I have the pleasure of inviting you to attend the world conference on Movement and Cognition sponsored, in part, by the Harvard University School of Medicine's Spaulding Rehabilitation Hospital, the M.I.N.D. Institute at M.I.T., the Hebrew University of Jerusalem, the Wingate Institute for Sports and Exercise Science, the National Institute for Brain and Rehabilitation Sciences, Nazareth, Israel, the Institute for Neurology and Neurosurgery, Havana, the University of the Medical Sciences Facultad 'Manuel Fajardo' Havana, the School of Public Health of the University of Havana, and Bielefeld University in Germany. The purpose of the conference is to share knowledge of all those whose interests lie in the nature of human movement. The conference will address issues related to gait, motion, kinesiology, disorders of movement, movement rehabilitation, motion, and balance, movement and cognition, human factors and ergonomics, as well as optimized movement in elite athletes, developmental issues of movement and coordination. Workshops on dance, dance therapy, physiotherapy of movement impairment will also be provided.
The abstracts of the conference as well as selected principal papers will be proceedings will be published in the journal Functional Neurology, Rehabilitation, and Ergonomics published by Nova Scientific publishers (https://www.novapublishers.com/catalog/product_info.php?products_id=16707&osCsid=69e499404c4d686e46aa5ba3a1d6332f).
We welcome your participation in this event that addresses the relationship between movement and cognition and I personally welcome your enquiries and suggestions. In the meantime, please check out our website here for more details.


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I can't stand it, I know you planned it: My top 25 albums of 1994
Everyone's favourite year in music is probably the music of their youth, but come on, people – objectively speaking 1994 was one hell of a year for popular music.
It was 25 years ago now, and I can slap together a list from memory easily of 25 fantastic albums from '94 that I still listen to regularly.
1994 was a crazy, buzzing year in my memory – graduated university, grabbed my first job at an actual newspaper, fell in and out of love a bit, and spent a hurly-burly summer working as an intern at Billboard magazine in New York City, surrounded by and swimming in the music of the times. Some of the music I discovered that summer – Guided By Voices, Freedy Johnston – still grab me today. Others were just in the air, like Nirvana or Green Day.
Yes, this list is a bit white, alternative and male, but to be fair that's what I was listening to in 1994. It's the songs that stick with me a quarter of a century on, a soundtrack to a year I'll never forget. My top 25 albums of 1994, in alphabetical order:
1. Tori Amos, Under The Pink: One woman wearing her heart on her sleeve, confessing everything, afraid of nothing.
2. Bad Religion, Stranger Than Fiction: Punk unafraid to preach, and soaring with erudite anger at the state of the world.
3. Barenaked Ladies, Maybe You Should Drive: Their open-hearted power pop swung between sentimental and wordy, and here they hit the perfect balance.
4. Beastie Boys, Ill Communication: It still seems wrong that the Beastie Boys are over now, but we'll always have "Sabotage."
5. Beck, Mellow Gold: "Loser" was everywhere, but this is overall a fundamentally weird, ramshackle record, ambling along to its own strange beat.
6. Blur, Parklife: Is "sassy" the right word here? Britpop's finest hour IMHO, swinging and smart and cynical.
7. Johnny Cash, American Recordings: A giant takes the stage for a valedictory round that very nearly surpassed all he'd done before.
8. Nick Cave And The Bad Seeds, Let Love In: A noir tale of a tall handsome man, in a dusty black coat with a red right hand.
9. Elvis Costello & The Attractions, Brutal Youth: A burst of venom and flame from someone who's not quite an angry young man any more, an overlooked and underappreciated gem.
10. Green Day, Dookie: Pop-punk propelled along at 1000 miles an hour, ephemeral and yet unforgettable.
11. The Grifters, Crappin' You Negative: Rusty grunge from deep in the heart of Memphis, a hidden gem I wore out on road trips through Mississippi in the summer of '94.
12. Guided By Voices, Bee Thousand: Glittering shards of surreal power pop, hit records from another dimension – it hooked me on GbV for life.
13. Hole, Live Through This: Subtract all the Courtney Love baggage you might have – this album is still one fierce wound of a record.
14. Freedy Johnston, This Perfect World: Heartbreakingly gorgeous, wistful songwriting by a guy who should've been huge.
15. Nine Inch Nails, The Downwards Spiral: The sound of not knowing, and screaming in the dark.
16. Nirvana, MTV Unplugged In New York: A curtain call, a last bow, what might have been, what never was.
17. Pavement, Crooked Rain, Crooked Rain: Unfolding like songwriting origami, nuggets of obscure beauty – go back to those gold soundz, and keep my advent to yourself.
18. Pulp Fiction Soundtrack: Music curation is an art form, and Tarantino's never done it better than this perfect mix tape.
19. Tom Petty, