Its rustic interiors and outdoor spaces were perfect. She also liked the fact that proceeds from weddings and other events help to support the Native American Museum Shop that adjoins the center.
Heidi designed the invitation suite.
Matt created the glass ringer holder that Jackson carried down the aisle.
Heidi and Matt lit a monogrammed unity pumpkin.
The bouquets, designed by Heather Meaney, echoed the color scheme.
Heidi and Matt with her parents, Pat and Leo Derstler.
Heidi and Matt with his son, Jackson, and his parents, Bill and Cheryl Eckman.
Reception decorations were created at pre-wedding pumpkin-carving parties. Guests were invited to take the décor – pumpkins, gourds, potted mums – home with them.
Heidi designed the wrapper for the candy bars.
Stu Huggens stepped in to provide the pre-ceremony music when the CD player failed to operate.
It's not often that the father of the bride is a member of the band that provides entertainment. Leo Derstler has been a member of Stu Huggens' various bands for years.
The bride's father provided accompaniment for Mary Ann Garrett's rendition of The Wedding Song.
Heidi's brother, Ian Derstler, and his wife, Erin.
Guests danced the night away.
The property is brimming with history. Its story dates to 1724, when Johann Conrad Beissel, the founder of the Ephrata Cloister, baptized members of Daniel Eicher's family. In 1733, two of Eicher's daughters became "sisters" of the Cloister and took up residence in a cabin he built for them along the Cocalico Creek. A year later, their father acquired a 100-acre patent for land and built the family homestead adjacent to the cabin. The buildings eventually fell into disrepair, and by 1983 they were slated for demolition. A group of concerned citizens took up the cause to save the Eicher buildings, with restoration successfully completed in 1985.
Heidi and Matt pose with her parents, Leo and Pat Derstler.
At the time Heidi visited in late 2014, only three Saturdays were available for 2015: two in August and October 31. "Fall is my favorite time of the year, so I chose October 31," she explains. The more she thought about it, the more October 31 appealed to her. "I said to Matt, 'It's Halloween! Let's go with it, embrace it and have fun.'" However, at the mention of costumes, he became leery. "I had to sell him on my ideas," Heidi admits. But, as long as he didn't have to do anything ridiculous and Heidi promised not to become a Bridezilla, he was game.
Heidi poses with her Flapper-inspired attendants.
On the other hand, Heidi's mother, Pat Derstler, was unfazed. "Heidi is Heidi," Pat says. "Nothing she does surprises me." She and her husband, Leo, agreed to go along with their daughter's vision.
Excited to get started, Heidi conducted a great deal of online research about how others planned and executed Halloween weddings that were both beautiful and boo-tiful (a word that was used in the couple's LNP announcement). Orange became the theme color for the floral, decorative and cake aspects of the wedding. Black also figured in from a fashion perspective, as well as for the table linens and the cake.
Wanting the wedding party to look cohesive, Heidi settled on a Great Gatsby theme. For her dress and those for the attendants, she turned to Etsy.com, where she discovered Gatsbylady. Based in London, Gatsbylady has been working in overdrive for the past three years, providing "vintage-inspired, hand-embellished Flapper dresses" – worldwide – for everything from Downton Abbey-inspired weddings to Halloween and Roaring '20s-style costume parties. Heidi wore a shimmering white dress, while her attendants donned sparkling black designs. Matt and his groomsmen had an easier time of it. Gatsby-inspired tuxedos just happen to be in vogue and are readily available at local rental shops.
Guests got creative with their costumes and, yes, Elvis (actually there were two) was in the house.
Heidi also wanted her guests to get into the "spirit" of the wedding. The invitation specified, "costumes encouraged." To honor her request, all 115 guests arrived in costumes. Pat initially decided to come as the Wicked Witch from The Wizard of Oz. "A witch of a mother-in law!" she laughs. Unfortunately, the costume arrived on October 24 and was too small. "So, I ran to the costume shop at Park City and got a red Flapper dress and all the accessories for $30!" she says. Fortunately, Leo's Charlie Chaplin costume fit just fine.
Even former District Judge Daniel Garrett, who conducted the ceremony, went with the flow and wore a rather dignified costume.
The internet also provided Heidi and Matt with ideas relating to their ceremony. They liked the idea of a unity ceremony but couldn't agree on which one; therefore, they performed two. The first was a takeoff on the wine ceremony in which red and white wines are combined to create rosé. "We love beer, so we substituted beer for the wine," Heidi explains. And, they added a Halloween aspect to the unity candle ceremony by lighting a monogrammed pumpkin.
Whenever Heidi hit a roadblock, she would post her questions on Facebook and wedding-related blogs. "Ideas and suggestions came flowing my way," she says. And, through Facebook, Sarah Mohr volunteered her services as the event's bartender. Longtime friend, Heather Meaney, who is a freelance floral designer, saw Heidi's posts and offered to design and provide the bouquets, boutonnieres and centerpieces. The same is true of another friend, Jaclyn Sultzbach, who served as the hair/makeup stylist and fashioned Heidi's headpiece.
Pinterest, of course, was a source for decorating ideas. Fortunately, Heidi and Matt are creative in their own rights. Heidi, who is a graphic designer at Albright College in Reading, designed the invitation suite, the cake and the wrapping on the candy bars that served as party favors. Matt, who is a glassblower, made the cake topper that glowed acid green with the help of a blacklight. He also created the glass ring holder that the ring bearer carried down the aisle.
Heidi designed the cake, which was then interpreted by Patty Mitchell of Cake Creators. Matt created the glass cake topper.
Friends and family also joined forces to help the couple. At the top of the must-have list was a cake from Cake Creators in Silver Spring. Heidi has been friends with owner Patty Mitchell's daughter since childhood. Incredibly, it was Matt who suggested the cake flavor of pumpkin spice. It was't in Patty's repertoire, but she agreed to devise a recipe. Patty then replicated the designs Heidi provided for the orange-and-black cake. A variety of cupcakes was also available.
Matt's sister-in-law, Jessica Eckman, directed the couple to Nancy Nissly, who operates Nanalyn's Full-Filling Feasts. Thanks to Nancy, Matt got his pig roast.
The couple's families also bonded during DIY parties in which they wrapped the candy bar favors and carved pumpkins. More than 100 pumpkins and gourds were purchased from area farms; 20 were carved, while the rest were used for decorative purposes. Guests were welcome to take them home at the end of the evening.
And, then there was Stu Huggens. He and his band, which Leo has been a member of for years, were slated to provide the reception's dance music. But, when the CD player failed to cooperate before the ceremony, Stu jumped in and provided the background music as guests arrived and found their seats. However, he drew the line at performing Michael Jackson's Thriller, which was slated to be Heidi and Matt's recessional music!
Looking back – and ahead – Heidi says she doesn't have any regrets about her wedding's style and theme. "We just wanted everyone to have a good time, and I think we accomplished that," she remarks. Pat verifies that sentiment. Just before Halloween 2016, she ran into a wedding guest who apparently had a wonderful time at the wedding. "He asked if Heidi and Matt could get married again," she reports.
Photographer: David Naples Photography, Morgantown
Venue: Eicher Arts Center, Ephrata
Bridal Gown/Attendants Dresses: Etsy.com/Gatsbylady, London
Groom/Groomsmen's Attire: Central PA Tuxedo
Cake: Cake Creators, Silver Spring
Floral Design: Heather Meaney
Tent/Arch: Tents for Rent
Invitation Suite Design: Heidi Derstler Printing: Pem-Cor
Specialty Glass: Matt Eckman
Catering: Nanalyn's Full-Filling Feasts, Columbia
Hair/Makeup: Jaclyn Sultzbach
Entertainment: Stu Huggens Band
Even the officiant, former District Judge Daniel Garrett, got into the spirit of "costumes ncouraged."


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HomeBrexit WatchItaly's crazy gang put two fingers up to Brussels
Italy's crazy gang put two fingers up to Brussels
Ever heard of Manfred Weber? A young Bavarian politician and leader of the European Parliament's largest grouping, the European People's Party (EPP), Manfred is a prime mover and shaker in the battle for the future of Europe. EPP members constitute almost half (13/27) of the European Commission and provide almost a third (9/28) of the European Council. The party boasts of having 'pioneered the European project from its inception'.
Manfred was especially instrumental in torpedoing David Cameron's attempt to extract concessions from the EU prior to the UK's referendum on Brexit. 'The EU is based on an ever-closer union of European peoples. That is set out in the treaties. It is not negotiable for us . . . We cannot sell the soul of Europe,' he told the German newspaper Frankfurter Allgemeine Sonntagszeitung at the time.
The battle for the soul of Europe has now crossed the Alps to Italy. A new government of populist, Euro-sceptic Right, in the form of the League under Matteo Salvini, has agreed coalition terms with the populist Euro-sceptic 'sort of' Left-wing Five Star Movement (M5S) founded by comedian Beppe Grillo and now headed by Luigi di Maio. A strange brew, indeed, as even those who are well-versed in Italy's political shenanigans recognise.
This is a nightmare for Manfred Weber and like-minded europhiles. In essence, the Italians have put two fingers up to Brussels and voted for the good life and an easy time. The new government's cunning plan is to lower the state pension age and raise pension benefits. At the same time, and in accordance with the League's electoral promise, taxes are to be reduced to a flat rate of 20 per cent for high earners and companies and 15 per cent for everyone else.
Meanwhile, Five Star's electoral promise of a basic monthly income of 780 euros for unemployed Italians is to be implemented. Unsurprisingly, this went down well in the south of the country where unemployment is endemic. Within hours of the election results being declared, it was reported that queues of claimants were forming outside town halls in southern cities. This, of course, cannot have been true since Italians do not form queues.
So, earlier retirement, bigger pensions, lower taxes and guaranteed unearned monthly wages – what's not to like? Some Italians may be a little nervous about a mooted entente with Russia, but who has Britain turned to in the past when Germany or France threatened?
Barmy it may be, but if you want to see stylish resistance to Brussels, visit Italy. It knows how to throw down the gauntlet and, indeed, how to fence.
Manfred, of course, is not happy with Italy's political crazy gang taking power: 'You are playing with fire because Italy is heavily indebted . . . irrational or populist actions could cause a new eurozone crisis.' He appealed to them 'to stay within the confines of reason'.
Our timid UK government could learn something from the League's response. Its spokesman, Mario Bizzotto, told Manfred Weber that he should 'mind his own bloody business, the Italians are tired of taking orders from Brussels and Berlin . . . Let Weber put his mind at ease: the time when Merkel and her proconsuls in Brussels set up and knocked down Italian governments according to the interests of Germans and their banks is over'.
He added: 'The League-M5S government will act in the interests of the Italians, not of the Germans . . . It's Weber who's playing with fire.'
What next? The new Italian government has to find a prime minister – it will be an unelected technocrat, of course, since neither party will admit the other party's candidate. When the name Conte popped up I wondered if it was Chelsea's FA Cup-winning Italian manager. After all, the Italian soccer team has an unrivalled record against Germany in competitive matches.
Manfred Weber beware: taking on the governments of Greece and of the UK is one thing but taking on Italy's political crazy gang is going to be something completely different.
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Leigh Anne Jasheway, M.P.H.
Award Winning Humor Speaker and Author
BOOKS BY LEIGH ANNE
When life isn't funny and you need a quick laugh or information on how to use your sense of humor to turn your stress into giggles, you've come to the right place. A purchase from my product list is a lot more likely to fit properly than something from Victoria's Secret and less likely to get you in trouble than a gift certificate to a fitness center.
So take a look. There's something for everyone — except Rush Limbaugh. There's probably nothing here for him.
For international orders (outside U.S.A.), e-mail lajfun@accidentalcomic.com
NEW! The Dogs' Guide to Human(Kind)
by Leigh Anne Jasheway
Seven wise dachshunds have taken time out of their busy schedules of napping and hounding to give us humans advice on being better to each other and ourselves. If you're looking for ways you and your children can become kinder, happier, and more loving, just sniff through the pages of this little book of canine wisdom. Funny, wise, and only smelling slightly like wet dog, this book will help you let your best self run off-leash.
Praise for The Dogs' Guide to Human(Kind)
Murray: I loved this book! It was almost as tasty as shoes!
Penny: I'm glad it's a softcover because it's easier to nap on.
Watson: You'll get engrossed in this book, but please don't forget to feed the dog.
Justin: Please wrap this book and give it as a gift. I LOVE opening gifts.
Maddy Lou: Raindrops on roses and whiskers on dachshunds, la-la-la.
Slate: You should buy one for your neighbors. It's the human(kind) thing to do.
Copper: If you're a redhead, you get 10% off. Wait, mom said no.
Don't Laugh! You'll Wake the Dog!
Humorous Musings on All Things Funny Furry and Fuzzy
If you love to giggle, guffaw, and snort, but find yourself holding your laughs in because you're afraid you'll disturb the pooch or make your other family members think you've lost your last marble… this is the book for you. Leigh Anne's latest collection of funny columns will convince you that you haven't been laughing enough lately and that no matter the eye rolls and furry family member glares, you need more hysteria in your life.
You'll learn what a party eggplant is, how to achieve "the moves like Rover" and avoid "trexting" all while dabbing at the tears running down your cheeks. Relive that first day of school when you were petrified about your outfit and listen in on a dog's thoughts about the meaning of life. All this from an award-winning comedy writer and dachshund wrangler.
101 Comedy Games for Children and Grown-Ups
Award-winning comedian Leigh Anne Jasheway has written 101 Comedy Games for Children and Grown-Ups specifically to make readers laugh. Laughter provides great health benefits, reducing tension and improving overall mood. Jasheway's book connects readers of all ages with their inner five-year-old, providing 101 games and activities to increase their laugh quota and decrease the pressure in their stress-o-meters. With Jasheway's help, readers can improve their emotional health and have a great time doing it.
101 Comedy Games for Children and Grown-Ups includes eight different sections, each geared toward a different genre of comedy. The first section concentrates on introductory games for getting to know fellow participants and familiarizing oneself with the basic rules of comedy. Later chapters introduce games geared toward a specific type of comedy. Each section includes numerous games, which are presented with a general description of the activity, the purpose behind it, a list of supplies (if necessary), helpful hints, and rule variations. Jasheway also provides a key to indicate the target ages for each activity, making it easier to pick the best games for the participating group. Jasheway's book promises to provide fun times and lots of laughs for anyone that picks it up!
Confessions of a Semi-Natural Woman
Left behind in the grip of a mammogram while the technician yells "Fire!" and leaves the room… laughed at by vacationers as she pushes her grey-muzzled wiener dogs in their strollers on the beach… passed by kindergartners as she pedals her comfortable bike around the neighborhood… walking through the King Tut exhibit with bloody feet because she forgot to pack comfortable shoes… learning to strip for exercise and trying not to fall down laughing…praying the people at the craft store do an intervention on her behalf… setting off the smoke alarm while taking a relaxing bath… being called a Cougar and not being at all happy about it…
This is the all-too-true funny life of award-winning humor writer, Leigh Anne Jasheway. And it's all here in Confessions of a Semi-Natural Woman. Read this book and you'll laugh in a very unladylike manner. There could perhaps even be snorting and gasping for air. It wouldn't be bad advice to strap on a pair of adult diapers, just in case.
Laugh Lines Are Beautiful and Other Age-Defying Truths
Now that you're a mature woman, you're smart enough to know that . . . a tight ponytail can take five years off your face. More bright, brassy opinions from the fountain of truth!
From the author of Not Guilty by Reason of Menopause comes another unapologetically feisty manifesto. Laugh Lines Are Beautiful celebrates everything from the dubious benefits of maturity, moderation, and perky mammaries to the singular pleasures of mood swings, mammograms, and myopia. In comedienne Leigh Anne Jasheway's pasture, there are no sacred cows. Growing older (and hopefully, wiser) with style and sass and a slightly sagging posterior trumps investing in anti-aging goo, inflatable face and body parts, and ill-fitting foundation garments any day. So why age gracefully when having a midlife crisis feels so good?
How'd All These Ping Pong Balls Get in My Bag?
by Leigh Anne Jasheway, Master of Public Health, Mistress of Public Humor
Not Guilty by Reason of Menopause
With poignant humor and a bold attitude reminiscent of the BITCH book series, NOT GUILTY BY REASON OF MENOPAUSE discusses the lighter (and hopefully, cooler) side of menopause. Laugh-out-loud sayings accompany retro photographs in this lightweight gift book, which also doubles as a fan. When women of a certain age know the calcium content of a pitcher of piña coladas and can pick out their colon in a line-up, they deserve to have what this book delivers: a little black dress made of terry cloth, antiperspirant in six packs, and a personal towel boy.
Life Is Funny (a Novel)
Walking into Lone Star Cuts is like stepping into the Texas State Home for Dysfunctional Hairdressers. There's Nan, whose multiple personalities keep everyone guessing; Leon, a good ol' boy whose octogenarian clients take his flirting seriously; and Ima the psychic manicurist who tends to fall asleep by the third finger. Judy, who dreams of becoming a stand-up comic and spends more time telling stories than doing hair, seems to be the least dysfunctional of the lot. Until, that is, she wins a comedy contest that starts a chain of events that begins with her best friend being fired and her sons being harassed by strange men in trench coats, and ends with an offer for her to run for Governor. Will she or won't she? Only your hairdresser knows for sure. One thing is certain – it's a hair-raising, thigh-slapping tale that will leave you wishing you'd put on Depends before you picked up the book.
Are You Playing With Me?
Also available at: wholeperson.com
Are You Playing With Me? contains over 30 fun and creative activities to use with your groups. Trainers using this book will learn how to choose the right games for the right time, break down barriers to help people learn, and push people past their comfort zones without pushing their buttons.
Games are a great way to energize your group as well as:
Improve morale
Clearly communicate your message
Build healthy teams
Resolve conflict
And just plain have fun!
If you are a trainer who likes a lively, interested and energetic audience, this book is for you.
Yoga for Your Funny Bone
Whether you're a novice comedy writer just getting started or a seasoned pro who spends less time laughing than lying face down weeping into the carpet, Yoga for Your Funny Bone is just what you need to stretch your writing to funny new places. You'll laugh yourself silly with exercises like Bi-Polar Express, Faking It, Genre Deficit Disorder, I'm Not as Dumb as I Look, Separation Anxiety, and That's So Formulaic. Don't look now, but not only will you be able to flex your funny bone more often, you may also just learn a little something about life while you're at it.
Bedtime Stories for Cats
*Updated versions will be available in spring 2016. Used copies may be available at bookstores.
The purrfect bedside companion for feline lovers everywhere!
From tales like Rumpled Katzkin (about a cat who does Barbra Streisand imitations and the nerd who loves her) to Kitty and the Beast, Bedtime Stories for Cats will entertain humans and help spoiled kittens get their much needed sleep.
This catty collection of rewritten fairy tales is almost as good as catnip. The heroic cats and happy endings will amuse the kitten in all of us.
Bedtime Stories for Dogs
Here's a book that will make dog owners sit up and beg for more.
From tales like The Three Little Pugs to Snow White and the Seven Chihuahuas,: Bedtime Stories for Dogs entertains everyone who's ever had – or loved – a spoiled canine.
The tales in Bedtime Stories are written just the way dogs like things – they're short and simple, they have happy endings, they usually involve food, and they frequently refer to things that smell really awful. Each one of the stories was proofed and woofed by the author's two wiener dogs: If they didn't give a story two paws up and two tails wagging, it was back to the drawing board, she says.
Anyone who has a canine companion will want this charming book. It's a bow-wow bedtime bible!
Date Me, Date My Dog:
Finding Mr. Right for You and Your Pack
*Kindle version available at online booksellers
Date Me, Date My Dog: Finding Mr. Right for You and Your Pack is a LOL single woman's guide to dating that not only empowers you to hold out for a guy who loves you for the dog-loving woman you are, but also suggests ways to use your dog's sensibilities to find Mr. Right for you and your canine kid.
Are you stuck in the endless loop of hooking up with bad boys your Chihuahua "Charo" wouldn't even look twice at? Or have you lost many a man to dogus-interruptus (otherwise known as canine voyeurism)? Whatever your issues may be, Date Me, Date My Dog barks up all the major problem areas single women with dogs face when trying to find Mr. Right.
Date Me, Date My Dog will teach you the best places to "meet your match" and what to do once you've fetched him. It will also help you learn how to (among many others):
Communicate in English rather than "dog speak."
Know when it's appropriate to let the crazy dog lady loose.
Decipher the language men use in personal ads.
Use astrology to glimpse the future relationship between your two BFFs.
Prevent dogus-interruptus!
Equipped with a canine contract and dating capability test, Date Me, Date My Dog: Finding Mr. Right for You and Your Pack will help you successfully navigate the dog-eat-dog world of dating with humor and compassion…and more than a little help from your faithful, furry, forever friend.
The Rules for Dogs:
The Secret to Getting Free Treats for Life
*Out-of-print. Used copies may be available at bookstores.
A book parodying the best-selling book The Rules offers advice to dogs on how "to make your person as obsessed with you as you are with your hindquarters."
Laugh Track & Field*
A Short, Funny, and Partly Made Up Look at Track Town USA and the Wacky World of Track and Field
by Leigh Anne Jasheway & Jesse Springer
*Book available regionally (in-person only)
Celebrate the 2008 Olympic Track & Field Trials!
Award-winning comedy writer, Leigh Anne Jasheway, and award-winning cartoonist, Jesse Springer, have teamed up for this funny look at the sport that made Eugene famous.
Laugh Track & Field is a great gift book for track fans, for visitors to the 2008 Track & Field Trails, and for anyone who has ever seen a blur pass them by on the Pre Trail. Purchase yours at UO Duck Store locations, or for quantity orders, contact Comedy Workout Publishing at 688-1674.
Don't Get Mad, Get Funny!
A light-hearted approach to stress management
by Leigh Anne Jasheway. 1996 Whole Person Associates, Inc.
What the reviewers have to say about this new book:
Leigh Anne Jasheway proves that comedy is accessible, necessary, and much too important to be left in the hands of "professionals." If the people who could most benefit from reading this book fail to see the necessity of doing so, then it's up to the rest of us to buy it. CAVEAT: Do not read this book after you stub your toe; read it beforehand. Frankly, Don't Get Mad, Get Funny! could make the world a safer place. — Brett Butler, star of the hit TV show "Grace Under Fire"
It's hard to teach people how to have a sense of humor, but Leigh Anne shows us that it is possible. Send a million copies to Bosnia, one to Idi Amin and a few to the poor old Queen. Quickly! — Jan Eliot, creator of the comic strip "Stone Soup"
This playful, practical, powerful book will help you to manage stress… before it mismanages you. Don't get mad… get this book. — Dr. Joel Goodman, Director, The HUMOR Project, Inc.
Don't Get Mad, Get Funny! was great for relieving my stress. By the time I got to Chapter 2, I was so relaxed, I dropped it on my foot. Then I really needed it. I took Leigh Anne's suggestion and doodled ugly pictures of people who give me stress. Funny, they look exactly like the ones in my wedding album! — Paul Seaburn, comedy writer, humor consultant, co-author of "A Wife's Little Instruction Book"
Don't Get Mad, Get Funny: A light-hearted approach to stress management can help you find the funny in your life. You'll read chapters with titles such as: "Help! I'm under so much stress, my inner child wants to be adopted!," "Last time I went to the doctor, the blood pressure cuff exploded!" and "Nyuk, nyuk, nyuk: What the three stooges knew about the benefits of humor."
You'll learn simple ways to find and use your funny bone, like making funny friends, remembering and retelling your own funny stories, and adopting an alias for the evil person you become when you're stressed-out. But, Don't Get Mad, Get Funny: A light-hearted approach to stress management doesn't stop there. You'll also learn how to turn your stresses into jokes, how to keep a humor diary, how to rewrite your autobiography with humor ("I had so many step- and half- siblings we had to wear name tags to the dinner table so we could know who to yell at for taking the last roll.")… and much more. You'll even learn how to have an emergency humor response plan.
Don't Get Mad, Get Funny! recently received an award of merit from the Midwest Independent Publishers Association.
So, why are you standing around sweating through your life when you could be laughing it off? Don't get mad — get this book!
Books that are no longer available
(but check in with your local used book store…)
Unleash Your Employees and Set Yourself Free (an eBook)
Serious Side Effects: The Best of Leigh Anne Jasheway From The Comic News, Vol. I
Driving for Idiots (Out of Print)
Give Me a Break (Out of Print)
If I Was a Dog, I'd Be a Better Person (Out of Print)
The Rules for Cats: How to Get Free Catnip for Life (Out of Print)
© 2017 Leigh Anne Jasheway, M.P.H. All rights reserved.


Dogs have over the years been called a "man's best friend," and this is undoubtedly for a reason. In many cases you will turn out to be first, and this will keep you being able to have the right services, and this is very important. It is important that you consider various things that you need to follow up to ensure that you have a pet that makes your family enjoy an excellent time. If you are looking for a pet for the first time, here is a Dog Deep guide that you should keep in touch with for your everyday needs learn more about dogs.
There are various breeds and settling on one that focuses on what you have been doing is a critical thing that will take your business to another level, you need to interact with various sites, you will learn more about dogs. Depending on the right breed that will be good for you ensure that you get details on the main things that will make you enjoy awesome resources as this is very essential. You will see lots of pets that are here and when you choose one that is great for your dear one, this is a great idea that is essential for your own needs. You find that dogs are very many and being able to choose one that helps you enjoy awesome ideas is very essential for you to keep your dog being able to adapt to various ways at home.
Time is important as well as if you can sacrifice it, the better for you. Just like that way you treat a newborn baby who is added to your family, this is the same way you are supposed to treat your pet since he/she becomes part of your family now. Although you might be willing to do everything for your pet, that doesn't mean that you have to leave everything at work only to groom and wash your pet while there is someone else who can help you out in that.
In case you have kids, it would be wise that you make a visit before you adopt or buy your first pet. However, whatever decision you are going to make, just ensure that you have consulted your family first to hear their side of story and the kind of options they have. It would be a great honor having a pet which loves and cares for your kids because this site brings you the right kind of connection that you would like. Be cautious with the pet you want to invest on now that you will not only live it is for some months or even decades, but you intend to live with it your entire life. No doubt that using the guide noted above, you get the dog you have been dreaming of view here for more.


SFO - Detection and prevention. Are you at risk?
HomeOur adviceDetection and prevention. Are you at risk?
These questions can help you assess whether your business may be at risk of breaching bribery and corruption laws in New Zealand and overseas.
Is there a strong message of 'zero tolerance to corruption' from those at the top of the organisation (directors and senior management)?
Is the organisation operating in any high risk jurisdictions (refer to Transparency International's Bribery Payers and Corruption Perceptions Index) or high risk sectors (e.g. defence, oil and gas, property development, shipping)?
Do you have a comprehensive code of conduct which must be signed by staff and agents in all countries where the organisation is operating?
Are system processes and internal controls in place to support the code of conduct (in particular: clear procedures on gifting/corporate hospitality/entertainment, staff training and whistle-blower protection)?
Do you have a dedicated position (such as a compliance officer) with overall responsibility for the organisation's anti-corruption programme across all countries?
Are staff actually implementing the organisation's anti-corruption policies?
Are employees circumventing established organisational processes or arguing special cases?
Do employees have an unusual interest in a particular contract or a specific contractor?
Is an employee's lifestyle at odds with their known level of income?
Are you fully aware of activities of your overseas agents (for example, no indication of 'splashing the cash' to attract business)?
For a more detailed list of warning signs of bribery and corruption, see What to watch for.


Due to riding in Masters 5 myself I only had the opportunity to photograph some of Masters 2 and Masters 1.I positioned myself with around 4km left to ride just at the start of the Avenue of Poplar trees.
All the images are also available for sale,should you be interested please use the contact link above to send me your query.
Price is $5 for a facebook/blog size low res file. $20 for a hi res file suitable for printing up to an 12 inch x 8 inch photo.
Files are emailed to purchaser.Payment can be made using PayPal or direct debit,details supplied when contact is made.
When sending your query it will simplify the process if you let me know which image you would like,a good description,type and colour of bike,what kit your wearing and possibly race number etc. Which size you would like and how you would like to pay,I can do PayPal and Direct Deposit at present.
I must apologize that my website is not set up properly with an easy to use shopping cart for purchasing photos.I hope to rectify this in the near future.In the mean time it just takes a couple of brief messages and the file will be sent to you.


 Play Championship - 10000+ Free Online Pop Web Games at Popwebgame.com - Play and download free online games.
Compete against other car in this race through the mountains. Take care, not always the one who runs faster reach before. Use Arrow Keys to drive.


CentreStack is a private File Sync and Share solution for managed service provider and enterprise.
Every year, CentreStack will have a new design for the web browser interface to keep up with the newest trend in technology, such as responsive design and web document editing.
Specifically in this 2016 version of the web browser interface, you will see responsive design throughout all the UI element and the ability to modify word documents without leaving the web browser. You will also see reporting capability leveraging latest HTML5 feature as well.


Tired of cookie-cutter ads that miss the mark? You deserve professionally made TV ads that talk to your target group. At Hightower, our style is revolutionary. We don't just make a video, we sell your product. We have creative and analytical marketing teams that will push the value of your business.
A distinctive message that stands out from the crowd. For almost a decade, we have used quality video advertising to build relationships between customers and businesses (big and small) in Broom Hill. Television advertising offers a massive platform to communicate with your audiences every day, so make the most of it.
For your ads to break the mould, a highly-creative team of video experts is key. Our services are comprehensive, ranging from scriptwriting to acting, voiceover, editing, animation, rendering and distributing. Concerned about government ad censor reviews? Don't worry, our ad videos pass the Clear cast test while retaining the core message. Hightower's professional video team will drive the message home to your audience whether you are launching a new product or promoting a sales drive.
If you have a brief or idea for video communication, you may submit it to us via email or call our direct line. Our producer usually starts by assigning the project to an art director. The creative director (CD) will pick out the defining parts of your brief and develop a concept. The big idea will meet the goals of your business brief. The AD will contact a scriptwriter to start with some scripts for the video project. In the next step of pre-production, you will review the scripts to determine the best idea for your brand. The next stage involves engaging a storyboard artist who will animate the ideas on a visual board. Animating your project makes it easier to develop on video. From storyboarding, the producer starts on the timetable of events and draws up a budget.
After the shoot, the post-production unit handles the rushes for final editing. The editor's role is to build a narrative from the available rushes. Their work includes producing a well-rendered, crisp quality finished piece. The graphics and animation team will give the video an extra touch of appeal. The size of the budget, product and business, will determine the range or scale of graphics that will be used in the video ad. There are many musical scores at our library to choose from. A sound specialist will buy legitimate song(s) to fit into your video But we can also create an original score, based on your choice. Finally, one of our talented vocalists will narrate your ad in a convincing way that suits your brand. When it comes to quality video production, no one in Broom Hill produces like Hightower. What's more, our videos provide a great return on your investment (ROI). Looking to produce a TV commercial that will blow up your phone? Send us a message today.
Yes, you can, provided you have a good budget. But when making a TV ad, choosing the right fit for your brand is important for the message. While a celebrity may be popular, they might not have the right persona for your brand. If you use a non-celebrity actor who is just as talented, it will cost you less and even improve the quality of your video.


With photographs by Sean Thomas and styling by Julia Sarr-Jamois, Kenyan born model Malaika Firth looks absolutely gorgeous in a 'smile, happy looks good on you' editiorial for i-D Spring 2014 Edition. Malaika is truly radiant in the several luxurious pieces she is wearing from top designers such as Miu Miu, Jeremy Scott, Jonathan Saunders, Stella McCartney, and Saint Laurent. See images of the model for i-D Spring 2014 editorial below.