Making a nest with balloon dinosaurs & plastic fire-trucks.
Objects of Home – stones & photographs.
Horizon as Home – eternally present/ever-receding.
A journey through the valley & the forest.
Possess also, there, their peripheries, Horizons.
& so are meeting our meetings met not.
On the ape-skinned race at Home.
& how are we to know?
Weaving & unweaving the air.
If she goes, I also go.
At Home I'm told lives comfort. On horizon, there is Home. What's more: each is a nothing recedes when I've done a little more than be tempted to touch.
Author PPosted on May 30, 2016 May 30, 2016 Leave a comment on Horizon-al Noon!
A "swim" is a compositional form, a hunting methodology, a meander, a derive within the space of a text, field notes on the physical realm of the page. Its relationship to erasure is evident, relevant, & coincidental: One chooses a place on the page to begin, a word or phrase or fragment. One chooses whether or not to predetermine a path or whether to follow a natural affinity (in the following case there are 5 sections following 5 distinct approaches to path on each of 5 pages). Something emerges, or doesn't. Meaning is made, or isn't. Relationships within the text observed may be rewired, expanded, unhinged, clarified. Relationship of reader to Text may be tested. Linked here and above is the PDF of the article in question.
There he is, a pluralist.
a prophet from the centre.
on obiter tracts, But emerges believed, some: This & some. Take to attempt reason rather than fate. Light it casts it on to sources, both motive to most in what letters, essays & stories, writings, social stories – private: between nowhere & paradox – his historical holding, in short, is serious.
I was recently reminded that a planet is a wanderer. "Is" somewaylike making the berry middle of the turnover. Planet.
Venus said once to me, in a bus hoarse creak, "sorry for the moon over bad hotels" & perhaps I thought, "good for you." But it's become obvious to me since then that what she really wanted to say was "I love you," only this is a hard thing to mean & say simultaneously.
I'm sorry I am as I am: Planet.
Mars frumped. Has been frumpy. Like some middle-aged detective in a murder mystery in Iceland or Denmark. Lens flares & open landscapes half-palmed-over with ice-white stones. Wondering the spit of self. His daughter probably has issues with him. Whose mother no longer worries in the pillow–found her own way without him. There is only the wandering mystery to sooth. & a windshield under electronic drones. The almostfreeze beading by the slow wiper windshield. Lingering red light.
A wink that doesn't mean to wink.
My grandfather's clock was left on Crete in a bloated oak crate in the sun. So I don't know what time it is, nor how we get from here to Rome to home (to Florence I think by Elephant wing). Still, when there is chiming, we delight in the design. All the many molten hearts of Italy, an ember to the amber of our planet names (poets, all on island time, remember the long tick of the bubble in Boulder, & how do we find ourselves in America? We wander!
A shame if not to also wonder).
heaven & earth & human.
I don't mind the backward slide of Mercury. But I love the apeswing vine chide on the channels' for-always-ness of nightlights in their mumbles.
It's true: water just comes right out of the sky & wets us for no good reason, but don't worry, Neptune governs the clouds with a dry writ. "I shall be in a trench," he whispers, with the bulb-based tooth-fish, pretending.
I have been to a body space, now, ful, & what a good bello-ing song. Of course! It's our dogs that dig for us. & of course they don't quite know it's for us. Bury whatever seems most ours for us. A simple urgency to keep the thing safe. Why so West? I could ask you. But, then, when I ask myself, Why Portugal? Why Lisbon? I sense the answer better by not knowing it. Because the ocean & the moon. Because the sailors know. Because because. The ocean in my town is like the ocean in my body. & I love the call to body that a body space ful gives.
In the space of home, whatever that means to you.
Whatever that means to me? I wonder if I will spend forever on this "whatever," or if I ought to just comply to the object in the sentence. It means "whatever" to me: now shall I sit in whatever and be with my body & listen to what it has to say & not-say. Now shall I say with my body what I heard & not-heard.
I wish to combine the performative forces of the creative spontaneities I have practiced to date, the persistent symbols that drag me from one medium to the next, a philosophy of process—based somely in actual theory and mostly in my lazy ear (I will call it the un-naming of the birds)—into a film. Film, of course, combines all the arts & so, so far as combinatory efforts go, it is the formally fittingest one.
Mainly I am excusing myself for not learning the names of my two chords—not filling my head with jargon about windows, not calling a woman from a window in France "wife" or "ex," nor attempting to fill a grief & a joy surrounding my experience of her experiences with easily compartmentalized clinical terms, not naming a state of being "depression" so as to see myself as a malady, not internalizing rules of thirds & acts & dialogue & such, so as to formulate. Formulae are helpful. My formula is not this formula. It's more of a dream. More of a breath by the water in the sun & a creature breathing there too. I defend.
Let I now defenestrate the defense.
Applicable theory for this exists, not least of which Kerouac's spontaneous prose & Chogyam Trungpa's Dharma Art & uncontaminated first glimpse & Ginsberg's notice-what-you-notice/ first-thought-best-thought, but I want to talk about process at the moment.
Not knowing the name of the chord makes it mine in some way like a dream belongs only really to its dreamer. I can feel guilty about not knowing it as well; this limits my exploration of like sounds. Well, there are limitations. So be it. & this may explain what took me so long to learn anything about my two chords, or help to explain why what I am now learning about them is something I feel uniquely suited to. Why I want to express about them: my personal/universal/breathing/vital connection to their expressive qualities in me.
Recently I had been playing that old song again to see if I could remember it. I know I might sit & flog my mind in recollecting each word, but for the time was-ing, I wanted to see what I recalled without too much straining. "It was here. Now it's gone away," rests as the final, melodic line, & was somewhat mysterious to me at the time of composition. I was writing not to my sense of loss, but to my hopes, & yet there was this line at the end: "I want to be there, but I don't want to be there. It was here. Now it's gone away." It haunted me, irked me. Well. I recalled the song mostly, but it was gone. After a few days peppered between other sorts of days where I would strum the song & feel like I understood this final sentiment… finally… I took an afternoon & taught myself a scale in the octave containing the two chords of the song. So now I know where my hand can go on the neck of the guitar to enclose & expand the two sounds. They are a bright series of chords. Daylight in its best hours. Quiet. Listless. Full. Outside. But I don't know the name of what my hand, here, is. Someone will eventually tell me, I imagine. Maybe not.
Utilizing only the sounds (tones, notes, chords, vocalities) available to the Window Octave, I record my spontaneous explorations (but sometimes directed: as in, "this time I will play only one note at a time for 5 minutes" or "this time I will play three chords I like together, one at a time, for five minutes each," & I hope to find myself playing one note for an hour or an afternoon, or devoting an entire day to it, but the expression is spontaneous—not previously rehearsed, per se), afterward placing the sounds on editing software &, maintaining the tone of each sound, I manipulate according to an exploratory process, just whatever feels right: paul-stretch, tempo-shift, reverb, bass reduction-amplification, clipping, reversing, all hell loose, I think, for now. Perhaps something akin to the one-note method will find itself in use at some point, but for now I find variety helps. Sometimes I will then listen in meditation & feel a vocalizing potential. If so I will do the same with the vocals as I do with the notes. I find deep natural connectivity in the expression/exploration.
Each track moves very little in the linear sense, and perhaps rather than a song, what I have is a sound-scape. I'm still getting comfortable in the process & I don't want to tell it what to be.
My aim is to end up with several hours of sound that can be then the basis for compositional sessions, conducted also in spontaneously directed method (i.e. "window"…"go") sometimes writing, sometimes sketching, following the dreamwriting form of spontaneous prose I developed for my project, The Red King, while living in Boulder, Colorado. I've written much toward this process & perhaps I'll bring that into this process write at some point. Seems unnecessary at the moment, but worth noting it follows generally the un-naming principle I've named here-above. Here-upon I will compose a film. From sound-scape to dreamwrite to photograph to film, I do not plan to follow a purely linear progression. That is, dreamwrite requires sound-scape, film-composition requires dreamwrite, etc., but I don't plan to wait for the full soundtrack to start writing, nor the full collection of dreamwrites in order to write or storyboard or even film the film. I will go as it seems necessary, recognizing one is not the other, recognizing one is strongly integrated in the other, recognizing that this integral nature is not binding.
What I am doing is many things. I am doing one thing at a time. I am doing things together, one at a time, together. Finding. Having the dream & telling it as a function of having it.
This serves to integrate several activities I see as my artistic skill-set, thereby giving me a singular focus for them all—keeping me, hopefully, engaged, rather than scattered, about (at least several of) my creative debts.
Despite your potential insistence to the contrary, it's been a while since I've felt myself, in the truest sense, in a rankle—the truest sense being that of not merely a resistant reaction, but also of a perpetual discomfort regarding the thing which vexes—but that is precisely what I've got myself in regarding your prior letter and what seems to me a mishandling of imaginative inquiry/prompting: something of an incredulity at my having "fallen for" a teacherly trick, which I took to infer a certain amount of laziness and insincerity (on the part of the teacher, and for my own part as an advocate thereof) in the reading of a teacher's advice to "go to the pool" to her student writer.
When one rankles, one rankles; there's no getting around it. But there may be some amount of moving through. One may treat a rankle as a wall. Or one may get curious about the feeling of resistance to a notion and begin to notice just where the discomfort is coming from & thereby somehow come to greater understanding. In the case of the wall, a rankle serves to reify the notion of one's own rightness, or, more to it, another's wrongness, & bolsters one's illusory ego into an indefensible brittle thing. So I shall try not to treat it thusly. Though I have done, I shall try not here. Also (perhaps) worth (at least to me) mentioning is a delineation between intent and perception, which might could stand as a given, but shall not—that my reply makes no claim on knowing the heart of your words, though I have learned I can indeed trust that heart to be in a state of openness, but rather seeks to untie the knot of frustration I have with myself over my own reaction and my own perception of what the stance I perceive to have been taken seems to me to imply. It is my intention not to argue (if I argue) with yourself, but with myself in your presence. So there's no dealing with "what you really mean" or "what you are really doing" or anything like that.
This take seems to lack imagination.
This take insinuates I have chosen to be obtuse.
I'm tired of quibbling over small things, aren't there bigger fish to fry?
Maybe I'm just unhappy with my process at the moment.
So the swimming pool as a rather random association, placed in trust by poet in front of poet, seems to me to illustrate and extract the particle of the act, namely trust, that accepts the concept of teaching espoused by many, including Einstein: that a teacher doesn't educate his students, but provides a space in space & time for his students to educate themselves. In my time at the school I noticed this teacher I've referred you to (& whose name I think I've left blank because I don't want to invite the kind of influence a name may have, nevertheless her name is known to many) had many detractors who sounded off about what seemed to them empty gestures that simply "come across strange and mythical & mystical, but amount to nothing." I paid attention to the detractors and often questioned them about their difficulties with a teacher who utilized parataxis & metaphor in the classroom rather than direct instruction. What they seemed to want from her was a specific enunciation of actionable theoretical means to affect their crafts. That is, they seemed to me to be writers who like to come from a workshop with a lot of comments about word choice and structurally prescriptive fine-tunings of the direction of their work. What they got was a teacher who would notice cows and tell a writer to spend more time at the farm, & when the reply was "I think I've been at the farm too much," she would switch without hesitation or any sign of irony, "that's what I mean, get as far away from the farm as you can." She would make wild proclamations, invoke archetypes that may or may not have had anything to do with the writer's aims, create swirling storms of imagery & symbol, open silent spaces & ask us to rest therein. She would ask questions that seemed to come from out of oblivion. & for the sort of writer who wants concrete commentary and direct theoretical application, I could see how this was frustrating. I try not to judge too much about it, but I do anyway. I think when you have a poet in front of you, you ought to do more listening than evaluating and rejecting.
Joe was so proud of his line he ran up to Anne & in what he describes as a giddiness, proclaimed he'd found something wonderful: "A poet says yes to all things," he declared. & she gave him a blank stare as if to say, I was walking somewhere because I have to be there, why are you stopping me with this?Needless to say, Joe had hoped for something more. & I don't think he'd worked it out for himself what he'd hoped for, but I imagine it was for Anne to jump up and down & clap & crown him king of the day! But a … "umm… ok…" was what he got. A poet says yes to all things. When I heard the line, I thought, of course Joe you'd say that, it's a reverie, & you're such a reverent poet, it fits you. I took my joy in his revolution. It was only after a great deal of struggle (personal & poetical) & reccurrence of Joe's line into those strifely moments of mine, I began to recognize this was not a reverie, but a bless-ed curse of a thing. Unflinchingly true & pointing to a perpetual state of innocence that becomes the poet, the naïve actor at many times, who knows seldom what it is he agrees to/with. Who says yes, but god knows what's really going on. It's echoed for me over time such that it is like a birthday—something worth recognizing, that illuminates vast cascades of potential self-realization & can be a marvelous symbolism to reflect on, but which might also just be seen as an excuse to wear a silly hat. & I think both are pretty wonderful.
What I've noticed from the folks I've labelled the teacher's detractors, is that they will encounter a line or an image like this & if it doesn't immediately find purchase for them, they dismiss it. If it seems overtrue or obvious, they dismiss it. If it seems proverbial & unsophisticated, they dismiss it. If it isn't a clever play on theoretical impulse, they dismiss it. They do an awful lot of dismissing, I find. And most of them rankle if you try to call them a poet. I can understand why.
What perplexes me is that a writer can carry forth with any amount of prescriptive notions about what it is to engage with the world. Especially given the iconoclastic bent of the particular voices in the theoretical world they seem to espouse. They seem to get embarrassed by silliness or unserious argument or improper reading of a text for its author or its author's intention or some such things. As though there were a correct way of writing a story, an incorrect way of noticing a detail.
I know bad writing. I try not to think of it as bad, but I know the feeling of reading something most people might call bad writing & how it somehow offends the act of reading by being a thing that exists. It relies heavily on cliché, it repeats itself, it leans into the moral or thematic message too obviously, it tries to be clever, its dialogue is unrealistic, its speakers/characters are inconsistent—these kinds of things. So often are the problems the same that it seems, I think, to many, that these elements of style are the problem in themselves. So a lot of writerly teaching revolves around "finding ways to avoid cliché" or "rephrasing something you've repeated," or "varying your sentence structures," little practical lessons like this. Fine. Training wheels are nice things for children.
I was in a Dharma Arts lecture, featuring Robert Spellman—a favorite speaker of mine I think because of his natural wit & his methodical challenge to accepted notions of mindfulness & creative thinking—which had come to the Q&A portion of things & a student had asked for advice, much it seemed to focus on the type of advice that reads "ways to avoid cliché," advice on how to apply a practice of mindfulness to eradicating his work of the sort of self-delusional "I" that Spellman had been encouraging us away from in the course of the lecture. The question was something like "what are some of the focuses we can bring to our work that will help us deal with this problem?" A problem Spellman had explicated as having the effect of uninteresting writing. Spellman's response was, in his tone, very understanding & forgiving & need not be read as flip, something to the effect of, "No, nothing like that. I think you'll find that if you are with your writing and you're doing it all the time, those things just work themselves out, not because you follow some kind of procedure about it, but because you get bored with doing it that way, you get bored with the way your writing sounds when you're doing it in that self-referential way and you start to try to see things more openly, more clearly." It comes close to a bit of advice that I've heard from many a writer—but importantly not the majority—that the only thing they have to preach to other writers about writing is that you should always do it. There's nothing more to say about it for these writers. Just write all the time & all the little tricks you're worried about now stop mattering to you.
Easy advice to give. Tough to take. It's why when I hear folks being dismissive of truisms for their simplistic-ness, I wonder how true they really find the thing. It's very easy to note how everybody already knows a thing. It's not quite as easy to turn around & find one has taken the time to find this true-for-everybody thing at work in their own practice & lives & creative work.
Advice that gets more sophisticated than the "just do it" approach can also be helpful, but I also think it can be detrimental in that it begins to formulate an acceptable realm of what is good writing, & begins to accept theoretical query as constitutional. It gets off the point. There are suddenly rules. Too many rules.
Don't rely on Cliché—I think of Eco's The Mysterious Flame of Queen Loanna, a work riddled with integrative clichés, a brilliant, but, more importantly, fun, book.
Don't repeat yourself—Well, Gertrude, what do you think of this little bit of teaching?
The major issue of writers not coming into our own as writers has so little to do with the symptomatic style-monsters we spend so much energy slaying, & so much to do with how much attention we are paying, how closely we are listening, how sore are our backs from bending to the task. We don't really want to listen to our work & to do it. We really want to have made our work & to have seen that it is good. I think some good advice—for a writer whose work displays cliché & as a critical reader (with opportunity to issue challenge) I find the clichés unthoughtful, uninteresting, reflective of a lack of sitting and being with the work—might be to repeat the "mistake" 20, 50, 100 times until you understand what it's doing there.
Am I digressing? (Always be digressing) Well let's come back around.
"This doesn't mean anything." Followed by a grumble about the teacher. Trash talk by the smoking table.
"This means everything!" Followed by a thorough worshiping of pools & teacher.
"Pool, eh? What about the river?" Followed into with a seeking of new opportunities to listen to one's work.
I might ought to have placed number three in the middle. Can you tell it's my preference? I think it follows my belief that if you put an image or a symbol in front of a writer, it's always a gift. No matter what it is.
Look at the sunset. Gift.
Sit with a tree. Gift.
Think of a zipper. Gift.
Listen to that bulldozer and ask, "what does that bird look like?" Gift.
That cartouche on the sarcophagus' feet is upside down! Gift.
It's a gift. Here, hold this. I trust you to open it. You are beautiful enough to open a gift, yes?
I don't think I can over-ratify the value of dream-language in creative discourse for those willing to listen. A poet encounters a bright or dim light & if worth her weight in salt, will not judge the thing by its rhetorical merits, neigh (sic–a salt for the lick?), that's a judgement best left for rhetorical gifts. She will judge it by her own capacity to see something in its light. If it is the sun, there are blinding glints coming off the water. If it is the moon, the stems are milky white. There is something always to find, for a poet.
Such is the value I find in acts of faith like the one at the pool.
Such is the rankle I feel when I sense that no amount of imagination will ever be met with anything but rhetorical scoffs and skeptical shout-downs.
Such is my hope, that a symbol may beget a furtherance of our dreaming, rather than a festival of argument & resistance.
Such are the poetical things I find most true, yet spend so much of my time in service to the redundant and less-true.
all communication of the contents of the mind is language, communication in words being only a particular case of human language and of the justice, poetry, or whatever underlying it or founded on it.
Certainly we cannot speak in language what may not be properly treated by language. This fact rather forgets sometimes it is engaged in "analysis of—" or meta-experience of—the particular phenomena it engages. Distinguishing between one and another, or, defining, is the purview of language. It is that which calls this "this" and that "that" and often plays at calling this "that" and that "this" and so on, and communicates equivalence and distinction to this body and that body. And certainly it is tempting to take this system (and it may be meaningful to distinguish here that a system is not necessarily built or developed by mind, but is articulable only, so far as we know, by mind; recognizable, so far as it seems, by mind—when a mind recognizes a phenomenon, has it created the phenomenon into language?) of disambiguation of phenomena to be the very existence it describes.
I'm thinking of photosensitivity as a most basic carrying out of what Benjamin seems to be calling language.
In a deep pool of water, there resides a culture of micro-organisms that move lower in the day and come close to the surface by night, because, when sunlight interacts with their cellular structures, it starts a process of adjusting buoyancy to a more advantageous state (a state which provides the culture access to nutrients and keeps the culture more remote from the forces and life-forms which may cause them harm or extinction). Light communicates to the organism in a way that distinguishes when and how to behave. A language of light? Perhaps? Well then in this sense, certainly how is anything not language? Cause-effect. And for human communicability of the meta-awareness of such analogy, how is language not the thing that is always happening? But of course language is not man-made, rather, similar to the micro-organism, it is grown in the cellular structure towards a disambiguation of light and not light, food and not food, danger and not danger, and so on. And could we say of the organism's photosensitivity mechanism that this constitutes the "mental" aspect of the creature? And if so, is the creature itself not the speaker of the language of its mental life? This is all part of some larger body of the cell, which in humanspeak we make a distinction to draw analogies and understand concepts or to bastardize and oversimplify and etcetera. But in distinguishing between the speaker and the language and the language and the mind, we may also see it is not any of these aspects that has conducted the disambiguation; it is the human analysis which has done so. It is the language of mind and not the human heartbeat which has done so, but also yes it was the human heart—and the liver and spine, the grouping together of humans in society, the cultivating of crops and cattle, the cattle itself, the cow's nervous system, the cud in her belly, the growing of the grass, the sunlight and the rain, the helium moving out from the core of the star, the dead stars casting heavier elements about the cosmos—indeed, everything that may be said to "be"—it is all of these things that have conducted the disambiguation, and the disambiguation takes part in them, not separate, but a part. The language of the language has not made in any real sense anything that wasn't already making, and the world goes on causing and effecting as it will, no more or less than before, furthering in complexity, interconnecting, being its whole self/un-self, with discreet/undiscreet distinction as a piece of it. And would we call the mind of man so small a thing as to be made of language? And would we name the man of mind so large a thing as to say the little bug in the water thinks the whole universe is made of light and dark and the only thing to do with light and dark is to move up and down in them, and would that little bug be right or wrong?
All that is asserted here is that all expression, insofar as it is a communication of contents of the J by its whole innermost I guage. On the other hal necessary to ask of whic to say: the German langl of everything that we co direct expression of that mental entity. It is then~ communicates itself in la distinguished from it. TIi. precisely in its languageinto which all linguistic t precisely over this abyss i and the linguistic entity J study of linguistic theory, it is, rather, the frequent being that constitutes a d of which is found in the paradox has a place, as remains a paradox, and i What does language ~ corresponding to it. It is I itself in language and no speaker, if this means son Mental being communica tha t it is not outwardly identical with linguistic b What is communicable i therefore communicates mental being only insofar insofar as it is capable oj Language communicat festation of this being, h( tion" 1 ( J (' langua§ municates itself." The la not the lamp (for the me ble, is by no means the communication, the lamr the linguistic being of a linguistic theory depends even the appearance of t means, "That which in On this "is" (equivalent t On Language as Such 63 cation of contents of the mind, is to be classed as language. And expression, by its whole innermost nature, is certainly to be understood only as language.
The faith which holds its canon as also its proof of the veracity of its canon is the only sort of faith there is. If a Biblically-centered community is engaged in what would seem uncompassionate behaviors bolstered by a belief that those behaviors are "scriptural," it is useless to point to evidence external to the collection of documents that make up the moral world of the community. You have to locate your reasoning inside the canon in order to affect a look at changing behaviors. An external approach is tantamount to heresy.
A Biblical circularity exists also in the sciences, whereby the precept of skepticism seeks a process that cannot be interrupted or corrupted by deus ex machina results to a line of inquiry, as the explanation "this is up to god" seems to put a period at the end of a sentence in a language that wants no punctuation. Should it surprise us, then, when an approach which endeavors to remove the hand of God from its functioning yields results which seem to suggest God is superfluous? Of course God is superfluous to a system which has begun with the understanding that bringing God into the mix is superfluous to the aims of the system. In the interior analysis it seems simple, we've discovered that by eliminating God from the line of questioning, we eliminate god from the results, ergo, as you can see, there is no need of god anywhere. The trouble comes when we want to make the endeavor into the whole of the world. Well, look, we've put limits on this thing on purpose, maybe let's not go into the wasteland where the limited starts making assertions about the limitless. Let's not be stupid children.
Once, in my time at Naropa, after a particularly contentious discussion in a particularly contentious class, I went with Troy and Cliff and Eric back to Eric's apartment, which was our tradition on the day of the class, for a bowl and a blunt and some free-scribbling where we might allow the contours of the disagreements and alignments of the prior discourse to soften, magnify, de-formalize, fade in and out, that I think we were intent on allowing the discourse to breathe all the many airs available to it, that we might not think we understood something, but rather had been given fodder for poetic growth and development. Even so, when Troy was in the mix my blood was often up and I could be pretty rigid and argumentative about things, which I think was good for me to see & I'm not sure if it was good for anyone else, but there remains in my hopes that potential. Well, in any case, we got onto a line of argument where I was insisting that narrative was universal as a creative concept and I was relying heavily on Gestalt to make my claim. Troy was mainly saying, "No it isn't," so by design I was at an impasse with him. And Cliff began to argue from the point of view of his bathroom floor in Denver, where nothing happened and nothing happened next, and I began to be persuaded.
In argumentation I still can't see a way around the narrative, but argument is not always the best lens for finding what ought to be found. There is a bathroom floor in Denver where, at night, Cliff no longer sits, and once did, and the only way to talk about it is in narrative; one way to experience the non-narrative is to experience the non-narrative. And then there's no way to explain it without applying narrative, and so the illusion persists.
"All mental communication is language," I use my words to say. Try disproving me using language. You won't be able to do it. It doesn't mean you're onto something.


text:
Jodi Picoult Uses Her Voice to Make a Difference
Home / For Dream Chasers / Jodi Picoult Uses Her Voice to Make a Difference
In For Dream Chasers, For Writers, Learning from Legends, Random, Writing
Jodi Picoult Uses Her Voice to Make a Difference2013-03-052013-03-05https://erikaliodice.com/wp-content/uploads/2016/05/Logo_ErikaLiodice_07.pngErika Liodice - Author's Websitehttps://erikaliodice.com/wp-content/uploads/2016/05/Logo_ErikaLiodice_07.png200px200px
Jodi Picoult writes about things that matter. Her characters don't often lead blessed lives, rather they struggle with challenges that you and I can only dream of. But the fact is, there are so many people out there for whom her stories are a reality. Bullying, teen suicide, domestic violence, gay rights, autism, she explores controversial issues through her writing and makes us explore them too, no matter how painful or ugly they may be. Her books are not easily forgotten, their messages tend to stay with you long after the last page. This is why I admire her as a writer, and it's what I aspire to accomplish with my own work.
Needless to say, I was ecstatic when I had the chance to see her speak last night at the Free Library of Philadelphia. She read a passage from her new novel, The Storyteller, shared heartrending tales about the Holocaust survivors she interviewed for the book, and reminded us why it's so important to continue passing these stories down through the generations.
During the Q&A, an older gentleman stood up and told her that he was there to ask a question on behalf of his wife who was too sick to attend (which, of course, melted my heart). He asked Jodi what her fame and fortune has allowed her to do that she wasn't able to do before. She paused, no one had ever asked her this. She told us that her success has allowed her voice to be heard. This is why she writes about tough issues and rallies for change. She's on a mission to make the world a better place, to help us open our minds and see things in a new light, to let us know that we're not alone, to empower us, and to promote peace. To make a difference.
She said that all writers have a responsibility to think about how they want to use their voices, and she inspired me to think about my own. After some reflection, I'm able to verbalize what I've long felt in my heart: I want to write about topics of substance, examine the "gray" areas of morality, and shed light on forgotten people and overlooked suffering.
How do you want to use your voice?
fame and fortune, Free Library of Philadelphia, Jodi Picoult, make the world a better place, success, The Storyteller, writer's voice
A Dose of Inspiration from Dick Clark
Compassion: How Much Does it Really Cost?
The Key to Unlocking Greatness
Where Do Book Ideas Come From?
Kathleen Basi March 9, 2013
This was a very inspiring post. Thanks for sharing your experience with us.
Alli T March 18, 2013
I wish I'd been able to attend! I noticed her talk advertised in the FLP newsletter but in the end I couldn't make it to Philly that day.
Quick question: I'm based in Bethlehem and would like to set up my own company to self-publish my book. Did you set up Dreamspire as a sole proprietorship or a LLC, and is there a local lawyer you worked with and would recommend, or did you do it by yourself? I keep wavering between both options – would love to hear your advice on the matter.
If you prefer, you can send me an email. Thanks!
Best wishes with the book!
Erika March 28, 2013
Hi Alli. I set up Dreamspire Press as an LLC. I will send you an email with the details.
Please complete the math to prove you are human and not a spambot * Time limit is exhausted. Please reload CAPTCHA. nine − nine =
Writing Schedules & Staying DedicatedCreativity, For Writers, Writing
Two Hands OutstretchedFollow Your Dreams, For Dream Chasers

redpajama_set_name: RedPajamaCommonCrawl


text:
Home » Marvel's Inhumans Season 2 DVD
Marvel's Inhumans Season 2 DVD
Product Code: Marvel's Inhumans Season 2 + Freeshipping
Marvel's Inhumans Season 2 DVD Special Features
Actors: Anson Mount,Serinda Swan
Marvel's Inhumans Season 2 DVD Photos
Marvel's Inhumans Season 2 DVD Overview
Buck joined the series in October, and Mount was cast in February 2017. Filming took place from March to June 2017, at the former Naval Air Station Barbers Point airfield in Kalaeloa, Hawaii and various locations on the island of Oahu.Inhumans debuted on IMAX screens on September 1, 2017, the first live-action television series to debut in IMAX. The theatrical run lasted two weeks,Marvel's Inhumans Season 2 DVD before the series premiered on ABC on September 29. It ran for eight episodes.The series has been met with unfavorable reviews and low television ratings.The wife of Black Bolt and Queen of Attilan, who has the ability to control and move her hair.Swan described an immense codependence between Medusa and Black Bolt, with Medusa helping Black Bolt create his sign language and forming a connection together that creates this symbiosis that keeps them intertwined.Swan took extra care to act alongside the character's hair as an additional appendage,Marvel's Inhumans Season 2 before CGI was added to augment the 4 pounds wig she wore on set.Swan said that Medusa's hair would "have moods" as in the comics, and that it would move and react differently in various situations, such as being more restrained in public so as to not be distracting to others.
Tags: Marvel's Inhumans, Marvel's Inhumans Season 2, Marvel's Inhumans Season 2 dvd, Marvel's Inhumans Season, Season 2 Marvel's Inhumans, Marvel's Inhumans episodes, list of Marvel's Inhumans episodes, watch Marvel's Inhumans, Marvel's Inhumans show, Marvel's Inhumans series, how many Seasons of Marvel's Inhumans, Marvel's Inhumans new Season, Marvel's Inhumans tv, Marvel's Inhumans tv series, the Marvel's Inhumans, Marvel's Inhumans Seasons, Marvel's Inhumans tv show


3. The prices are valid it at the time of the order like in this web shop stated. Booking directly at the Coach cost 40 Min. € 80,- and 60 Min. € 110,- (31.12.2015). The price difference between direct booking at the coach and Internet booking arises from commission and handling fee.
4. Payment: by Paypal, immediate transfer or precash with reservation. Place of fulfilment and legal venue is Vienna.
5. Reservations are always obliging.
6. A handling charge is withheld in the resignation case by the made payment or the contract sum at the rate of 20% and is not refunded. Cancelation fee: from 30 days before 20% – from 14 days before 50% – from 3 days before the Ride 100% of the order sum. Short-term cancelation must be announced in writing (by email in office@fiaker.net).
7. Free cancellation: Weather-partly or by other external incidents (demonstrations, quarantine of the horses, accident with journey etc.) a free cancellation, or extension of deadline is able on both sides, at short notice (nevertheless, at least 4 Std.vor reservation appointment), by email in office@fiaker.net or also by telephone are agreed.
8. Changes: We commit ourselves, with any divergences of her reservation, for example: Colour of the horses, choice of the carriage, route change because of building sites, etc. to step with them before for the purpose of purification in contact.
9. Waiting periods: are settled, because the teams must be ready from the given time and the following reservations be reorganised.
10. The hackney cab business is oriented legally as of 35 degrees. We ask you for understanding if you have a journey booked for this day. You then receive a coupon and substitute appointment.


Aimee Brissay: Win a free e-book!
Drop me a line, via email, my blog, or my Goodreads page, and you can win one of my backlist books of your choosing. Please don't forget to put "free book" in the subject line.
The contest starts now and it will close on Friday the 12th at midnight. The winner will be announced Saturday the 13th on my blog.
Thank you all for participating, it's great to see so many wonderful people interested in my books. Without further ado, one e-book of her choosing goes to….. Teresa Ryan!
Keep an eye open, ladies and gentlemen, because in the near future, one of you will get the chance to win a free copy of my newest release, Breaking Ground.


text:
The United States Census Bureau is a principal agency of the U.S. Federal Statistical System, responsible for producing data about the American people and economy. The Census Bureau is part of the U.S. Department of Commerce and its director is appointed by the President of the United States.
The Census Bureau's primary mission is conducting the U.S. Census every ten years, which allocates the seats of the U.S. House of Representatives to the states based on their population. The Bureau's various censuses and surveys help allocate over $675 billion in federal funds every year and it helps states, local communities, and businesses make informed decisions. The information provided by the census informs decisions on where to build and maintain schools, hospitals, transportation infrastructure, and police and fire departments.
In addition to the decennial census, the Census Bureau continually conducts over 130 surveys and programs a year, including the American Community Survey, the U.S. Economic Census, and the Current Population Survey.USCB DOC-D1026 QVC Manual 01/03/09 Furthermore, economic and foreign trade indicators released by the federal government typically contain data produced by the Census Bureau.
Legal mandate
directs the population be enumerated at least once every ten years and the resulting counts used to set the number of members from each state in the House of Representatives and, by extension, in the Electoral College. The Census Bureau now conducts a full population count every 10 years in years ending with a zero and uses the term "decennial" to describe the operation. Between censuses, the Census Bureau makes population estimates and projections.
In addition, Census data directly affects how more than $400 billion per year in federal and state funding is allocated to communities for neighborhood improvements, public health, education, transportation and more. The Census Bureau is mandated with fulfilling these obligations: the collecting of statistics about the nation, its people, and economy. The Census Bureau's legal authority is codified in Title 13 of the United States Code.
The Census Bureau also conducts surveys on behalf of various federal government and local government agencies on topics such as employment, crime, health, consumer expenditures, and housing. Within the bureau, these are known as "demographic surveys" and are conducted perpetually between and during decennial population counts. The Census Bureau also conducts economic surveys of manufacturing, retail, service, and other establishments and of domestic governments.
Between 1790 and 1840, the census was taken by marshals of the judicial districts. The Census Act of 1840 established a central office which became known as the Census Office. Several acts followed that revised and authorized new censuses, typically at the 10-year intervals. In 1902, the temporary Census Office was moved under the Department of Interior, and in 1903 it was renamed the Census Bureau under the new Department of Commerce and Labor. The department was intended to consolidate overlapping statistical agencies, but Census Bureau officials were hindered by their subordinate role in the department.
An act in 1920 changed the date and authorized manufacturing censuses every two years and agriculture censuses every 10 years. In 1929, a bill was passed mandating the House of Representatives be reapportioned based on the results of the 1930 Census. In 1954, various acts were codified into Title 13 of the US Code.
By law, the Census Bureau must count everyone and submit state population totals to the U.S. President by December 31 of any year ending in a zero. States within the Union receive the results in the spring of the following year.
Census regions and divisions
The United States Census Bureau defines four statistical regions, with nine divisions. The Census Bureau regions are "widely used...for data collection and analysis". The Census Bureau definition is pervasive.
Regional divisions used by the United States Census Bureau:
Region 1: Northeast
* Division 1: New England
* Division 2: Mid-Atlantic
Region 2: Midwest
* Division 3: East North Central
* Division 4: West North Central
Region 3: South
* Division 5: South Atlantic
* Division 6: East South Central
* Division 7: West South Central
Region 4: West
* Division 8: Mountain
* Division 9: Pacific
Uses of census data
Many federal, state, local and tribal governments use census data to:
Decide the location of new housing and public facilities,
Examine the demographic characteristics of communities, states, and the US,
Plan transportation systems and roadways,
Determine quotas and creation of police and fire precincts, and
Create localized areas for elections, schools, utilities, etc.
Gathers population information every 10 years
In the first quarter of 2020 the website census.gov was one of the most popular and reliable sources in Wikipedia.
The United States Census Bureau is committed to confidentiality, and guarantees non-disclosure of any addresses or personal information related to individuals or establishments. Title 13 of the U.S. Code establishes penalties for the disclosure of this information. All Census employees must sign an affidavit of non-disclosure prior to employment.
The Bureau cannot share responses, addresses or personal information with anyone including United States or foreign government and law enforcement agencies such as the IRS or the FBI or Interpol. "Providing quality data, for public good—while respecting individual privacy and, at the same time, protecting confidentiality—is the Census Bureau's core responsibility"; "Keeping the public's trust is critical to the Census's ability to carry out the mission as the leading source of quality data about the Nation's people and economy." Only after 72 years does the information collected become available to other agencies or the general public. Seventy-two years was picked because usually by 72 years since the census is taken, most participants would be deceased.
Despite these guarantees of confidentiality, the Census Bureau has some history of disclosures to other government agencies. In 1918, the Census Bureau released individual information regarding several hundred young men to the Justice Department and Selective Service system for the purpose of prosecutions for draft evasion. During World War II, the United States Census Bureau assisted the government's Japanese American internment efforts by providing confidential neighborhood information on Japanese-Americans. The Bureau's role was denied for decades but was finally proven in 2007.
United States census data are valuable for the country's political parties; Democrats and Republicans are highly interested in knowing the accurate number of persons in their respective districts. These insights are often linked to financial and economic strategies that are central to federal, state and city investments for locations of particular populations. Such apportionments are designed to distribute political power across neutral spatial allocations; however, "because so much is at stake, the census also runs the risk of being politicized."
Such political tensions highlight the complexity of identity and classification; some argue that unclear results from the population data "is due to distortions brought about by political pressures." One frequently used example includes ambiguous ethnic counts, which often involves underenumeration and/or undercounting of minority populations. Ideas about race, ethnicity and identity have also evolved in the United States, and such changes warrant examination of how these shifts have impacted the accuracy of census data over time.
The United States Census Bureau began pursuing technological innovations to improve the precision of its census data collection in the 1980s. Robert W. Marx, the Chief of the Geography Division of the USCB teamed up with the US Geological Survey and oversaw the creation of the Topologically Integrated Geographic Encoding and Referencing database system. Census officials were able to evaluate the more sophisticated and detailed results that the TIGER system produced; furthermore, TIGER data is also available to the public. And while the TIGER system does not directly amass demographic data, as a geographic information system, it can be used to merge demographics to conduct more accurate geospatial and mapping analysis.
In July 2019 the Census Bureau deprecated American Fact Finder for the new platform , providing support for data users accessing the new site.
Ongoing surveys
A survey is a method of collecting and analyzing social, economic, and geographic data. It provides information about the conditions of the United States, states, and counties. Throughout the decade between censuses, the bureau conducts surveys to produce a general view and comprehensive study of the United States' social and economic conditions.
Staff from the Current Surveys Program conduct over 130 ongoing and special surveys about people and their characteristics. A network of professional field representatives gathers information from a sample of households, responding to questions about employment, consumer expenditures, health, housing, and other topics.
Surveys conducted between decades:
Consumer Expenditure Survey
Census of Governments
Current Population Survey
National Ambulatory Medical Care Survey
National Hospital Discharge Survey
National Hospital Care Survey – a new survey that integrates inpatient data formerly collected by the NHDS with the emergency department, outpatient department, and ambulatory surgery center data collected by the
National Hospital Ambulatory Medical Care Survey
National Nursing Home Survey
Survey of Income and Program Participation
Survey of Construction
Survey of Market Absorption
Survey of Program Dynamics
National Longitudinal Survey
National Survey of Fishing, Hunting, & Wildlife-Associated Recreation
Residential Finance Survey
National Epidemiologic Survey of Alcohol Related Conditions
Annual Retail Trade Survey
Annual Wholesale Trade Survey
Annual and Quarterly Services Surveys
Other surveys conducted
The Census Bureau collects information in many other surveys and provides the data to the survey sponsor for release. These sponsors include:
National Center for Health Statistics
Since 1903, the official census-taking agency of the United States government has been the Bureau of the Census. The Census Bureau is headed by a Director, assisted by a Deputy Director and an Executive Staff composed of the associate directors.
The Census Bureau has had headquarters in Suitland, Maryland, since 1942. A new headquarters complex there was completed in 2007 and supports over 4,000 employees. The remaining regional offices will be in: New York City, Philadelphia, Chicago, Atlanta, Denver, and Los Angeles.
The Census Bureau also runs the Census Information Center cooperative program that involves 58 "national, regional, and local non-profit organizations". The CIC program aims to represent the interests of underserved communities.
The 1890 census was the first to use the electric tabulating machines invented by Herman Hollerith. For 1890–1940 details, see In 1946, knowing of the Bureau's funding of Hollerith and, later, Powers, John Mauchly approached the Bureau about early funding for UNIVAC development. A UNIVAC I computer was accepted by the Bureau in 1951.
Handheld computers (HHC)
Historically, the census information was gathered by census takers going door-to-door collecting information in a ledger. Beginning in 1970 information was gathered via mailed forms. To reduce paper usage, reduce payroll expense and acquire the most comprehensive list of addresses ever compiled, 500,000 handheld computers were used for the first time in 2009 during the address canvassing portion of the 2010 Decennial Census Project. Projected savings were estimated to be over $1 billion.
Security precautions
The HHC was manufactured by Harris Corporation, an established Department of Defense contractor, via a controversial contract with the Department of Commerce. Secured access via a fingerprint swipe guaranteed only the verified user could access the unit. A GPS capacity was integral to the daily address management and the transfer of gathered information. Of major importance was the security and integrity of the populace's private information.
Enumerators that had operational problems with the device understandably made negative reports. During the 2009 Senate confirmation hearings for Robert Groves, President Obama's Census Director appointee, there was much mention of problems but very little criticism of the units. In rural areas, the sparsity of cell phone towers caused problems with data transmission to and from the HHC. Since the units were updated nightly with important changes and updates, operator implementation of proper procedure was imperative. Dramatic dysfunction and delays occurred if the units were not put into sleep mode overnight.
John Shaw Billings
W. Edwards Deming
Davis Rich Dewey
Halbert L. Dunn
Murray Feshbach
Robert Groves
Henry Gannett
Morris H. Hansen
Joseph Adna Hill
Herman Hollerith
Leslie Kish
John Wesley Langley
Thomas Commerford Martin
Warren Mitofsky
Ivan Petrof
Cyrus Guernsey Pringle
Richard M. Scammon
Thelma Strabel
Howard Sutherland
Elizabeth II - Elizabeth II is Queen of the United Kingdom and 15 other Commonwealth realms. Elizabeth was born in Mayfair, London, as the first child of the Duke and Duchess of York. Her father ascended the thron...
Princess Margaret, Countess of Snowdon - Princess Margaret, Countess of Snowdon , was the younger daughter of King George VI and Queen Elizabeth, and the only sibling of Queen Elizabeth II. Margaret spent much of her childhood with her pare...
The Queen's Gambit (miniseries) - upcoming American drama web television miniseries developed by Scott Frank and Allan Scott. The series is based on the 1983 novel of the same name by Walter Tevis. Premise....
Prince Philip, Duke of Edinburgh - Prince Philip, Duke of Edinburgh is the husband of Queen Elizabeth II of the United Kingdom and other Commonwealth realms. Philip was born into the Greek and Danish royal families. He was born in Gr...
Attack on Titan - Japanese manga series written and illustrated by Hajime Isayama. It is set in a world where humanity lives within cities surrounded by enormous walls that protect them from giga...
Diana, Princess of Wales - Diana, Princess of Wales was a member of the British royal family. She was the first wife of Charles, Prince of Wales, the heir apparent to the British throne, and the mother of Prince William and P...
Cyberpunk 2077 - upcoming role-playing video game developed and published by CD Projekt. It is scheduled to be released for PlayStation 4, Windows, and Xbox One on 19 November 2020, Stadia by th...
Tenet (film) - co-production between the United Kingdom and United States, and stars John David Washington, Robert Pattin...
Demon Slayer: Kimetsu no Yaiba - Japanese manga series written and illustrated by Koyoharu Gotōge. It follows Tanjiro Kamado, a young boy who becomes a demon slayer after his family is slaughter...
Home Alone - 1990 American Christmas comedy film written and produced by John Hughes and directed by Chris Columbus. It stars Macaulay Culkin, Joe Pesci, Daniel Stern, John Heard, and Catherine O...
Monster Hunter (film) - upcoming fantasy action thriller film written and directed by Paul W. S. Anderson. It is loosely based on the video game series of the same name by Capcom. The film stars Milla ...
Citizen Kane - 1941 American drama film by Orson Welles, its producer, co-screenwriter, director and star. The picture was Welles's first feature film. Nominated for Academy Awards in nine catego...
Mank - upcoming American biographical drama film about screenwriter Herman J. Mankiewicz and his battles with director Orson Welles over screenplay credit for Citizen Kane . The film is directe...
Mulan (2020 film) - 2020 American action drama film based on the Chinese folklore "The Ballad of Mulan" and...
Popular video games
Minecraft - sandbox video game developed by Mojang Studios. Created by Markus "Notch" Persson in the Java programming language and released as a public alpha for personal computers in 2...
Among Us - Among Us - English video game published on June 18, 2018. It was presented as indie game, party video game....
Roblox - online game platform and game creation system that allows users to program games and play games created by other users. Founded by David Baszucki and Erik Cassel in 2004 and released in...
The Witcher 3: Wild Hunt - 2015 action role-playing game developed and published by Polish developer CD Projekt and is based on The Witcher series of fantasy novels by Andrzej Sapkowski. It is ...
Assassin's Creed Valhalla - upcoming action role-playing video game developed by Ubisoft Montreal and published by Ubisoft. It is the twelfth major installment and the twenty-second release in t...
Genshin Impact - upcoming open-world action role-playing video game developed by miHoYo. It is the second game from miHoYo to feature original IP, the first being Gun GirlZ . History. Genshin...
Nineteen Eighty-Four - dystopian novel by English novelist George Orwell. It was published on 8 June 1949 by Secker & Warburg as Orwell's ninth and final book...
Bible - collection of religious texts or scriptures sacred to Christians, Jews, Samaritans, Rastafari and others. They generally consider the Bible to be a product of divine inspiration and a...
A Christmas Carol - novella by Charles Dickens, first published in London by Chapman & Hall in 1843 and illustr...
The Queen's Gambit (novel) - American novel by Walter Tevis, discussing the life of a chess prodigy. A bildungsroman, it was originally published in 1983 and covers themes in feminism, chess, drug addic...
The Lord of the Rings - epic high-fantasy novel written by English author and scholar J. R. R. Tolkien. The story began as a sequel to Tolkien's 1937 fantasy novel The Hobbit but eventually de...
Sword Art Online - Japanese light novel series written by Reki Kawahara and illustrated by abec. The series takes place in the near future and focuses on protagonist Kazuto "Kirito" Ki...
James Bond - The James Bond series focuses on a fictional British Secret Service agent created in 1953 by writer Ian Fleming, who featured him in twelve novels and two short-story collections. Since Fleming's de...
Popular television series
The Crown (TV series) - historical drama web television series about the reign of Queen Elizabeth II, created and principally written by Peter Morgan, and produced by Left Bank Pictures and Sony Pictures Tel...
The Mandalorian - American space Western web television series created by Jon Favreau and released on Disney+. It is the first live-action series in ...
Euphoria (American TV series) - American teen drama television series created by Sam Levinson, loosely based on the Israeli miniseries of the same name. Euphoria follows a group of high school students through the...
Vikings (2013 TV series) - historical drama television series created and written by Michael Hirst for the History channel. Filmed in Ireland, it premiered on March 3, 2013, in Canada. In January 2019, it was ann...
Peaky Blinders (TV series) - British period crime drama television series created by Steven Knight. Set in Birmingham, England, the series follows the exploits of the Shelby crime family in the direct afterm...
The Walking Dead (TV series) - American post-apocalyptic horror television series for AMC based on the comic book series by Robert Kirkman, Tony Moore, and Charlie Adlard. The series features a large ensemb...
Virgin River (TV series) - American romance drama web television series, produced by Reel World Management, based on the Virgin River novels by Robyn Carr. The first season premiered on Netflix on Decembe...
OWIKI.org. Text is available under the Creative Commons Attribution-ShareAlike License.


XO is the Weeknd's logo, and is part of his slogan "XO 'til we overdose". Despite what some may think, it does not stand for hugs and kisses like the original acronym. The Weeknd has never been shy about referencing drug use in his music, and the XO logo is a perfect embodiment of that.
All of our slang term and phrase definitions are made possible by our wonderful visitors. If you know of another definition of XO that should be included here, please let us know.
Thus concludes our slang archive for XO.
We hope you have found this useful. If you have any additional definitions of XO that should be on this list, or know of any slang terms that we haven't already published, click here to let us know!


text:
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">

<meta http-equiv="Content-Type" content="text/html; charset=utf-8">
<title>Uses of Package org.tartarus.snowball (Lucene 6.0.1 API)</title>
<meta name="date" content="2016-05-23">
<link rel="stylesheet" type="text/css" href="../../../stylesheet.css" title="Style">

JavaScript is disabled on your browser.

Skip navigation links

Overview

Package

Class

Use

Tree

Deprecated

Help

Prev

Next

Frames

No Frames

All Classes

Uses of Package
org.tartarus.snowball

Packages that use org.tartarus.snowball

Package
Description

org.apache.lucene.analysis.snowball

TokenFilter and Analyzer implementations that use Snowball
 stemmers.

org.tartarus.snowball

Snowball stemmer API

org.tartarus.snowball.ext

Autogenerated snowball stemmer implementations.

Classes in org.tartarus.snowball used by org.apache.lucene.analysis.snowball

Class and Description

SnowballProgram

This is the rev 502 of the Snowball SVN trunk,
 now located at GitHub,
 but modified:

 made abstract and introduced abstract method stem to avoid expensive reflection in filter class.

Classes in org.tartarus.snowball used by org.tartarus.snowball

Class and Description

Among

This is the rev 502 of the Snowball SVN trunk,
 now located at GitHub,
 but modified:

 made abstract and introduced abstract method stem to avoid expensive reflection in filter class.

SnowballProgram

This is the rev 502 of the Snowball SVN trunk,
 now located at GitHub,
 but modified:

 made abstract and introduced abstract method stem to avoid expensive reflection in filter class.

Classes in org.tartarus.snowball used by org.tartarus.snowball.ext

Class and Description

SnowballProgram

This is the rev 502 of the Snowball SVN trunk,
 now located at GitHub,
 but modified:

 made abstract and introduced abstract method stem to avoid expensive reflection in filter class.

Skip navigation links

Overview

Package

Class

Use

Tree

Deprecated

Help

Prev

Next

Frames

No Frames

All Classes

          Copyright © 2000-2016 Apache Software Foundation.  All Rights Reserved.

redpajama_set_name: RedPajamaGithub


28th January 2019 - No Comments!
Instagram is the fastest growing social network at the moment with over 1 Billion monthly active users. This rate of growth has surpassed other leading platforms; such as Snapchat and Facebook. With no sign of slowing down, Instagram continues to grow at a tremendous pace since being acquired by Facebook in 2012, when it had just 40 million.
8th January 2019 - No Comments!
The planning that goes into a photoshoot is arguably the most important part of the shoot. You've defined the brief, the desired outcome and the budget, so now it's time to start planning.
Good planning leads to strong results. In this blog we look at planning for a photoshoot and how to get the most out of the time you have.
Inspiration is found all around us. This could be in the form of art, a magazine, you may even be inspired by something you see walking down the street. It is important to collect and make note of anything that inspires you in order to help create your vision. Mood boards are a great way to develop an idea, play around with different imagery and explore other competitors. The more research you do, the better. The idea is to immerse yourself amongst content as this will really help get your creative juices flowing.
Once you have established your theme, a creative direction document can assist in guiding the shoot. This could be a mood board of example imagery - showing various compositions to help the photographer and model understand the brief. This might include examples of different model poses, various backgrounds and use of props. Another great tip is to print them out on a large board. Place them where both the photographer and model can easily access, perhaps on a wall close to where you are shooting so that they can be referred to for inspiration.
This is dependant on what exactly it is you are shooting. For example, a footwear brand might require you to style the whole outfit as well as the shoes. If this is the case researching various brands that are aligned to the brand can be useful. Placing images from different retailers within a document and styling them helps you create a vision of how they might look. It can also help to utilise outfits as you may be able to duplicate, or mix and match various outfits across different styles, allowing you to maximise your budget.
When it comes to buying, invest in the key pieces that you need for the shoot such as jackets or more detailed items. These will be your stand out pieces so they need to be quality. Buying the basic styles at a reduced cost can help when sticking to a budget. Keep a spreadsheet of all styles so that you can visually see how they fit together.
Employing a professional hair and makeup stylist can really help in getting the quality of images you require. Never overlook how important this can be as it sets the tone for the remainder of the shoot as well as bringing important elements to the colour palette and allowing it to flow.
A plan for the day can assist in keeping everyone on the same page and allow it to run as smoothly as possible. Don't forget to factor in breaks and changing times as these can impact your schedule.
A shot list document to include all relevant columns to your photoshoot. A spreadsheet makes it easier to edit, organise and sort.
Products listed by their name and colour variations.
Amount of shots needed as well as shot type. For example. "Landscape, portrait, close up, props etc. You may want to arrange this in an order, beginning with the technical product shots. Then move onto more detail shots , bringing in any props or lifestyle required.
Styling options, again placing in order so that you are not having to double the amount of work needed.
Planning is a vital part in making sure the photoshoot runs smoothly and efficiently. Here at Vast we have created a process that enables us to get the best out of every photoshoot we undertake. The meticulous planning and detail that goes into each shoot enables us to achieve the standard of work of which we pride ourselves on.
Get in touch to find out more about how our team can help you plan your next photoshoot with us.


Childcare is provided for all Sunday night Grow Groups.
We have one new Sunday night grow group beginning in January. In this group we will learn to read the Bible with fresh eyes as confusing Biblical imagery and stories are explained by studying how the people of Jesus' time would have understood Christ's timeless words. Participants will need to purchase the book Reading the Bible with Rabbi Jesus by Lois Tverberg on their own. Childcare is provided. Click below to sign up.


We support our 188,000 members and 480,000 students in 181 countries, helping them to develop successful careers in accounting and business, with the skills required by employers. We work through a network of 95 offices and centres and more than 7,110 Approved Employers worldwide, who provide high standards of employee learning and development. Through our public interest remit, we promote appropriate regulation of accounting and conduct relevant research to ensure accountancy continues to grow in reputation and influence.
Advanced Diploma in Accounting and Business – If you decide to complete the ACCA Qualification, you will be awarded the Advanced Diploma in Accounting and Business on your way to completing the ACCA Qualification.
Diploma in Accounting and Business – the Diploma is suitable for those aspiring to work or already working in the following types of roles: basic bookkeeping, trainee accountant in a commercial organisation or accounting practice, accounts clerk in public sector.
Intermediate Certificate in Financial and Management Accounting – this certificate is suitable for those aspiring to work or already working in a bookkeeping or cost clerk role in an SME or a range of accounting administration roles within an accounting department of a larger organisation or financial shared service centre.
Introductory Certificate in Financial and Management Accounting – this certificate is suitable for those aspiring to work or already working in a junior accounts clerk/ junior bookkeeper role in an SME or in a range of junior accounting administration roles within an accounting department of a larger organisation or financial shared service centre.
Additionally Oxford Brookes University (OBU) in partnership with ACCA offers a BSc (Hons) in Applied Accounting centred on the needs of employers for practical, professional accounting, and an MBA which is designed to broaden business understanding and enhance strategic decision making.
The University of London in partnership with ACCA offers an MSc in Professional Accountancy. This is an integrated programme which allows study towards an academic and professional qualification. There are customised pathways for ACCA students, affiliates and members.
In keeping with ACCA's commitment to lifelong learning, it has launched a range of further qualifications and a leading edge continuing professional development (CPD) scheme. These programmes are designed to suit the needs of accountants, finance-professionals and non-finance professionals with financial responsibility, at all stages of their careers.


