MOUNTAIN SONG INN is the perfect place to stay and do day trips of the area. Tell us what you like and we can help you plan the perfect 4 to 5 day getaway. Check out the new guidebook of the Blue Ridge Parkway. Our county of Floyd has the longest part of the parkway for its border.
His newest release is Hiking and Traveling the Blue Ridge Parkway: The Only Guide You Will Ever Need, Including GPS, Maps, and More, billed as the only guidebook to provide a detailed description of every National Park Service trail along the entire length of the Blue Ridge Parkway.


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HomeJennifer Lopez shines in sequined jumpsuit showing off her 'mini-me' daughter in new music video
Jennifer Lopez shines in sequined jumpsuit showing off her 'mini-me' daughter in new music video
December 13, 2018 | by Manuela Cardiga
Jennifer Lopez's daughter Emme shows the world that she is a chip off the old block.
Jennifer Lopez, the fabulously talented singer, songwriter, actress, and dancer, has just added another credit to her curriculum: Directing.
Lopez who was on "Good Morning America" on December 12, 2018, suitably dressed for the season in a glittery sequined jumpsuit that flattered her curves.
Lopez opened up about her family's holiday traditions and spoke excitedly about her new venture.
@JLo on @GMA! #GoodMorningAmerica #SecondAct pic.twitter.com/1p6AE5ydkk
— Second Act (@SecondAct) December 12, 2018
"I directed for the first time, so it was a big deal for me."
Jennifer Lopez, "Good Morning America", December 12, 2018.
THE NEW VIDEO FEATURES LOPEZ'S DAUGHTER, EMME
Lopez's new video features the theme song from her new movie, "Second Act," about a woman who gets passed over for a promotion and decides to prove she's the best woman for the job.
The video features none other than Lopez's 10-year-old daughter Emme, who proves that as far as talent goes, the apple didn't fall far from the tree. Lopez was visibly moved as she spoke about her pride in her daughter and her determination to see the project through. Just like her mom.
.@JLo says she knew working with bff @LeahRemini in @SecondAct was going to be "something special." pic.twitter.com/RBMlNBgSAw
— Good Morning America (@GMA) December 12, 2018
CHRISTMAS IN THE LOPEZ FAMILY
The family was definitely foremost on Lopez's mind, because in the studio was her mother, Guadalupe, determined to cheer on her superstar daughter:
"Jennifer is the best. She makes me proud."
Lopez reminisced about trimming the Christmas tree with her parents, a tradition she has continued with her own children. Lopez shared a video of her family decorating their Christmas tree on social media.
.@JLo directed her new music video for the first time and even directed her daughter Emme. "She was like a mini me!" pic.twitter.com/DeUDki2owJ
LOPEZ REVEALED THAT HER MOM DOESN'T COOK.
Lopez spoke about the traditional Christmas treats. She revealed that she and her father are the ones who rule the kitchen and make dinner for the family:
"My mom does not love to cook. We are the ones to go in the kitchen, make the turkey, make the ham, make the pork."
Rumor has it that Lopez will be setting an extra three places at the table soon, for boyfriend Alex Rodriguez and his two children.
Read more on Twitter Amomama USA.
The video features none other than Lopez's 10-year-old daughter Emme, who proves that as far as talent goes, the apple didn't fall far from the tree.
A post shared by Jennifer Lopez (@jlo)
JENNIFER LOPEZ AND ALEX RODRIGUEZ: TWO YEARS OF LOVE
Two years ago, superstar Jennifer Lopez, 49, started dating former professional baseball player Alex Rodriguez, 43, and the two have been inseparable ever since.
"We love each other and we love our life together. The exciting part of our love is that we're both very aware of how lucky we are to have found each other."
'Beautiful clone!': Jennifer Lopez's daughter is dancing and singing in mom's new music video
But as much as she loves Rodriguez, Lopez adores her children. Lopez shares 10-year-old twins, Emme and Max with ex-husband Marc Anthony; and Rodriguez is the father to Natasha, 14, and Ella, 10.
The notoriously loved-up couple have included their children in their relationship, and are often seen out and about as a family.
"I was so loving to his kids and he was so loving and accepting of mine, and they embraced each other right away. [It was] 'I get a new bonus brother and sisters to hang out with all the time and it's nice.'"
It sounds like a match made in heaven, and all that is left is for Rodriguez and Lopez to do is set the date.
In a related story, Ellen DeGeneres teased Jennifer Lopez in hopes of extracting information on her prospective wedding to Alex Rodriguez.
Jennifer Lopez celebrates 2nd anniversary with Alex Rodriguez by posting touching words
49-year-old Jennifer Lopez is 'on the top of the world' and her body is proof of it
Jennifer Lopez looks sensational in a sheer silver dress as she shares a swing with her beau
Jennifer Lopez shares adorable photos of family decorating their home

redpajama_set_name: RedPajamaCommonCrawl


Sophocles started his career in 2000 working for Alpha Bank (Cyprus), a subsidiary of Alpha Bank, second largest bank in Greece and one of the largest banking groups in greater Balkan region. He was involved in credit lending sector, as such following the stock market crunch at the Cyprus Stock Exchange, Sophocles was recruited by a financial institution, to liquidate and manage debt portfolio and margin accounts in excess of EUR2mil in an attempt to reduce losses residing from bad securities and unsecured loans.
In 2003, he moved from banking and corporate management into card business, appointed by TSYS (at the time, CTL as it was before the acquisition) as Business Account Manager, responsible for clients in Mediterranean and Eastern Europe. He was directly involved with clients such as EFG Eurobank, ING Slaski, Marfin Group, all with strong presence in Eastern Europe and Balkans.
Since 2009, Sophocles is appointed Regional Manager for OpenWay Group in the Mediterranean and Levant region where OpenWay clients are migrating from legacy platforms to WAY4, adopting EMV and contactless technologies, and developing innovative self-service solutions.
I see that payment ecosystem may be transforming into a 'mobile' array of products but these cannot work in isolation or in ignorance of traditional payment vehicles. The day-to-day consumer will still need to feel that he / she can still be the master of the game and be in total control of his or hers options. Mobile payments maybe the next 'in-thing' but their role in boosting revenue streams or providing new payment options for consumers will only be leveraged if they are sufficiently bundled in an overall payments cycle.


Designed for 5 year olds and up, the Sidetrack Child features BellÍs all-mountain shape with lower coverage on the rear of the head - similar to the Stoker adult helmet - in a pint-sized package for little rippers. The ready-for-action style, complete with a cool visor, gets young riders motivated to ride. The comfortable, secure ErgoDial fit system makes it quick and easy to get them going.


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Home Gambia IMF admits massive embezzlement of funds under Jammeh: Did the Fund fail...
IMF admits massive embezzlement of funds under Jammeh: Did the Fund fail The Gambia?
Pedestrians walk past the International Monetary Fund headquarters' complex in Washington Sunday, May 2, 2010. A senior International Monetary Fund official says the IMF's executive board is meeting in Washington to consider how much aid to grant Athens under a massive rescue loan package. (AP Photo/Cliff Owen)
Did the International Monetary Fund (IMF) fail The Gambia in not reporting forcefully and directly against Jammeh's grotesque level of economic mismanagement and the rampant corruption, surpassing anything ever seen in Gambia's 52-year post-independence history?
As preparations are underway for the IMF/World Bank Spring Meetings this weekend when the Gambian delegation expected to attend and that will include the Governor of the Central Bank, a holdover from the Jammeh era, as many of the members of the economic management team are, the question is appropriate and was prompted by the preliminary findings and conclusions/observations of the recently concluded IMF mission to The Gambia.
The IMF mission led by Ulrich Jacoby from March 30 – April 12, 2017 to assess the impact of the external shocks on the economy and to kick-start discussions for possible IMF financial support through a Rapid Credit Facility (RCF). We learned for the mission preliminary observations that economic growth has slowed from 4.4% in 2015 to 2,2% in 2016.
The reasons attributed to the lower rate, according to the Fund are limited availability of foreign exchange, weak agricultural output and the impact last year's political impasse had on tourism during peak season, all of these requiring policy efforts as well as external financial support from the donor community.
An end-of-mission statement by Mr. Jacoby referred to the "historical turning point" that the country is in following the democratically-elected government of President Adama Barrow and the economic challenges facing policy makers.
After pointing out to some important data points referenced above, the mission leader made the following that the"situation is compounded by economic mismanagement and massive embezzlement of funds during the former regime."
We have combed through Fund mission reports and cannot pull out a statement of admission as frank and direct as Mr. Jacoby's. Referring to Jammeh's kleptocracy as "economic mismanagement and massive embezzlement of funds…" by the Funds mission head, however belated, is a significant departure from the standard cookie cutter language couched in 'Fundese' not to offend African dictators like Jammeh who ran the country for 22 years with an iron fist.
Jammeh brazenly and with regularity rubbed the public treasury with the aid of senior officials of The Gambia's Central Bank. He manipulated by directly interfering in the foreign exchange market, consciously and deliberately distorting the market to favor his own forex bureaus or those of his business partners.
Admittedly, Jammeh interference in the foreign exchange market has been a central point of contention and a source of conflict between him and the Fund over several years and missions, resulting in numerous admonishments and warnings from the Fund without the desired effect.
The inability of the Fund to rein in Jammeh whose monetary (as well as the fiscal) indiscipline reached legendary heights with time, as the main driver of the domestic debt. The Gambian Constitution allowed him to engage in business which was the reason for his insatiable appetite for borrowing at local banks, depriving legitimate businesses of access to financial capital.
Fiscal and monetary indiscipline of the former regime has been a recurrent problem. The persistence of these problems also suggests that Fund's toolbox may be missing a tool or two, specifically designed to handle kleptocratic leaders like Jammeh, in addition to sanctions.
The reluctance on the part of the Fund not to offend these kleptocrats, whether or not it is dictated by policy, is part of the problem African economies are experiencing. By avoiding a sterner language like the ones employed in this case by Mr. Jacoby, the Fund is contributing, in a significant measure, to Africa's economic problems in general and to Gambia's in particular. It is time for the International Monetary Fund and development finance institutions start calling a spade a spade.
By Sidi Sanneh


Contains Shea Butter and Beeswax to make the skin smooth and supple.
Olive Oil contains natural Vitamin E to promote the elasticity of the skin, Peppermint Oil and Menthol refresh and revitalize the skin.
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Q: Is $\overline F \setminus A$ perfect where $A$ is the set of isolated points of $F$? Let $X$ be a metric space and $F\subset X$.
I have proved that $\overline F \setminus A$ is closed.
I'm having trouble with showing that $\forall x\in \overline F \setminus A$, $x$ is a limit point.
Plus, how do i show $\overline {F \setminus A} = \overline F \setminus A$?

A: You can't show that every $x\in(\operatorname{cl}F)\setminus A$ is a limit point of $(\operatorname{cl}F)\setminus A$, because it isn't true.
Let $$A=\left\{\left\langle n,\frac1m\right\rangle\in\Bbb R^2:n\in\Bbb Z\text{ and }m\in\Bbb Z^+\right\}\;,$$ and let $F=A\cup\{\langle n,0\rangle:n\in\Bbb Z\}$. Then $F$ is a closed subset of $\Bbb R^2$, and $A$ is its set of isolated points, so $(\operatorname{cl}F)\setminus A=F\setminus A=\{\langle n,0\rangle:n\in\Bbb Z\}$. This is a closed, discrete set in $\Bbb R^2$: it has no limit points.
Corrected:
Did you want to show that every $x\in(\operatorname{cl}F)\setminus A$ is a limit point of $F$? That is true. Suppose that some point $x\in(\operatorname{cl}F)\setminus A$ is not a limit point of $F$; then $x$ has an open neighborhood $U$ such that $U\cap F\subseteq\{x\}$. $U\cap F\ne\varnothing$, since $x\in\operatorname{cl}F$, so $U\cap F=\{x\}$. But then $x$ is an isolated point of $F$, i.e., $x\in A$, contradicting the choice of $x\in(\operatorname{cl}F)\setminus A$.
It's not necessarily true that $\operatorname{cl}(F\setminus A)=(\operatorname{cl}F)\setminus A$; we might have $F=A=\{1/n:n\in\Bbb Z^+\}$ in $\Bbb R$, for example, in which case $F\setminus A=\varnothing$, but $(\operatorname{cl}F)\setminus A=\{0\}$.
It is true, however, that $\operatorname{cl}(F\setminus A)\subseteq(\operatorname{cl}F)\setminus A$, since $(\operatorname{cl}F)\setminus A$ is a closed set containing $F\setminus A$. It is also true that $(\operatorname{cl}F)\setminus A=\operatorname{Lim}F$, the set of limit points of $F$. We saw above, it is true that $(\operatorname{cl}F)\setminus A\subseteq\operatorname{Lim}F$, and the opposite inclusion is clear.

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From a young age, most of us are taught the value of studying. "Study hard in school and you'll get good grades!" we often hear from our parents.
As we grow older, we recognize that study is the foundation of almost any undertaking. To learn to do something well, whether playing an instrument or a sport, we must study the masters at violin or basketball. Starting at a new job, we examine and learn the various tasks by reading information, observing our trainer, or practicing new skills. Scientists understand the behavior of various animals or sub-atomic processes by careful observation and evaluation – study is the hallmark of their work.
Studying is the foundation of learning, growing, and evolving in every aspect of our lives. Yet, do we really know what it means to study? According to Webster's New World Dictionary, to study is "the act or process of applying the mind so as to acquire knowledge or understanding." Study requires several steps.
Focus: First, we must be able focus our attention. Without careful attention, we will not know what is pertinent and what isn't.
Observe: Then, we observe, listen, or read. This opens us to take in what we are putting our attention on.
Integrate: After we receive the new information, we attempt to understand. This is like digesting food—the knowledge needs to be broken down in ways we can integrate and assimilate into our mind.
Reflect: Once we take in this new information, we reflect on it. How does it apply to other knowledge we have? What implications does this have in my life? What does this reveal about me?
Apply: Lastly, new knowledge becomes fully embodied when we know how to apply it to situations, whether it's on an exam, in a yoga pose, or when responding to others. When we apply this new understanding to any given situation with skill, we know our studies have been fruitful.
Yogic philosophy also recognizes the value of studying. The ancient yogis were scientists: they inquired into themselves and their experiences of the universe with tremendous depth and acuity. An essential part of yoga practice is the concept of Svadhyaya: the "study the Self".
According to TKV Desikachar, the word is composed of Sva, meaning "self" or "belonging to me," and Adhyaya, meaning "inquiry" or "examination." Quite literally, Adhyaya refers to "getting close to something." Thus, the practice of Svadhyaya allows us to become closer to our true self through study and inquiry.
As we engage in Svadhyaya, there are two aspects of the self that we examine. The first and most obvious is what many call the small "s" self—our mind, ego, personality, and also our physical bodies. Until we deeply examine our thoughts, words, and behavior and align them with our highest integrity, it will be difficult to become the best we can be as human beings. And it will be nearly impossible to pursue our spiritual growth.
This first level of Svadhayaya necessitates that we observe all of our relationships. How am I treating my partner, friend, parent, child, co-worker, subordinate, boss, or a stranger in a grocery store? What is the quality of my speech—am I speaking truth to others? Am I loving in my communications, or angry? Do I listen to others, or do I only want to talk?
This inquiry applies to our relationship with our own self as well. How do I treat myself? What are my beliefs and attitudes about who I am, and what I'm capable of? Do these attitudes support or hinder me? Do these thoughts affect how I behave towards others? How do I treat my body? Am I loving and compassionate towards my body and myself? There are a myriad of questions that one could explore through the practice of Svadhyaya.
Self-inquiry can be a moment to moment practice of self-observation. It can range from simply watching the breath to noticing emotions arise during an argument. It also includes reading self-help books, going to counseling, taking personal growth workshops, journaling or artwork, and a vast number of other experiences that heighten self-awareness.
During our yoga practice, we include Svadhyaya in observing the responses of our body and the reactions of our mind. In Svadhyaya, we study ourselves so that we may become more of who we truly are—our highest and greatest good within.
The second and more traditional aspect of Svadhyaya is the study of the "Self" with the capital "S": our Divine essence. Svadhyaya is a practice of getting to know our true nature, beyond our personality, thoughts, body, or emotions. It includes studying spiritual texts, practicing meditation or breathwork, chanting, or prayer, all of which are forms of yoga. It may involve going to a teacher, minister, or spiritual gathering for inspiration and understanding. There are many ways in which we can unearth a deeper connection to the Divine within.
Ramana Maharshi, a well-known yogi of the early 20th century, suggested one simple spiritual practice of self-inquiry. He recommended the repetition and contemplation on the question, "Who am I?" The "I" he referred to is none other than the capital "S" Self.
Beyond the layers of titles we associate with ourselves (like mother, husband, accountant, Latino, woman, Methodist, gay, straight, etc.) and beyond the sense of me and mine, there is a spaciousness of Self. This I transcends definitions and can only be experienced. It is the ultimate goal of yoga, the sense of Union with all that is. As we practice this question over and over, Maharshi asserts that over time, the true essence reveals itself.
Whether you are on or off your yoga mat, you can incorporate Svadhayaya into your daily life. For example, take the time to focus your attention on your inhalations and exhalations. Observe how the experience of breathing affects you in the moment. Notice the thoughts, emotions, and sensations.
Integrate this experience with what you have understood previously about your breath, and what this momentary experience reveals to you now. Reflect on the impact of deepening your inhalation, lengthening your exhalation, holding the breath, and releasing it. What does the breath, right now, teach you about yourself and your life? Explore how breath awareness connects you more deeply with nature, the universe, or the Divine itself. Then apply these observations to the next pose; the conversation with your neighbor; a hike through the woods; taking an exam; or returning your client's phone call.
Utilize what you have learned through studying your breath, or any aspect of your life, to enrich your daily experiences. It is said in the Yoga Sutras that when one firmly establishes Svadhayaya in their life, they attain union with the Divine. Just as physicists have discovered that the deeper they examine sub-atomic particles, the more they see that the universe is composed of impulses of energy and information, the deeper we look into ourselves, the more we unearth the profound truth that we are one with all of consciousness. We are Spirit itself. Study yourself, and you will find your Self within.


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Belle Fourche School Summer Meals Program Reaches More Students
Home/News/Belle Fourche School Summer Meals Program Reaches More Students
This story appeared in the Black Hills Journal, and the Butte County Post
By Emily Niebrugge, Black Hills Journal Staff
The Belle Fourche and Meade school districts are seeing increases in children taking advantage of their summer meals programs, and while food supervisors are grateful to see the numbers increasing, they also believe there are more who can take advantage of the help.
Each day, Justin Olson sees about 60 children come in for the food service's breakfast meal, and around 170 lunches.
"It's been a good year," said Olson, food service manager for the Belle Fourche school district, which has served summer meals for the last three years.
While he has seen an increase this year, he said summer enrollment for other programs, like Camp Oasis, is also up, which could contribute to serving more meals.
Olson and his staff provide sack lunches for that group four days a week, as well as serving breakfast and lunch at the middle school.
Part of the national Summer Food Service Program, both programs in Belle Fourche and Sturgis provide free meals for anyone 18 years old and younger.
In South Dakota, 17.9 percent of kids who received free or reduced lunches at school also received summer meals in 2014, according to a release from United States Department of Agriculture Summer Food Service Program.
"I have no doubt that the kids we're seeing come in aren't always getting what they need at home," said Laurie Lorius, supervisor of the Meade School District program, which averages about 170 lunches every day. "We've had parents call us and tell them this is great, because they can't beat the price, especially for families who have a lot of kids."
Lorius said sometimes people may think the program is solely for low-income families, but that is not the case, she added.
"It's completely open to the public for anyone 18 or younger," she said. "I think more people should be coming in and taking advantage of this."
Whitewood school district also has a fresh fruits and vegetables program during the school year, as well as Belle Fourche, where students can have as many fruits and vegetables as they like.
"I'm always surprised by what these kids choose to eat," Olson said. "In the beginning I thought these kids won't eat (fruits and vegetables), and when the recent requirement made students take a fruit or a vegetable, it might have produced some more waste, but I was surprised by what they chose to eat."
By Lunchtime Solutions Team|2016-02-08T16:58:02+00:00July 23rd, 2015|News|Comments Off on Belle Fourche School Summer Meals Program Reaches More Students
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Lunchtime Solutions partners with Cookies Sauces to wrangle up delicious grub for students across the Midwest
Local grower partnerships with Lunchtime Solutions benefit all involved
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SPORTS / MEN'S BASKETBALL
Oop, there it is! MSU men's hoops soars above Oakland with an alley-oop barrage.
Jared Ramsey
MSU's senior forward Marcus Bingham Jr. (30) shoots the ball over Oakland's graduate forward Jamal Cain (1) in the Spartans' game against the Golden Grizzlies at Little Caesars Arena on Tuesday, Dec. 21, 2021.
Photo by Chloe Trofatter | The State News
Michigan State's high-flying leaping ability was on full display for a packed Little Caesars Arena as the Spartans jumped past Oakland 90-78.
Michigan State had to get creative to find answers to Oakland's quirky 2-3 matchup zone, which has caused fits for opposing teams all season. The answer for Michigan State was the lob behind Oakland's aggressive on-ball defense.
Michigan State successfully completed seven alley-oops (tallied by hand during game) after finding the gaps in Oakland's in-your-face zone, helping soften the edges of the Golden Grizzlies' defensive foundation.
"We worked on it a lot in practice," senior center Marcus Bingham Jr. said. "I knew I was gonna get a lot of open looks. And Tyson (Walker) did a good job of getting me the ball — and A.J (Hoggard)."
The lob served as Michigan State's key that helped unlock the answers to Oakland's unique defensive strategy. The delivery through the air helped Michigan State reach 90 points, tied for its highest point total of the season.
The beginning of the strong offensive performance began from deep for the Spartans. After freshman guard Max Christie hit a pair of threes in the opening minutes, Oakland began to aggressively close out on shooters to deny the shot.
The aggressive on-ball defense created wide open driving lanes for MSU's guards, who penetrated to force a defensive rotation. Walker and Hoggard dissected the defense with crisp passes after getting into the paint, leading to a number of easy baskets, including an avalanche of alley-oops.
"The whole game plan was just to get into the paint, look out, look over the top," Walker said. "And that's how we got the easy threes in the beginning. And then we started getting the lobs because they was so far out on the shooters."
The ability of Michigan State's point guards to penetrate into the paint and force a rotation from the Golden Grizzlies' big men created windows for Bingham and wings such as senior forward Gabe Brown to attack the rim off-ball and soar through the sky in the Little Caesars Arena for an easy two points.
The success of Walker and Hoggard in attacking the gaps of the zone led to the strongest performance for the backcourt duo this season. The two point guards combined for 17 assists and only two turnovers, making MSU's offense turn into an unstoppable machine.
The star playmaker for MSU was Walker, who had 10 points and 10 assists for his first double-double of his career. He dictated the pace of the game and relentlessly attacked Oakland's guards to create genuine scoring opportunities.
"Tyson's definitely one of our biggest leaders," Christie said. "I mean, he's QB1, he's the point guard. So he's a direct connection of coach on the court. And so he does a really good job getting us into our spots, being a great leader and making sure that we're doing the right thing."
Walker was the straw stirring MSU's drink all night long on both ends of the court. On top of his career performance offensively, the junior point guard had three steals on top of his constant playmaking on the other end of the court. It was the type of game Walker wanted to have against a strong defense.
"We settled in good," Walker said. "I got 10 assists off of it — definitely settled in. AJ had about eight. So it was definitely looking good just throwing it over the top."
Michigan State also found success attacking over the top during transition, which was a point of emphasis coming into tonight according to MSU Men's Basketball Head Coach Tom Izzo. Michigan State was able to outscore Oakland 15-6 thanks in large part to the Spartans' ability to create through its athleticism.
"We ran early and we hit those lobs," Izzo said. "And I think that was a big difference in keeping us going at a different pace."
Michigan State's high-flying antics had the fans who were donning green and white at the Little Caesars Arena on their feet with the above-the-rim antics. On multiple occasions, MSU fans erupted in jubilation because MSU had connected on yet another alley-oop. Walker said the atmosphere had him prepared to play after disappointing in MSU's last game in an NBA arena against Kansas.
"Actually, we got a big crowd with us today," Walker said. "I didn't expect that. And last time we played in a pro arena, I kind of played bad so I didn't want to do it again. I played better today."
Share and discuss "Oop, there it is! MSU men's hoops soars above Oakland with an alley-oop barrage." on social media.


PAPER II – BOMBAY FINANCIAL RULES, ETC.
(3) Indiscriminate copying from books should be avoided.
his / her identity anywhere inside the answer book otherwise he/she will be penalized.
(5) Candidates are expected to answer all the sub questions of a question together. If sub question of a question is attempted 'elsewhere (after leaving a few pages or after attempting another question) the later sub question shall be overlooked.
(a) Describe the canons of financial propriety.
(b) What are the provisions regarding the maintenance of contingent expenditure register?
(a) Write about the structure and duties of Public Account Committee.
(b) What do you mean by Revised Estimate and how they are prepared?
Describe the rules in detail about the acceptance and handling of Government money.
What are the responsibility of drawing officer and controlling officer regarding contingent expenditure?
Permanent Advance is sanctioned for what purpose? And by whom? How permanent Advance is recouped?
PAPER III – BOMBAY BORSTAL SCHOOL ACT, ETC.
(2) Marks assigned to the question are indicated in the margin.
(3) Candidate should not write roll number, any name (including his / her own), signature, address or any indication of his / her identity anywhere inside the answer book otherwise he/ she will be penalized.
Give detailed note about the provisions regarding social and religious disabilities and the punishment provided therefore under the Untouchability (offences) Act, 1955.
Elaborate, having regard to the provisions of the Devdasis Protection Act, 1934 the provisions regarding practice of Devdasi, Devdasis, Marriage of Devdasi, offences under the said Act, etc.
Discuss the provisions relating to protective home under the Immoral Traffic (Prevention) Act, 1955.
Explain the pourers of the Court to pass orders under the Bombay Borstal Schools Act, 1929 and the limitation on exercise of those powers.
(b) Cancellation or suspension of licenses under the provisions of the Untouchability (Offences) Act, 1955.
Discuss the provisions of the Immoral Traffic (Prevention) Act, 1955 regarding allowing premises to be kept as brothel, living on earnings of prostitution, detaining a person in a premises where prostitution is carried on and prostitution in the vicinity of a public place.
(3) Candidate should not write roll number, any name (including his / her own), signature, address or any indication of his / her identity anywhere inside the answer book otherwise he / she will be penalized.
(d) Mahila Arthik Vikas Mahamandal.
State and explain important provisions of Juvenile Justice (Care and Protection) Act, 2015 and elaborate about the machinery established by the State for implementation of the Act.
Briefly explain about Integrated Child Protection Scheme (ICPS) and explain about programme running in Maharashtra for implementation of the scheme.
Briefly explain about causes and bad effect of child marriages and measure to be taken by the government to curb the problem of child marriage.
Elaborate in detail about salient features of the Probation Offenders Act, 1958 and machinery established by government for proper implementation of the said Act. Also explain about the problems for implementing the Act.
What type of assistance and help is provided to Women under the protection of women from Domestic Violence Act, 2005 and also briefly explain about functions of protection officers and other institutions providing services and assistance under this Act.
Juveniles in conflict with law.
(d) Counseling Centre for Women.


Have you heard the term geothermal heating but your not sure what it means? It's all about using the constant temperature of the earth, starting at about 8 feet below the surface, to be a heating or cooling source for a heat pump type heating and cooling system. In this video Tony Landers of Climate Master Geothermal describes how geothermal works.


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2020 Spring Arts Festival: Visual Arts
From the AP Studio Art Class
This work represents the section of the AP Studio Art portfolio titled Sustained Investigation, which represents a series of 10 pieces as a cohesive body of work on a theme of the student's choice. For the AP, students were also asked to submit a statement discussing their process, and conceptual development. Much of this work was created in the Spring Semester, and students put in tremendous effort to complete their intended pieces despite the shelter-in-place. Portfolios were submitted to the College Board this week, and will be scored this summer. – Jenifer Kent
AP Studio Art Students
Marco Ariowitsch
Lulu Barron
Emma Chin-Hong
Sydney Duncan
Isi Erhart
Alexa Fisher
Gabriella Hord
Mackenzie Jones
Ernie Kaye
Eva Krueger
The main question that inspired this investigation was "what can you tell about someone based just on their hands?" this question drew my interest because hands are one of the main ways that people interact with the world around them. A person's hands have the ability to tell so much about someone's personality; they can hint at what type of job someone has, what activities they enjoy, or even their current mood based on the hand gesture. While hands may hint at these personalities/qualities, ultimately a hand alone cannot confirm much about a person, but rather gives the viewer a strong base to build a story around, which is what drew me to this project. For this series all the hands are meticulously hand built rather than molded and cast. I chose to hand build because it was my opportunity to use my hands and interact with the world, letting me dive deeper into the idea behind my series.
What is our role as humans in this universe? How do we think? How do we perceive others and ourselves? My series focuses on the intersection between these questions. I have disrupted my images both by contrasting black and white paper and by conceptually creating flawed pictures. Either snakes are coming out of a person's head, or giant hands are bolstering a lighthouse, or the physical is interacting with the metaphysical.
I wanted to alter this sense of reality in my art both because it is visually challenging, and because it helps me grapple with my own thoughts surrounding human interactions, thoughts, feelings, and our greater purposes. Oftentimes, it is difficult to imagine that we are only a small part of a greater universe and that much of what we take to be "fact" is actually just perception. For example, it might not be physically possible for snakes to grow from a person's head, but there are times when we feel like our heads are going to explode - hence, my interpretation of that emotion as vicious snakes. My pieces are here to stretch perception, to question what we blindly accept as fact, and to reinterpret our most confounding experiences.
I started to notice little bumps on my skin, the summer I turned 11. They were first on my feet, then my armpits and in the corners of my eyes. Months passed and they wouldn't leave. After a visit to the dermatologist, I found out the bumps were plaque psoriasis. Psoriasis is almost always portrayed in a negative light, such as with Ken Tanaka in Glee, and Neil in Family Guy. The characters with psoriasis are always the gross, unpopular ones. When I got diagnosed, it was really hard to accept. I was told that it was rare for someone my age to have, that it was an autoimmune disease that they had no real cure for. There were topical treatments for me to use and that there were pills that were more effective but had very negative side effects. I felt unlucky. I didn't think I'd ever feel beautiful again. As the years have passed, my psoriasis has taken over my whole body. It's taken a toll on my mental health, but I've used my art to help me see the beauty in my skin and in myself. I now see the bumps as little flowers, like daisies. In this series, I attempted to showcase how my relationship with my skin has changed over the past 7 years. I am slowly but surely accepting my skin.
For my sustained investigation I wanted to explore identity through surrealism. My main inspirations came from surrealists whose work I had enjoyed in the past, such as Dalí and Magritte. I was also initially inspired by the literary style of magical realism, popularized by Márquez. When I first began my series I tried to focus on specific motifs, and define exactly what I wanted each symbol and piece to mean. For example, I explored using different species of flowers based on their cultural symbolism, or using mirror imagery throughout my pieces. However, as I tried this I realized that it felt more genuine to my concept to let go of defining specific symbols and trying to manufacture cohesion. Instead I learned it felt more accurate to let my subconscious take control of the imagery I employed in my pieces. They still have specific meaning, but that meaning is more deeply entrenched in my being, and is harder to unearth than something I chose specifically for its implied meaning. By exploring the subconscious, I feel I am better able to tackle my initial interest in exploring my experience with identity, how it is defined, how it changes, and what confines it.
Through this series I tried to answer the question of how to represent people in my life through nature. Painting has allowed me a deeper connection to nature than I feel physically. I first pick a scene or location that I feel captures the essence of the person whether it's through symbolism or simply the characteristics of the elements in the setting. For example, I chose a field of daisies for my younger sister because they symbolize innocence and purity, and because ever since she was young she has worn flower clips in her hair. For my grandpa, I chose an iceberg because although there is a language barrier that seemingly divides us, there is a hidden depth to our relationship, just as there is a whole part of the iceberg that's underwater, unseen. We built our relationship through playing rummy, so I depicted us playing cards on the iceberg. This inclusion of the subject or the subject and me are present in every piece in the form of silhouettes. At first they were just black silhouettes, but after a couple paintings I revised my process to paint them using the colors of, or relating to, the scene in order to better connect them to the place that I am tying them to.
The whole idea behind my investigation began when a friend told me about this conspiracy known as "Last Thursdayism", the idea that the universe and all of our personal experiences were created last Thursday. I do not believe this theory, however, it did make me start to think more about whether our memories of personal experiences came from events that truly happened in the past or our imagination. I wanted to explore in-depth this idea in a more thematic sense rather than narratively since memories are not always linear and tend to be quick snippets, flashbacks. I used black and white film as my starting base, which I thought to be the grounded memories and then I either altered the subject of the photo, the camera's shutter, or the after process in its developing and printing stages. I would stop the film advance mid-picture to create this in-between delay of reality and something that never happened. I experimented with encaustic painting, tintype making, and wet plate Collodion processes to illustrate a sense of warped reality and time.
For my sustained investigation series, I made a series of paintings and drawings that are all things blue. By experimenting with all types of media like oil paint, acrylic paint, water color, stickers I made out of vinyl, and pen and ink, I was able to show the breadth of my abilities and skill.
I like the color blue because it's soothing. I love water, especially the ocean and all the memories I have there. The color seems to be indefinite when looking at the ocean and sky.
I created this series to evoke feelings of comfort in the universal knowledge of what blue looks like and where it is found. I also made it to appreciate other things that aren't generally thought of as blue. This series is meant to capture the emotion I feel when I see shades of blue. As my series progressed I leaned more into abstract ideas and interpretations of blue and I found that I had more fun making art without rules and boundaries.
A) How can I transform the material I'm working with?
B) How can I evoke a reaction in the viewer (i.e. desire to touch a piece)?
C) How can I work with individual parts in relation to the whole?
While beginning my series, I was inspired by Tara Donovan, John Chamberlain, and Jane Shin's ability to transform weird materials. I decided to challenge myself to use found materials, which brought a new aspect to my artwork, as I now had to go out to a local creative reuse depot to forage for material. I really enjoyed the process, because often I'd enter the store having no idea what I would come out with. I picked materials that drew me and brought them back to the studio to transform. This transformational process required a lot of experimenting. For example, I began my strawberry basket piece by stacking them, but later choose to break their form by pinching them together. Another example is my fabric piece: I started by bunching denim and placing it together on the floor, but found that I didn't like the flatness of it. I decided to use chicken wire to provide structural stability and produce a more dynamic piece.
My series includes 10 digital photographs of two of my female friends.
I took photographs of beautiful women (in a non-cliche way) and added an element of objectification; I studied and was inspired by both Richard Avedon's and Robert Mapplethorpe's portraiture.
My goal was to emphasize the backgrounds in my various photoshoots by matching them with the clothing worn by my subjects, and even with some of their physical characteristics. For example in photo #3, Lulu's freckles resembled the speckled brown mold surrounding the light switch. The combination of various textures (the rough surface of the wall, Lulu's smooth skin, and chewed gum) further strengthens the image. Comparatively, in Photo #6, the black lace of Lulu's dress clearly mirrors the faded black mold on the exterior wall. This resemblance exemplifies the main purpose of my project. In photo #1, I used a drone to take a close-up photo of Lulu's legs; this affect helped to make them look barbie-like and almost fake, adding an unique element of detail. Photo #7 of Dray is my personal favorite. Her luscious blonde hair matches the wall in a former military site.
In the midst of the climate crisis, the way that I see the city-scape where I live has fundamentally shifted. I want to explore the serenity and spirituality of the natural landscape that is being replaced by urbanization.
In a big city, nature is overtaken by urban landscapes. I created a portal through the urban world into the serene natural, using a stained glass effect. I showcased nature flowing through urban structures. This is most clear in images 4, 7, and 8, where I mirrored the photographic structure's shape in my resin work: the fish in the stained glass landscape, the flowers and blinds reflected with a deer and trees, the curve of the escalator as a creek. I also incorporated wealth into the dialogue of urbanization, which can be seen in images 1, 5, and 10.
My design process was difficult and went through many iterations. I covered mat board with contact paper to be laser-cut. I lined the back of the board with more contact paper, dyed the resin, and poured it into each cut. After 24 hours, I peeled off the contact paper and put a white backdrop behind the mat board to make the colors pop. Then, I cut out my printed photograph and glued in on top of the mat board.
Olivia Luk
Tom Newbold
Edith Meade
Devan Paul
Anna Perlman
Ava Perryman
Sadie Scott
Zoe Shibley
Braeden Wong
What has always fascinated me about photography is that a photographer's medium is reality. Inspired by the work of photographers like Cindy Sherman and Nikki Lee, I wondered how much reality could be manipulated before it would no longer be considered real. In this series of self portraits I explore different styles in each piece, but aim to ground them in their common sense of artifice. I initially began my series without the masks you see in most photos. However, as I continued experimenting with surreal imagery I sought more ways to control the images. By crafting these masks from scratch, I was able to control the identity of the figures who wore them. Like the masks, everything else in the process would be highly controlled (intricately planned compositions, distortion of scale, unnatural colors, and heavy use of Photoshop). We often expect photography to reflect reality. However, by portraying overtly unrealistic subject matter in a realistic way, I'm challenging the viewer to accept my reality. What else do we adopt as our truth without question? Which parts of our identities are we in control of and which parts have been molded by others?
For this series I'm exploring sequence and storytelling in an abstract sculpture series. To create each piece I sculpted around a center support, bisected the piece, cored out the body, and cut off the knobs, before putting the shell back together and re-smoothing. I tried to make the piece itself as amorphous as possible: I wanted there to be no recognizable image in the form. While the clay was wet, I used a water spray bottle (piece 2) -and various other methods, like smashing, breaking (piece 6), and raking- to distort my base shape.
After firing, I painted horizontal stripes to create left to right movement in my pieces, like a page of writing. I chose a linear layout, displaying my pieces sequentially, with increasing amounts of decay and destruction. To me the story is of someone going crazy, but I hope the viewer interprets it differently. After glazing, I used epoxy and dowels to reconnect the knobs to the base. These add structure to my degradation, breaking up the amorphous curves and corroded aesthetic. I am curious how all these abstract elements will work together to narrate a story, and if you can convey emotion with no imagery.
Like nearly all of my peers, I grew up devouring High School Musical, Grease, Ferris Bueller's Day Off, and numerous Disney Channel shows while singing along to Katy Perry's Teenage Dream, and Taylor Swift's Love Story. Throughout elementary school, I would fantasize about being asked to prom, or having a perfect body that would spark jealousy in my peers. I would dream about homecoming football games and scoring the winning goal in the championship. I pictured myself waking up to a brand new convertible car with a huge bow on the hood on my sixteenth birthday. Because I was raised alongside these mainstream images of high school I expected to look back on high school as the best four years of my life.
Now, as a senior, I realize that my time in high school has looked nothing at all like what I fantasized. In the last four years, I've struggled with my mental health, my body image, and overall self-esteem. I've never had a boyfriend and I take the bus to school every day. In my series, I used watercolor to depict a romanticized version of high school, while using the color black to convey a more realistic version of my experience.
I was interested by the idea of displacement and how we fit into our surroundings. How do the self and body relate to place? Can places change a self? At the beginning of the project, I thought I wanted to focus on the narrower theme of feeling ill-at-ease in a built environment. You can see this sort of thinking very clearly in images 1 and 2. As I shot, though, my thinking migrated towards a much more individual sense of belonging. I was also cognizant of the built-natural balance—images 7-10 have fully natural surroundings and previous ones have various portions of man-made surroundings. I wrestled, over the course of shooting, with how much my models should be trying to "fit in" with their environment. You can see varying approaches in images 4 and 6 to that effect. Should their clothes match the surroundings? Should they be attempting to mimic elements of their environment? I attempted to explore these kinds of tensions with particular focus on the relationship between the two. I also thought about the framing of the figures and how large they should be in relation to their surroundings (images 1, 9). In some, the environment might be more important than the figures in them.
My series is inspired by my fascination with the role of the natural world in Jewish mythology, and connections I draw from these fantastical tales to both ancient biblical text and my life today. I explore the question: how can Jewish mythology guide my discovery of spirituality in nature? To answer this question, I relied on a combination of biblical iconography, mythical creatures, and natural elements I see around me.
I began my process by studying mythology surrounding the Garden of Eden, seen in my depiction of the Tree of Life in Piece 4. The winged figures, or cherubim, are said to be "guardians of god," who guard the path to the tree of life with flaming swords. This image of a supernatural protective force from above reappears throughout my series: ashes fall from the cherubim into human hands in Piece 5, the patterning in my depiction of the Lion of Judah in Piece 1 evokes flames, and a dove watches me from above in Piece 3.
I began by only using gouache and pen, but expanded into markers in order to achieve a vibrancy that could capture the otherworldly nature of these tales.
How has my perception of the world around me and the way I fit into it changed? Photos 1 and 3 represent the feelings I had of being confined in my city life and the person I felt I had to be in that structure. Photo 2 shows the backs of my childhood home and the new house my parents just bought. These homes symbolize me and the physical change I am going through in moving away. The second three images gradually include fewer manmade items to portray how I began deepening my connection to nature. I also ripped up these images leaving blank spaces to depict the crumbling perceptions I had of myself. Over the past year, I have been able to slowly begin piecing myself back together into the person I am proud of today. In photo 7 I wanted to show that my city life will always be with me but that I no longer feel it is stifling. Photo 8 displays the front of the two homes from photo 2 to signify me coming out on the other side of this change. In the final image, I played with the repetition of form in nature to juxtapose the structural repetition of windows in the first image. I also wanted to end the series in nature because it is where I feel I am the most genuine version of myself.
Through my sustained investigation, I attempted to question the ways that sexism manifests itself in both systemic and structural barriers. I initially found inspiration in the feminist works of "Womanhouse" and Rebecca Horn. Though I imagined my series focusing more on domesticity, I found that many of the same restrictive structures that existed in the home were present in other institutions and worked to expand my concept. I then decided to experiment with more abstract and minimalist spaces that would have a broader application (4-7). The rigid "masculine" lines create physical barriers to the subjects, representing the intangible ways that traditional gender roles often act as forms of confinement. By making the photos black and white, I allude to the antiquated nature of these gender roles and strip away the strong associations many viewers have between color and gender performance. As I progressed, I felt that the images did not convey any sense of hope or empowerment so I included some photos where the subject made eye contact with the camera (9, 10) as if directly questioning the ways that the viewer may reinforce these oppressive structures both implicitly and explicitly.
My aim was to juxtapose the concept of home and its relationship to my identity as a woman. My investigation of life at home through photography has been continuous over the past two years. However, it is only recently that I began to think more about my own identity. Initially, I sought to illustrate a darker narrative by juxtaposing elements of home life, including technology, familiar places, and family. Images 3 and 4 are some of my earlier pieces, and both address domestic life. However, I realized that I could find more inspiration by letting these ideas go, and by shooting images that felt more natural. My investigation changed from something more widely applicable, to focus in on specific ideas that I felt were relevant to my experience right now. To make this more clear, I decided to only have women and girls in my family be the subjects of my images. Image 1 is my cousin and most of the other images are of my mother and sister. By representing women of different ages, my series demonstrates different stages of growth. After examining these stages, I saw a common theme. All the women in the images seem to be waiting for something, for the future, for someone else...
ALS is a degenerative disease that attacks one's muscles, weakening them to the point where the patient is unable to have any voluntary muscle control. One loses the ability to walk, to speak, to swallow, and eventually breathe, all the while one's consciousness remains solidly intact. My grandma lost her battle to ALS. I watched her body slowly decay away from her with her mind continuing to live helplessly. Despite her consciousness living, her humanity gave into the will of the Earth, forcing her body to decompose back into it. Her death prompted thoughts about shared humanity and the impotence of humanity's struggle against the inevitable return to the Earth with death. I thought a lot about the separation of body and mind and how the physicality of death kills the living consciousness. My sustained investigation is a reaction to my grandma's death, focusing on death and human decomposition as a means of returning to the Earth through the integration of anthropoid and telluric forms. I was inspired by Sally Mann's "Body Farm" and her hauntingly peaceful photos of decomposing bodies. I wanted to not only reflect a return to Earth in my forms but in the media itself. I kept the clay bodies in their natural forms, leaving them unfired, and also incorporated other organic media in each piece. Each piece posed its own new set of challenges from combining clay and different natural elements. I experimented in trying to balance the behaviors of both clay and the other organic media and went outside the realm of traditional sculpture and ceramics. The disposition of both ALS and decomposition is that they play out over large swaths of time. I utilized the element of time as a material in my pieces to further decompose each piece. The true essence of my series is not only captured from my physical sculptures itself, but the concept of their creation and installation.
AP Studio Art
AP Studio Art Class Slideshow
From the Drawing & Painting Classes
From Drawing II & Painting II
Presented here are drawings and paintings, collages and at least one artwork created via a painting application from a perspective project and a portraiture project. The perspective project tasked students to work from photos that they had taken of mostly urban landscapes. Some students chose to create images from views directly observed out their windows. The portraiture project utilized the grid of zoom. Students brought playfulness into making individual portraits of their classmates, sometimes throwing in a favorite celebrity. Because of the limiting nature of sheltering in place, students were very creative with whatever materials they had on hand, including in one instance shiny blue gum wrappers. Lastly, some students chose to work with still-life. My primary directive has been, follow your curiosity and go with what is inspiring you.
– Lisa Carroll
Drawing & Painting III
This work represents a small series of pieces on a theme of each student's choice. This is the first project students have done where they are asked to create a series with a conceptual focus, and to work on more than one piece at a time while building their series. The shelter-in-place meant that some media had to be adjusted, and some students have fewer pieces, but the conceptual consistency of each series remains. This project helps to prepare students for more rigorous series work they will create if they take AP Studio Art.
– Jenifer Kent
Drawing II & Painting II
Adelaide Tranel
Alexa Tabibian
Alice Sappenfield
Alicia Lopez-Guerra
Daniel Ravel
Eva Knowles
Grace Schneider
Greta Pilkauskaite
Janine Navalta
Jasmine Bartlett
Julia Krepelka
Kalyani Nair
Lily Ehsan
Lucas Hobart
Lucy Welch
Mason Spivy
Noah Sebhatleab
Simran Hira
Sophie Nutting
Stefan Tsakalakis
Teddy Molfino
Tobin Parkhill
Drawing II & Painting II Class Slideshow
Julia Brockland
Hudson Carpenter
Claire Espinosa
Gaby Garcia
Caroline Hall-Sherr
Ava Jo
My series depicts fantasy places and events I created. Each one is in a single color to help capture my imagination of the area.
My series depicts different buildings and historical photos of my neighborhood, The Richmond. I chose pieces that connect with various periods throughout The Richmond's history as a way to document its evolution through my drawings.
"Depicted in a romanticized travel poster style, this series is an homage to the cities that have most played a role in my cultural background. I combined my love for both digital and physical art to create hard-edge illustration-like posters out of acrylic and canvas paper. By playing around with proportions, color scheme, and symbolism, I hope to convey some of the beauty I see in these various cities across the world."
My Warrior series depicts isolated mythological female creatures protecting an endangered domain on earth. Each female creature is seen exemplifying some form of power that is earth-given to them to show the connectivity they have with the green planet.
My series focuses on the goddesses in Norse mythology. I thought it was an interesting topic to explore because Norse mythology tends to be very patriarchal, and I thought that the goddesses and their power deserved some recognition.
Dena Kumsa
Marissa Lumpkin
Sofia McGee
Aurelie Roubinowitz
Arianna Schwartz
My series focuses on bodies and forms of water in their own natural setting. I emphasize on the water and its visual connotation through the contrast between watercolor and graphite. They each take on a different color in order to express the emotional aesthetic that I associate with each one.
What if exotic animals roamed the cities of the world freely? From elephants in San Francisco to pandas in Venice, I've painted sneak peaks of a world combining the urban with the wild.
My series represents my life through water.
Water has played an important role in my life and has kept me grounded and relaxed. The serenity, the chop, the waves, the salty breeze, and the feeling that washes over me when I can only hear my breathing underwater are some of the many qualities of the ocean that I love the most
My series is centered on abandoned stores or stores that are generally empty of staff and customers, but still seem somewhat intact and functional from the outside. I have drawn a variety of these kinds of stores from different angles and places.
My series depicts elements of space incorporated into common scenes. I chose space because it is something that I find very fascinating and I wanted to be able to focus on.
Drawing & Painting III Class Slideshow
From the Ceramics Classes
Pottery Projects classes were on a tear, before the Covid-19 closure, producing pottery at a rapid pace with greater and greater skill. When the Ceramics studio closed, we shifted to research, producing Artist Presentations, watching countless videos of master potters, and making sketches. As informative as that was, it hardly equated to the studio practice students signed up for. With admirable perseverance and extremely generous parents, students carved out work space at home and proceeded to make hands-on projects again. What you see in the presentations is the work before and after the closure, an emblazoned demonstration of the UHS will to succeed in the face of adversity.
Ceramics III was in the midst of a semester long Series Project that required them to develop and explore concept driven work through a group of sculptures. Most of the work shown is work produced at their individual homes, after the closure, under a wide variety of circumstances. Unfortunately, adding transportation to the finishing process of firing and glazing was too much to overcome. However, even without glaze one can see their burgeoning ideas gain traction and clarity.
Heartfelt Thanks go to my students who had almost perfect attendance, worked to the end, and found inventive ways to keep creating despite their world being turned upside down. Double Thanks to the guardians of my students who graciously allowed clay and hot-glue to invade their living rooms, kitchens, and other areas of their previously tidy homes! Bless you for supporting your children's art endeavors in all the many ways.
- Matt Scheatzle
Pottery Projects
Abi Westerlund
Fiona Frankel
Jack Clancy
Jack Gaitley
Jeanette Nguyen
Kaitlin Dang
Katie Hartel
Kyra Slattery
Lucy Falzone
Lucy Hurlbut
Max Stuebe
Poppy Chrisman
Rosie Yanowitch
Rowan Goranson
Sam Brainard
Sammy Kim
Zoe Grumbach
Pottery Projects Class Slideshow
Ceramics III
Alexander Nealey
Brandon Krim
Christian Canete
Dylan Kayser
Hetti Hsia
Leila Menezes
Lena Hsia
Mirabel Haskin Fernald
Molly Wilkinson
Peaches Wright
Rivers Golkin
Ceramics III Class Slideshow
Ceramics Projects Thru the Years
Ceramics Students In Action (various years)
There are no resources or collections to display
From the Photography Classes
Photo II: When sheltering in place first began, Photo II students were given an assignment called "Make and Take." This project required them to "Take" two photos without changing anything in the shot and "Make" two photos that they staged. All four photos were to connect in some way, either aesthetically, conceptually, and/or technically. For their next project, students were asked to create a still life photograph that captured their experience of sheltering in place. Finally, students were asked to create two self-portraits: one of their "true self" and one of their "alter ego." Please enjoy this awesome work!
I want to give kudos to the Photo II students who seamlessly transitioned in one day(!) from film to digital photography without prior experience, training, or complaint. They possessed such a "can do" spirit while creating such strong work. I also want to thank my TA's, Eva Kruger, Isabella Caro, and Emma Chin-Hong for Zoom meeting with students to help them with these projects without any prior training. Special Zoom clapping hands to Eva Kruger for doing the assignment alongside the students and including her own self-portraits in the show.
Photo III: Prior to sheltering in place students were working on a comprehensive body of work intended to culminate in a book. Each had chosen a topic and their goal was to link each separate photo into a larger cohesive whole. When they initially chose their theme, they had no idea they would need to complete this task without being able to leave the house! Since they had already started the project, they were challenged to make the photos taken pre-pandemic blend with photos taken under extreme restrictions. Kudos go out to these students for rising to the occasion, utilizing all of their creative skills, and wildly pulling it off. They were such sports and a joy to work with. Thank you, Photo III students! Please enjoy these amazing books!
- Gale Jesi
Photo II
Alex Brubaker
Alexandra Wythes
Andrew Barakos
Anthony Latone
Charlie Kingman
Emma Cameron
Eric Duarte
Esme Grotta
Frances Anderson
Hanna Urisman
Eva Krueger, Teaching Assistant
Jose Luis Argueta Sanchez
Kellan King
Mia Giles
Jasper Wang
Sally Ume-Ukeje
Santiago Herrera
Sean Fishman
Sofia Paolucci
Sophie Jones
Tor Kushner
Zach Gurion
Photo III
Lindsay Eiseman
Jane Shvartsman
Henry Pinner
Gigi Schrier
Ella Marks
Aidan Boyle
Eila Mitra
Ali Fishman
Janavi Padala
Jiya Khanna
Brandly Mazariegos
San Francisco University High School
Phone: (415) 447-3100 | Web: sfuhs.org
For media inquiries, contact:
Jenn Soult
Phone: (415) 447-5823 | Email: Jenn.soult@sfuhs.org
©2018 San Francisco University High School


Meet Moband: a modern magic wand that detects your gestures, allowing you to control IR and Bluetooth devices such as TVs, air conditioners, robots, and even drones. It understands with 10 preset default motions but you can define unlimited custom motions.
The Moband accumulates data of your motions for personalization. To get started, open the app, add a new remote, configure settings, and you are set. The OLED screen shows you the name of the device you are controlling. With the screen and touchpad, you can add up to 15 devices to your Moband. This awesome remote is expected to ship in August.


Do-it-yourself plantation shutters are quite small and they usually measure about 1 7/8 – inches to 5 ½ inches. You should also know that the average measurement is about 2 ½, 3, 3 ½, or 4 ½-inches. They also come in elliptical and flat selections.
The elliptical louver is thicker in the center and it is much tougher than the flat louver. Normally, the plantation kits rely on the elliptical louver. Always bear in mind that the plantation panels measure about 1/8 inches in thickness and you should not get anything else narrower.
When you are searching for the perfect plantation shutters, you should consider a lot of factors that can influence your decision. The color of the shutter, its size and width are extremely important and they play a big role. If you want a classic look, then the shutters must have a narrow width louver. The conventional look always has a wider louver. The most popular shutter colors are black, beige, cherry, gray and green.
Today, the constructors are creating big houses with a wide space and a lot of windows. Window covers are also a fashion statement. The contemporary shutter style is highly used and the fact that it can provide you the intimacy you need represents a huge benefit.
Plus, the fact that the plantation shutters are do-it-yourself items is also impressive and you can use them to decorate bedrooms, kitchens, living rooms and other spaces. The main reason why people use the shutters, besides having some privacy is the look a shutter gives to a house. Using the shutters adds a distinctive note to the environment.
The house you are living in will get a refined, polished look. Besides all this, the shutters help you regulate the light intensity in the room and you can easily adjust that to fit your needs.
Plantation shutters must not be confused with blinds or curtains. The main reason is because they do not have any gaps to allow the light to come it. Once the shutter is closed, there is no light coming in and it also blocks the noise that comes from the outside of the home.
Also, when you are considering getting shutters, you should also think about the money invested in the initial costs. The average price can be considered a little too high for some people.
Normally, the plantation shutters have a price based on the square meter. You should also know that the elliptical widths cost more than the flat bladed ones. So, in order to get an accurate price, you need to know the exact width and height of the window. Even if the price of the plantation shutter kit is quite big, the long-lasting effects overcome that.
You can get some golden oak shutters measuring 34 ¼ inches wide and 50 inches tall for about $386 or the double hung pure white shutters of 44 ¼ inches wide and 24 inches tall for $246.
Be the first to comment on "Things You Should Know About Plantation Shutters"


"Even starchy old suit snafflers like me don't much like the feel of thick wool in the sunshine. Our Panama tailoring is lighter in weight, making it no less smart but a darn sight less stuffy. And it's Pure New Merino Wool so you know it's of the highest quality."
"Double breasted - because sometimes the occasion calls for twice the buttons."
Our buttons are made from corozo nut, a natural, super-resistant material that is also a pleasure to look at and to touch.


The right insurance can make all the difference in the world and Allstate prides itself on being the best. The fact of the matter is that no matter where you live or what kind of vehicle you drive, you need insurance. Providing affordable insurance coverage for over 75 years to 16 million customers around the world, what sets Allstate apart from its competitors is their customized insurance plans. Recently recognized as one of the Top 50 Companies for Diversity, Allstate's core values and stability is just a fraction of why this company has been around for so long and remains a leader in the insurance industry. As its well-known motto states, "you're in good hands with Allstate."
Like many other online insurance companies, with Allstate you are able to receive quotes and compare them to other companies immediately. Allstate also offers 30 different ways you could possibly save on your premium rate. Their friendly agents are standing by to assist you with any questions that may arise. Allstate is also infamous for working with all kinds of budgets; their agents can help you find a plan that won't break the bank. The accident forgiveness program was instituted to help premium rates from increasing due to an accident, even if you are the one at fault. As an Allstate customer, you will benefit from many incentives, like the $100 collision deductible you'll receive just for signing up, and $100 off every year you go accident-free. Parents also seem to enjoy Allstate's Teen Driver Program, as it provides security for parents with novice drivers.
On the other hand, in the event that you must change states for some reason, the price you were once quoted will changes significantly. Although Allstate offers convenient payment plans, in some cases, setting up a monthly payment option can cost you an additional fee. According to many Allstate customers, while they are very satisfied with the various incentives and competitive rates that this company offers, what the majority feels is lacking is that Allstate's claims representatives are not as quick when paying legitimate claims. In addition to the less than slow payouts, if you have an issue with your claims agent, it isn't as easy to get another one without a penalty.


text:
package edu.uta.se.profilebuddy.database;

import java.util.ArrayList;
import java.util.List;

import android.content.ContentValues;
import android.content.Context;
import android.database.Cursor;
import android.database.SQLException;
import android.database.sqlite.SQLiteDatabase;
import android.util.Log;
import edu.uta.se.profilebuddy.object.CalendarEvent;

/**
 * Database object for the Event based profiles feature of the application.
 * Provides CRUD methods required for managing Event objects.
 */
public class ManageEventDB
{

	private static final String TAG = ManageEventDB.class.getSimpleName();

	// -- Database objects
	private SQLiteDatabase database;
	private ProfileDBHelper profileDBHelper;

	// -- Event table columns
	private static final String TABLE = "T_EVENT";
	private static final String EVENT_ID = "_id";
	private static final String FOREIGN_EVENT_ID = "FOREIGN_EVENT_ID";
	private static final String CALENDAR_ID = "CALENDAR_ID";
	private static final String DESCRIPTION = "DESCRIPTION";
	private static final String TITLE = "TITLE";
	private static final String START_TIME = "START_TIME";
	private static final String END_TIME = "END_TIME";
	private static final String DURATION = "DURATION";
	private static final String MODE = "MODE";
	private static final String RECURSIVE = "RECURSIVE";
	private static final String STATUS = "STATUS";

	private static final String[] EVENT_PROJECTION = { EVENT_ID, FOREIGN_EVENT_ID, CALENDAR_ID,
			TITLE, DESCRIPTION, START_TIME, END_TIME, DURATION, MODE, RECURSIVE, STATUS };

	public ManageEventDB(Context context)
	{
		profileDBHelper = new ProfileDBHelper(context);
	}

	public void open() throws SQLException
	{
		database = profileDBHelper.getWritableDatabase();
	}

	public void close()
	{
		database.close();
	}

	/**
	 * Method to create a new event in the database.
	 *
	 * @param event
	 *            - {@link CalendarEvent}
	 */
	public void createEvent(CalendarEvent event)
	{
		Log.i(TAG, "Entering createEvent, params - " + event);

		ContentValues values = new ContentValues();
		values.put(FOREIGN_EVENT_ID, event.getForeignId());
		values.put(CALENDAR_ID, event.getCalendarId());
		values.put(TITLE, event.getTitle());
		values.put(DESCRIPTION, event.getDescription());
		values.put(START_TIME, event.getStartTime());
		values.put(END_TIME, event.getEndTime());
		values.put(DURATION, event.getDuration());
		values.put(STATUS, 1);
		values.put(RECURSIVE, event.isRecursive());
		values.put(MODE, -1);
		long insertId = database.insert(TABLE, null, values);
		// -- Setting the new id onto the object
		event.setId(insertId);

		Log.i(TAG, "Exiting createEvent, id after row insertion - " + insertId);
	}

	/**
	 * DB method to update event details for given event id.
	 *
	 * @param event
	 *            - {@link CalendarEvent}
	 */
	public void updateEvent(CalendarEvent event)
	{
		Log.i(TAG, "Entering updateEvent(), params - " + event);

		ContentValues values = new ContentValues();
		values.put(TITLE, event.getTitle());
		values.put(DESCRIPTION, event.getDescription());
		values.put(START_TIME, event.getStartTime());
		values.put(END_TIME, event.getEndTime());
		values.put(DURATION, event.getDuration());
		values.put(MODE, event.getMode());
		values.put(STATUS, event.getStatus());
		values.put(RECURSIVE, event.isRecursive() ? 1 : 0);

		String selection = EVENT_ID + " = ? ";
		String selectionArgs[] = new String[] { String.valueOf(event.getId()) };
		int rows = database.update(TABLE, values, selection, selectionArgs);

		Log.i(TAG, "Exiting updateEvent(), rows updated - " + rows);
	}

	/**
	 * DB method to update profile of a given event id.
	 *
	 * @param eventId
	 *            - The id of the event for which profile needs to be updated.
	 * @param mode
	 *            - The mode to be set.
	 */
	public void updateMode(long eventId, int mode)
	{
		Log.i(TAG, "Entering updateMode(), params - { eventId:" + eventId + ", mode:" + mode + " }");

		ContentValues values = new ContentValues();
		values.put(MODE, mode);
		String selection = EVENT_ID + " = ? ";
		String selectionArgs[] = new String[] { String.valueOf(eventId) };
		int rows = database.update(TABLE, values, selection, selectionArgs);

		Log.i(TAG, "Exiting updateMode(), rows updated - " + rows);
	}

	/**
	 * Method to return all stored event profiles in the DB
	 *
	 * @return List<{@link CalendarEvent}>
	 */
	public List<CalendarEvent> fetchEvents(boolean active)
	{
		Log.i(TAG, "Entering  fetchEvents");

		List<CalendarEvent> events;
		String selection = STATUS + " = ? ";
		String selectionArgs[] = new String[] { "1" };
		Cursor cursor = database.query(TABLE, EVENT_PROJECTION, selection, selectionArgs, null,
				null, null);

		events = new ArrayList<CalendarEvent>();
		CalendarEvent event = null;
		while (cursor.moveToNext())
		{
			event = new CalendarEvent();
			event.setId(cursor.getLong(0));
			event.setForeignId(cursor.getLong(1));
			event.setCalendarId(cursor.getInt(2));
			event.setTitle(cursor.getString(3));
			event.setDescription(cursor.getString(4));
			event.setStartTime(cursor.getLong(5));
			event.setEndTime(cursor.getLong(6));
			event.setDuration(cursor.getLong(7));
			event.setMode(cursor.getInt(8));
			event.setRecursive(cursor.getInt(9) == 1 ? true : false);
			event.setStatus(cursor.getInt(10));

			events.add(event);
		}
		cursor.close();

		Log.i(TAG, "Exiting fetchEvents, rows fetched - " + events.size());
		return events;
	}

	/**
	 * Method to return all stored event profiles in the DB
	 *
	 * @return List<{@link CalendarEvent}>
	 */
	public List<CalendarEvent> fetchEvents(boolean active, long calendarId)
	{
		Log.i(TAG, "Entering  fetchEvents");

		List<CalendarEvent> events;
		String selection = STATUS + " = ? AND " + CALENDAR_ID + " = ? ";
		String selectionArgs[] = new String[] { "1", String.valueOf(calendarId) };
		Cursor cursor = database.query(TABLE, EVENT_PROJECTION, selection, selectionArgs, null,
				null, null);

		events = new ArrayList<CalendarEvent>();
		CalendarEvent event = null;
		while (cursor.moveToNext())
		{
			event = new CalendarEvent();
			event.setId(cursor.getLong(0));
			event.setForeignId(cursor.getLong(1));
			event.setCalendarId(calendarId);
			event.setTitle(cursor.getString(3));
			event.setDescription(cursor.getString(4));
			event.setStartTime(cursor.getLong(5));
			event.setEndTime(cursor.getLong(6));
			event.setDuration(cursor.getLong(7));
			event.setMode(cursor.getInt(8));
			event.setRecursive(cursor.getInt(9) == 1 ? true : false);
			event.setStatus(cursor.getInt(10));

			events.add(event);
		}
		cursor.close();

		Log.i(TAG, "Exiting fetchEvents, rows fetched - " + events.size());
		return events;
	}

	/**
	 * Method to get details of a given eventId.
	 *
	 * @param eventId
	 *            - The id for which the details needs to be retrieved.
	 * @return - The {@link CalendarEvent}
	 */
	public CalendarEvent fetchEvent(long eventId)
	{
		Log.i(TAG, "Entering  fetchEvent, params - { eventId:" + eventId + " }");

		CalendarEvent event = null;
		String selection = EVENT_ID + " = ? ";
		String selectionArgs[] = new String[] { String.valueOf(eventId) };
		Cursor cursor = database.query(TABLE, EVENT_PROJECTION, selection, selectionArgs, null,
				null, null);
		Log.d(TAG, "Cursor count - " + cursor.getCount());

		if (cursor.moveToNext())
		{
			event = new CalendarEvent();
			event.setId(cursor.getLong(0));
			event.setForeignId(cursor.getLong(1));
			event.setCalendarId(cursor.getInt(2));
			event.setTitle(cursor.getString(3));
			event.setDescription(cursor.getString(4));
			event.setStartTime(cursor.getLong(5));
			event.setEndTime(cursor.getLong(6));
			event.setDuration(cursor.getLong(7));
			event.setMode(cursor.getInt(8));
			event.setRecursive(cursor.getInt(9) == 1 ? true : false);
			event.setStatus(cursor.getInt(10));
		}
		cursor.close();

		Log.i(TAG, "Exiting fetchEvent, rows fetched - " + event);
		return event;
	}

}

redpajama_set_name: RedPajamaGithub


It was gathered that many worshippers and visitors including the governor Mr. Udom Emmanuel sustained serious injuries.
An eyewitness said the ugly incident occurred about 11,:00am, just few minutes after governor Udom Emmanuel and his entourage entered inside the church.
She added the governor and many others however narrowly escaped death but sustained serious injuries.
Udom Emmanuel was supposed to be a special guest at the ordination of the founder of the church, pastor Akan Weeks as bishop.
However, emergency ambulances were spotted along barracks Road about 12:30pm carrying some of the wounded victims and heading towards the Ibom specialist hospital at Itam.
The governor's condition was not ascertained at the time of filing this report even as sources said he was rushed out immediately the unfortunate incident occurred.
They also set up a 21-member steering committee to manage the affairs of the party until a lawfully organised national convention.
The group also described as unacceptable and against the established principles and practice of PDP, the zoning arrangement announced by the Akwa Ibom State governor, Emmanuel Udom, who headed the zoning committee.
But the PDP National Chairman, Senator Ali Modu Sheriff, said the group wants to divert attention from their misdeeds that led to the party losing the 2015 presidential election.
Sheriff, who spoke through his Special Assistant, Media and Publicity, Alhaji Inua Bwala, threatened to drag some of them before the Economic and Financial Crimes Commission (EFCC) to explain how they mismanaged the party's resources.
The Concerned PDP group, led by former Minister of Information and Orientation, Prof. Jerry Gana, however could not name members of the steering committee.
The NWC, who sees to the day-to-day activities of the party, consists of 24 members. The group added that the steering committee members would work intimately with members of the Board of Trustees (BoT) until new leadership of the party is elected in accordance with the provision of the PDP constitution. "We enjoin all our party faithful nationwide not to despair.
The new steering committee will soon embark on a nationwide tour, to address and resolve all issues and areas of conflict in every state of the federation.
"The steering committee will immediately put in place a National Reconciliation Committee to reconcile all previously aggrieved party members," the group said in a communiqué jointly signed by former Deputy President of the Senate, Senator Ibrahim Mantu, former Minister of Education, Prof. Tunde Adeniran and Chief Raymond Dokpesi.
It condemned the attempt to amend the PDP constitution by "illegal NWC" in order to muzzle and control the BoT, and called for the strengthening of the board to function effectively as true conscience of the party. Concerned PDP Leaders present at the summit were Gana, Oyediran, Mantu; Onyia, Dokpesi, ABC Nwosu, Okwesilieze Nwodo, Auwal Tukur, Doyin Okupe, Chief Ojo Madueke, Chief Olabode George, Hajiya Inna Ciroma, Shehu Gabam, Mrs, Remi Adiukwu, Dr. Shettima Mustapha, Ambassador Wilberforce Juta, and Haliru Ndabawa. Others include Senator Aniete Okon, Suliaman Abubakar, Hajiya Zainab Maina, Bala Mohammed, Senator Grace Bent, Esther Audu, Senator Ibok Essien, Alhaji Ibrahim Bunu, and Adamu Maina Waziri.
The group also include former Taraba State governor, Alhaji Umar Garba; Senator Abdul Ningi; former PDP national chairman, Vincent Ogbulafor; Tanimu Turaki; ex-Minister of Women Affairs, Mrs. Josephine Anenih; Stella Omu; Senator Tunde Ogbeha and former Minister of Transportation, Ebenezer Babatope.
Sheriff specifically threatened to drag Gana before the EFCC in connection with the sum of N500 million he allegedly collected from the Syke Bank. "These were the same characters that deceived President Goodluck Jonathan into failure.
Unfortunately, most of them still go round to ask the chairman for one favour or the other and when the chairman declines they take offence against him. "I know as a fact that Gana has written to the national chairman to allow him nominate some people into certain committees or allow them perform certain functions for the party.
"This is the same man who recognised the national chairman, writing to him on the need to submit the report of the finance committee which he headed. The chairman has been running away from receiving that report because it is on record that the same Jerry Gana, on behalf of the party without using the machinery of the party, collected the sum of N500 million from Skye Bank on behalf of the PDP for which the party has been dragged to court and is being compelled to pay back.


At The Fairmont Scottsdale Princess we will enjoy playing tennis for two. There are many options for tennis enthusiasts ranging from lessons, to an evening tennis match. While taking in the calming breezes, we will test our skills on the court.
Our Fairmont Gold experience begins the moment we arrive at the five-diamond Fairmont Scottsdale Princess resort. We will be escorted directly to the exclusive Fairmont Gold reception area on the East side of the property in Building A. Here, our individuality is valued, our room preferences are honored and our arrangements for a quick and effortless departure are anticipated. Gold Junior Suites are decorated in an elegant southwest decor with subtle colors and earthy accents. They are equipped with wireless high-speed internet access and have a well-defined living area with a sofa-bed, a work area, a mini-bar and wet bar. The spacious luxury bathroom has a separate shower and bathtub and large dressing area. Every room has either a patio or a balcony with a table and four chairs and stunning views of the golf course, courtyards or the gardens.
In-room dining is perfect for us if we prefer to stay in and watch a movie, enjoy breakfast in bed or treat ourselves to a romantic candlelit dinner on our terrace or balcony. The Fairmont Scottsdale Princess offers a variety of five-diamond options and experiences delivered right to our door.
Award-winning Chef Michael Mina presents an upscale, contemporary American steakhouse like no other at BOURBON STEAK. We will indulge in a tantalizing menu featuring the finest cuts of beef, poultry and fish, all slow-poached in butter, grilled and finished over seasoned wood-fueled flames. Modern, classic, American side dishes complement a unique wine list and handcrafted cocktails. Open six nights a week for dinner, this Scottsdale restaurant features seating for up to 281 guests and serves only American Kobe and Certified All-Natural Angus Beef in a modern dining room.
Combining Manhattan sophistication with unparalleled style, Stone Rose Lounge at The Fairmont Scottsdale Princess is one of the city's hottest nightspots. Stone Rose infuses Scottsdale nightlife with cutting-edge design, signature cocktails and a dash of glamour – all within a unique indoor/outdoor setting. This inspired bar features a modernist take on a classic 1950s beach club, complete with water views, outdoor fire pits and comfortable lounge seating throughout.
Featuring fresh, local ingredients, The Grill overlooks the majestic, emerald Stadium Course, home of the Waste Management Phoenix Open. Open for breakfast, lunch and dinner, offerings include caprese salad with house-made mozzarella, crab cakes, five spice smoked duck breast, veal osso bucco and filet mignon. We can enjoy our meal on The Grill's recently remodeled patio while overlooking the 18th hole at the TPC Scottsdale Stadium Course in the Arizona sunshine. The Grill also serves Sunset Happy Hour specials from 5 p.m. to 7 p.m. daily, featuring $5 sliders, $5 draft beer and wine as well as specially priced appetizers, making The Grill the perfect pit stop after a long day on the course.
Overlooking the South Pool at The Fairmont Scottsdale Princess, LV Bistro serves classic, American favorites for breakfast, lunch and dinner. Whether we are looking for a casual spot to have breakfast, lunch or dinner, LV Bistro offers an energetic atmosphere boasting expansive windows that provide a captivating glimpse of our sparkling South pool.
We will relax at the poolside cafe at The Fairmont Scottsdale Princess. Featuring sandwiches, grilled burgers, chilled salads, soft drinks, cocktails and frozen drinks, this breezy bar will keep us cool in the Scottsdale Arizona sun.
We will uncover an unparalleled restaurant experience at The Fairmont Scottsdale Princess at La Hacienda Mexican Restaurant by Richard Sandoval. Voted the #1 Mexican Restaurant in Arizona (Ranking Arizona, 2012), we will indulge in a delectable paradise of fresh, modern Mexican cuisine. We will see what they mean by "Old Ways, New Hands" as we savor classic Mexican recipes in enticing new ways, featuring fresh, indigenous ingredients, lighter dishes and unexpected pairings of traditional foods. We will dine amid warm, Spanish architecture, wood-beamed ceilings, flagstone and beehive fireplaces, all accented by modern urban touches, new upholstery, lighting fixtures and a stunning main entrance showcasing the restaurant's tequila bar. We can also enjoy light table fare in the entry patio with its four fire pits, or reserve a private patio or interior semi-private rooms for special occasions.
The Fairmont Scottsdale Princess offers us an exclusive shopping opportunity so we can bring a piece of our honeymoon home with us. Presenting a wide collection of gift shops, boutiques and salons, we will browse around in search of honeymoon keepsakes. From beautiful pieces of art, jewelry and ceramics, stylish accessories and apparel, designer collections and locally handcrafted products, we will find just what we wanted and cherish our treasures forever.
Our very own cabana will help us keep cool by the pool. The cabana rental includes a flat screen T.V., a refrigerator stocked with water bottles, fresh fruit, ice cream bars and a dedicated server.
Tailored to address the specific needs of men, this deep cleansing facial removes impurities with powerful natural enzymes. Potent antioxidants neutralize free-radicals while soothing aloe combats the harsh effect of daily aggressors like shaving and environmental exposure. The result is refined, nourished and healthy skin.
Well & Being's skilled therapists will utilize the 60 minutes to combine pre-blended potent aromatherapy and herbal oils to produce a truly therapeutic effect on the body. For 90 minutes, my therapist will help me create my own custom blended aromatherapy massage oil or body lotion. My customized blend will be applied during a medium pressure massage that will my muscles deeply relaxed and me senses aroused.
This traditional hot-stone massage contrasts deep heat with refreshing coolness, leaving my body relaxed and humming with vitality. The treatment begins with an application of warm arnica oil, scented with wild sage and native fir needles. Next, a massage with hot, smooth riverbed rocks will melt muscle tension throughout my body. This soothing spa experience will end with a cooling herbal hydrosol (floral water) mist, reminiscent of the Havasupai Falls, while hydrating my skin and sealing in moisture.
This is the ultimate in skin health and beauty! This Rejuvenation treatment includes the face and neck, allowing the HydraFacial™ to deeply cleanse, exfoliate, extract, and hydrate the skin using skin specific solutions to bathe the skin in rich antioxidants and deeply hydrating Hyaluronic acid. This treatment also includes a Multi-Peptide Dermabuilder to address those lines and wrinkles followed by Red LED Light Therapy to address redness or hyperpigmentation of the skin, or Blue LED Light Therapy to address bacteria that causes breakouts.
This traditional full body massage features Arizona jojoba oil, which blends essences of wild chaparral, sage, canyon pine and mountain arnica. A light wrap will allow my skin to absorb the warm, fragrant oils. As I rest, warm infused oil is gently streamed over my forehead. This delicious, deeply calming sensation is followed by a soothing scalp massage.
I will experience the regenerative power of exfoliation with desert salts infused with indigenous southwestern essential oils. After this purifying scrub, I will sink into a warm bath filled with herbal foaming bath salts. Afterwards, jojoba body butter will prepare my skin for a massage with smooth, hot riverbed stones to soothe tired muscles. Then a warm wrap will allow me to rest as I receive warmed infused oil streamed over my forehead, finishing with a soothing scalp massage.
The Couple's Suite Massage is the perfect wedding gift for our romantic honeymoon at The Fairmont Scottsdale Princess. We will let the pressures of everyday life melt away with a side-by-side massage performed in the intimacy of our very own couple's suite.
The treatment will begin once we are offered a choice of the Well & Being NATURAL and PHYSICAL essential oil blends. We can choose our own desired scent. The treatment will begin by applying the warmed chosen oil blend to our bodies, followed by body buffing with Wild Rice and Calendula Buffing Grains to refresh and exfoliate the body. Once this step is complete, we will have the opportunity to relax together in the bath tub. On the edge of the tub we will find small vials of our chosen oil blends, along with relaxing salts (and botanicals) which we can add to the water in any combination that we choose. After blending and bathing, we will return to the treatment tables to receive a luxurious body butter massage in the Natural blend using long, relaxing, integrating massage strokes. The treatment ends in peaceful bliss with an energy point facial massage.


I love your recipes and thought I'd share a favorite of mine.
You can play around with the amounts. I hope you enjoy it. Everyone who tastes it wants the recipe. Enjoy!!
Dana , which brand of Dijon mustard you use?
I feel the same…I'm feeling like all I eat/post/talk about are salads – and pretty much all the time! LOL. I love having a well stocked produce drawer. I just emptied mine yesterday at dinner and will not be able to get through day without a trip to produce market or grocery store.
This couscous salad looks fantastic!! I love grain salads like this. And I still haven't tried that cheese. We are getting our first TJ's in a few months, will have to pick it up there!
I like Edmund Fallot. It's the best I've tasted.
Okay, I am SOOOO checking out the halloumi at TJ's because I love it but the one at Whole Foods is just too expensive to buy with any regularity! Also. This salad. Swooning.
Dana, loving the ingredients in the salad, definitely a pantry type meal. I am been writing out some new ideas for summer-time salads, and am going to have to add this to the list. Lovely.
I was super excited to see the mention of Haloumi at TJs. Bought some at Whole Foods 2 weeks ago and cringed at the price! Quick question….did you rinse the cheese before using it? It wasn't till I was done making the salad that I noticed the package said "rinse before using". Hoping that wasn't a critical part of the process! Great recipe…the salad was soooo good!!
Hi Karen. You definitely don't need to rinse it before using it. I almost never do. When I grill it, I will give it a rinse and then pat it dry, just to cut down on splatter. But totally not necessary.


text:
Mick Jagger The Rolling Stones. Jerzy Bednarski [CC BY-SA 4.0], from Wikimedia Commons
Breaking News FEATURED NEWS Industry News
Mick Jagger Curating Ballet Set To Rolling Stones Music
Posted on 27 December, 2018, 09:53 am EDT by Juliette Jagger Contact Me
NEW YORK (CelebrityAccess) – Ahead of the Rolling Stones' blockbuster 2019 stadium tour, Mick Jagger has announced that he is also curating a ballet set to the band's music.
The project is a collaboration between Jagger and his prima-ballerina girlfriend Melanie Hamrick, with whom he shares a two-year-old son, Dev.
The ballet, which will be Hamrick's first in a choreographer role, reportedly features selections from "You Can't Always Get What You Want," "Paint It Black" and "She's a Rainbow," all edited by Jagger.
Scheduled to premiere in March at the Mariinsky Theatre's ballet festival in St. Petersburg, Russia, the work will then make its US debut on April 18 at a gala for the Youth America Grand Prix at Lincoln Center.
The Stones will kick off their 2019 'No Filter' tour two days later on April 20th at Hard Rock Stadium in Miami Gardens, Florida.
Melanie Hamrick
Rolling Stones Ballet
Jennifer Lopez Concert Evacuated Due to New York City Power Outage


text:
16.11.2017ゲームComments: 0
With the World Footballer Lionel Messi on the cover of EA Sports goes' now legendary football simulation to the next round. FIFA 13 is now available commercially. The relatively late release date may seem surprising - after all, the Bundesliga has been running just four weeks - but it guarantees the correct data of the players and clubs. According to EA Sports FIFA will set 13 in terms of game intelligence new standards: More freedom of movement for players of all parts of the team and new highly dangerous for the opponent free kicks be mentioned here as an example ... By the way: With FIFA 13 Ultimate Team is also a free online offshoot of football simulation in our software offering.
FIFA Manager 13