is one of the largest providers of brain injury services in North Carolina. We were incorporated in 1998 and founded by parents of a brain injury survivor who had a passion to help others in this under served population. Serving only brain injury survivors, our sole focus is to provide a cost effective and outcome driven program.
ReNu Life has helped me tremendously with caring and devoted staff!
Our mission is to assist the brain injury survivor in attaining the maximum level of functioning, emphasizing their quality of life in the most normal and least restrictive environment.
Our Community Housing program is structured around meeting the goals of the resident, helping them become more independent while maintaining a healthy and safe environment. Each group home is owned and maintained by ReNu Life to be a standard that reflects respect toward the person served.
ReNu Life's Community Integration program is delivered and carried out at our TBI Rehab Center. This program is designed to bring residents together to work and exercise their social, vocational, and personal skills. Our activities program, which works in partnership with CIP, is a collective of educational, cultural, wellness, leisure and spiritual outings and activities discussed and decided by all residents involved.
ReNu Life is an Equal Opportunity Employer.
ReNu Life is Accredited by CARF in the areas of Community Housing and Community Integration.


text:
Member of Biden's transition press corps tests positive for coronavirus
By Emerald	 On Dec 16, 2020
The news comes as Biden and his advisers are still debating when he will receive the recently authorized coronavirus vaccine, which he has already committed to taking publicly.
"We're working on that right now. I don't want to get ahead of the line, but I want to make sure that we demonstrate to the American people that it is safe to take," Biden said Wednesday, speaking at an introductory event for his Transportation secretary pick, Pete Buttigieg.
Biden's campaign went to great lengths during the 2020 White House race to practice social distancing and other mitigation measures, both to shield the septuagenarian candidate from infection and to model healthy behavior for Americans.
President Donald Trump and his allies frequently mocked Biden for his strict following of public health guidance, which resulted in diminished crowd sizes for the Democratic nominee's campaign events or entirely virtual appearances which Biden made from his Delaware home.
Meanwhile, Trump continued to headline large-scale, in-person rallies with no mask-wearing or social distancing requirements. Numerous top campaign aides and senior administration officials became infected across three separate White House outbreaks, and Trump himself ultimately was hospitalized with Covid-19 in October.
Biden's most high-profile brush with the virus came as a result of Trump's own infection, when the two candidates participated in their first televised debate in Cleveland just days before the president's positive diagnosis.
More recently, Vice President-elect Kamala Harris was forced to cancel a weekend of campaign travel in October after her communications director and a member of her flight crew tested positive for Covid-19.
Biden's transition team has already signaled that his adherence to coronavirus-related health directives will carry into his White House and influence the operations of the next administration. On Tuesday, the president-elect's inaugural committee advised Americans against traveling to attend his swearing-in and previewed a "reimagined" ceremonial parade.
Get either side at incredible enhanced 25/1 with Novibet
Check out this never-before-seen footage from The Empire Strikes Back


Davido has been promoting his new single Gbagbe Oshi this past week and during his movement the singer met with one of his teachers in high school – Mr Ricket.
Davido attended the British International School in Victoria Island where Mr Ricket works. In a video that surfaced online, Mr Ricket jokingly said to the singer "I'm quite surprised to see you, you're famous now.' 'I taught this boy everything he knows,' he added.
Davido is expected to release his new EP Son of Mercy in coming days.


Thought Leadership is more important than ever with the customer taking charge of the sales process. Thought Leadership attracts customers and opens the door to many opportunities. In each podcast, co-hosts Mitchell Levy and Michael Procopio will interview a thought leader or someone involved in thought leadership to tease out how to become an effective thought leader and best practices.
Welcome to the first episode of Thought Leadership with Mitchell Levy and Michael Procopio. This roughly 30-minute cast will discuss all things personal and corporate thought leadership.
In this first episode Mitchell and Michael discuss the definition of thought leadership. Our guest interview is Mitchell Levy who discusses his path to becoming a thought leader and the value it has brought to him.
This episode was sponsored, in part, by ThinkAha.com, helping experts become thought leaders. You can Connect with Mitchell at MitchellLevy.com, @HappyAbout on Twitter, or join his Thought Leadership Best Practices Group on LinkedIn; and with Michael at MichaelProcopio.com, on Twitter: @MichaelProcopio; or LinkedIn: LinkedIn.com/in/MichaelProcopio.


Social Security Disability Insurance (SSDI) in Garland is available to workers who are disabled, according to the Social Security Administration (SSA), due to a physical or mental disabling health condition which is so severe that it does not allow them to perform substantial gainful activity (SGA) for at least 12 continuous months or is expected to result in death.
Auxiliary benefits may also be provided, under certain conditions, to the widow, widowers, dependents and disabled dependents of Garland SSDI recipients.
Not all disabled workers qualify for SSDI in Garland. Social Security Disability Insurance in Garland is only offered to claimants who have paid employment taxes and have earned 20-40 work credits over the course of their employment. Most full-time workers can earn 4 work credits per year. The amount of work credits needed to qualify for SSDI in Garland may depend on the claimant's age at the time of their disability.
Disabled workers who have not worked jobs covered by Social Security or who have not paid taxes will not qualify for SSDI in Garland. The Federal Government does, however, offer Supplemental Security Income or SSI benefits to individuals who are disabled, blind or aged (age 65 and older) and who have very limited resources and income. Claimants who are approved for Supplemental Security Income in Garland may also qualify for Medicaid, in most states, at the time of their approval.
For anyone who is suffering from any sort of disability trying to obtain benefits from social security disability can be a process that is both frustrating and complicated. The Social Security Administration places deadlines on a variety of things; if you do not file specific things by the deadlines, you may possibly relinquish your rights to any type of appeal on negative decisions. In the beginning of filling your disability claim, you will want to retain a Garland Social Security Disability Attorney. He or she will be able to help you fully understand all of your rights, deadlines, the Social Security Administration's rules and regulations, and guide you through the entire process.
Your Garland disability attorney or advocate should be able to assist you through all levels of the disability benefit claims process. From the beginning, through any type of reconsideration, hearings, or appeals at all levels your attorney or advocate should be right there in the middle of it all. Click here for a free evaluation today and let us help you find the right Garland social security disability attorney or advocate for you. Your attorney or advocate will be able to screen your specific case, as each person and his or her disabilities differs, and help you understand if you qualify for the disability benefits. Additionally, your Garland disability attorney or advocate will be able to walk you through all steps from the start to the end.
Most attorney's that represent clients in social security disability cases, have extensive experience, knows exactly what is needed and how to get it to help you present the case to the Social Security Administration to gain approval if you have a qualifying disability. Another excellent point is that many Garland Social security disability attorneys and advocates do not take any type of down payment; in fact, many do not require any type of fee unless your case is settled or won. Essentially, if you are not paid, they will not be paid, this is an excellent program, as this means your attorney or advocate will work extremely hard to get you the disability benefits you need and deserve.
Click here now for your free evaluation and let us help you start or proceed with your social security disability claims today. If you have applied for and been denied by the Social Security Administration, you should not necessarily worry too much, as most first time applications are often denied. Your Garland disability attorney or advocate can help you in the reconsideration process, and any hearings or appeals necessary, regardless of what stage in the application process you are in. Your attorney or advocate can help you gather all the necessary proof of your disability needed and present your case in an excellent manner that will help you win the disability benefits you deserve, in order to lead a quality life.
If you reside outside of Garland, we have many other social security disability attorneys and advocates in the surround areas all around Texas such as, Dallas, Arlington, Irving, Garland, and Houston, along with many others. Click today for your FREE evaluation.
Calling the Social Security Administration at 1-800-772-1213.
Visit a Social Security Disability regional representative in your area. To locate the nearest Social Security Administration Field Office in Garland go to the Social Security Administration website. Find the Office locator site at www.ssa.gov and enter your zip code. The site will display the nearest Social Security Administration office in your area.
The Office of Disability Adjudication and Review (ODAR) files all reconsiderations, schedules hearings and handles all Appeal Council reviews. The ODAR for the Dallas Region which includes Garland, Texas, services residents in the Great Plains and Southwest states including: Arkansas, Louisiana, New Mexico, Oklahoma and Texas.
This ODAR office services the following Texas Social Security Administration Field Offices: Austin, Corsicana, Dallas-Fair Park, Dallas- Oak Cliff, Dallas- West, Georgetown, Lufkin, Mid-Cities (including Garland), Temple and Waco.
The Social Security Administration funds the DARS Division for Disability Determination Services (DDS) which makes disability determinations for Social Security Disability Insurance and Supplemental Security Income for claimants in Garland and other cities throughout the state of Texas.
After the SSDI and SSI applicant completes their application it is forwarded to the DARS Division for Disability Determination Office for review. The Social Security Administration makes the final disability decision to determine for SSI and SSDI benefits in Garland. The DDS office which services Texas is listed below.
According to the Social Security Administration, the SSA field offices in Garland perform a full range of services. The SSA office can help claimants apply for SSDI or SSI benefits, and replace their Social Security cards and update their benefits information. All of the Texas SSA Field Offices are listed below.


Artwork by tenants of Pacifica Housing's four supported complexes will be displayed at Island Blue Art Store throughout May.
Pacifica's clients face many barriers to renting apartments in the private market, including mental health issues and addictions. Many have been homeless for a long time.
An after-hours exhibition and sale takes place May 10 from 5:30 to 7:30 p.m. at the store, located at the corner of Fort and Vancouver streets. Tickets are $10 and proceeds support Pacifica's art program.
For information or to book tickets, call 250-385-2131 ext 103.


text:
Q: git does not recognize exe file I'd like to upload NuGet.exe to github but all exe files are not listed to my local repository.
I did upload NuGet.exe file about two weeks ago at another project repo, but now I cannot upload any exe file at all. There is no global .gitignore that I specially defined.
below code is my .gitignore file.
what am I missing?
# Build Folders (you can keep bin if you'd like, to store dlls and pdbs)
[Bb]in/
[Oo]bj/

# mstest test results
TestResults

## Ignore Visual Studio temporary files, build results, and
## files generated by popular Visual Studio add-ons.

# User-specific files
*.suo
*.user
*.sln.docstates

# Build results
[Dd]ebug/
[Rr]elease/
x64/
*_i.c
*_p.c
*.ilk
*.meta
*.obj
*.pch
*.pdb
*.pgc
*.pgd
*.rsp
*.sbr
*.tlb
*.tli
*.tlh
*.tmp
*.log
*.vspscc
*.vssscc
.builds

# Visual C++ cache files
ipch/
*.aps
*.ncb
*.opensdf
*.sdf

# Visual Studio profiler
*.psess
*.vsp
*.vspx

# Guidance Automation Toolkit
*.gpState

# ReSharper is a .NET coding add-in
_ReSharper*

# NCrunch
*.ncrunch*
.*crunch*.local.xml

# Installshield output folder
[Ee]xpress

# DocProject is a documentation generator add-in
DocProject/buildhelp/
DocProject/Help/*.HxT
DocProject/Help/*.HxC
DocProject/Help/*.hhc
DocProject/Help/*.hhk
DocProject/Help/*.hhp
DocProject/Help/Html2
DocProject/Help/html

# Click-Once directory
publish

# Publish Web Output
*.Publish.xml

# NuGet Packages Directory
packages

# Windows Azure Build Output
csx
*.build.csdef

# Windows Store app package directory
AppPackages/

# Others
[Bb]in
[Oo]bj
sql
TestResults
[Tt]est[Rr]esult*
*.Cache
ClientBin
[Ss]tyle[Cc]op.*
~$*
*.dbmdl
Generated_Code #added for RIA/Silverlight projects

# Backup & report files from converting an old project file to a newer
# Visual Studio version. Backup files are not needed, because we have git ;-)
_UpgradeReport_Files/
Backup*/
UpgradeLog*.XML

# Windows-specific files
Thumbs.db
desktop.ini
# Mac-specific things (thanks to Michael Aaron Safyan)
.DS_Store

-- EDIT --
same files under .nuget/ directory .config and .targets files are well treated. I can check git ls-files --others -i --exclude-standard gives NuGet.exe is ignored, but I don't know which rule makes it.

A: First, you can check if a file is locally ignored ion your repo with git check-ignore:
git check-ignore -v -- yourFile

Second, you can force to add that file (bypassing any ignore rule):
git add -f yourFile

A: I just put !NuGet.exe at first in .gitignore file and work perfect for me

A: I used TortoiseGit in Windows using Windows UI, navigated to the folder, right-clicked and added the .exe files directly. These added files showed up in SourceTree and I committed them from there.

redpajama_set_name: RedPajamaStackExchange


There's lots of noise out there around which skills people should gain in order to get good jobs and have successful careers. If nothing else, the debate has yielded one irrefutable conclusion: We all need to be lifelong learners. We all need to get good at adapting and maintaining our skill sets to stay relevant in an ever-changing work environment.
How will all of these lifelong learners connect with new knowledge and skills? They could take an online course, read a book or watch a video, attend a bootcamp, do an internship, or go back to school for another degree. It's a great time to embrace lifelong learning because there are more ways than ever to learn where, when, and however you prefer.
But someone still needs to create the educational content that fuels those learning moments—someone who possesses knowledge, wants to share it, and has a channel for reaching would-be students. In traditional education, this someone would be called a teacher, but for people out in the business world, the best teacher might be that more experienced coworker sitting a few desks over.
To paraphrase Mr. Rogers, when you see uncertainty in the workplace, look for the explainers. You will always find people who are helping by teaching.
The instructors active in my company's teaching and learning marketplace are, by and large, these types of teachers. One of the most popular instructors in my company's marketplace, for example, told us he was always that person in the office everyone else went to with questions. He discovered he really enjoyed helping people learn and improve their skills, and by creating an online course, he's now able to reach hundreds of thousands of students around the world.
I'd venture to say that every company has its own resident "explainers," and if you haven't taken steps to harness their potential, you're missing an opportunity to enrich your company culture and boost employee engagement.
Explainers are empathizers, and they tend to be lifelong learners, too. That's why coworkers seek them out. They understand what it's like to struggle with learning something new, and they derive real joy from interacting with students, watching them gain mastery over new skills, and seeing what they're able to do on their own.
By instilling confidence in their teammates, explainers help people get better at their jobs and feel more positive about your organization.
Given the accelerating pace of workplace transformation, the need for continual upskilling will surely increase, too. To keep up, companies have to do much more than roll out additional training programs. Instead, they need to nurture a true learning culture, where learning is woven into employees' daily routine, not a one-off activity that interrupts "real" work.
Your explainers can go a long way in helping you establish and promote a learning culture—as long as they welcome the opportunity and don't see it as an added responsibility that takes them away from work they'd rather be doing (aka, "no good deed goes unpunished"). So, first, confirm they relish their role as teachers, and gauge their interest in growing further. You want to be sure your explainers are well taken care of so they don't burn themselves out in service to others.
Once they've shown interest in extending their natural teaching skills to more people in your organization, you can experiment with having them lead training sessions or host "office hours" and study groups where employees can get extra help.
Anyone who goes above and beyond their job description deserves a round of applause during the next all-hands meeting, at the very least. But you can do better than that. Your explainers deserve more meaningful rewards.
It could be something fun like special t-shirts or other swag identifying them as your resident explainers. You could pay their way to attend a conference, workshop, or bootcamp of their choice or let them stock a company library so they can work toward their own learning goals, too. Maybe your company can underwrite a quarterly dinner at a nice restaurant or an activity like seeing a sporting event for the whole group. For some, it could be as simple as a few more vacation days or a gift card.
Workplace learning has never been more critical than it is right now. Employees need to embrace learning in order to maintain the skills their jobs require, and employers need to foster a culture where learning is encouraged and accessible.
Explainers are the perfect bridge between employees who need to learn and employers having trouble keeping up with quickly evolving tools and technologies. Companies would be wise to take proactive steps to make sure their explainers are being recognized, rewarded, and maximized so everyone gets full value from their contributions.
Shelley Osborne is Head of L&D at Udemy, where she leads and executes the learning strategy for Udemy employees. She has 14 years of experience in the education sector and in corporate learning and development. Previously, Osborne was VP of Learning & Development at Farside HR Solutions.Connect with Shelley on LinkedIn and on Twitter.


"Hi! I'm Zane and I've been down on my luck trying to find a new family to call my own. I've decided to put myself out there on this dating website called AARCS so please read my profile and hit the "Adopt Zane" button if you think we could be purr-fect soulmates!
Likes: Food (any kind), treats (any kind), toys (any kind – preferably laced with cat nip), chin scratches, back scratches, giving kisses, long naps on the couch while binge watching Netflix, fresh laundry.
Dislikes: Chores, sleeping alone, spiders, paying rent.
Distinguishing features: I have an orange batman mask on my face and a cute meow.
Hidden talents: Stealing your warm spot on the couch the second you get up, stealing a piece of every one's heart that I meet, striking a good model pose when the camera comes out.
Ideal Soulmate: Someone who can give me scratches, kisses, and cuddles. Someone who is looking for a roommate that can't pay rent, can't wash dishes, and can't cook their own meals but will repay you in purrs and snuggles.


Call J. Mota Services for a quick, reliable, affordable handyman in Newton Centre MA.
Call a Newton Centre handyman for all your painting needs!
Let J. Mota Services fix your existing tile or install new tile in Newton Centre.
For complete, superior quality kitchen and bathroom remodeling in Newton Centre Massachusetts, call J. Mota Services.
Have your curtains or blinds installed in your Newton Centre today! Call J. Mota Services for an affordable Newton Centre handyman.
J. Mota Services love to build for Newton Centre residents. Call (781) 281-9282 for a handyman carpenter.
Don't live with ugly black spots! Have a Newton Centre handyman replace your caulk today!
Has your Newton Centre, Massachusetts deck seen better days? J. Mota Services has been providing Newton Centre homeowners with affordable and professional deck renovation services since 2007. Call (781) 281-9282 for a FREE quote!
Repair, replace or install that door or window. Call J. Mota Services for affordable Newton Centre door and window service.
Are you in need of drywall repair in Newton Centre? Call the experts at J. Mota Services for a free drywall repair quote.
Call J. Mota Services for fence repair and installation in Newton Centre MA and save!
Looking for an affordable way to improve the quality of your life and living space? Garage renovation in Newton Centre, Massachusetts is one of J. Mota Services's specialties. Call (781) 281-9282 for a FREE quote for Newton Centre garage renovation!
When your tile needs new grout, call a Newton Centre handyman for quick grout repair!
J. Mota Services offers crown molding and trim installation in Newton Centre MA!
Pressure washing in Newton Centre by J. Mota Services - make your siding, driveway, or deck clean again!
Call J. Mota Services at (781) 281-9282 for all your roof repair needs in Newton Centre.
Everyone needs more space! Call J. Mota Services for quick installation of shelves in Newton Centre.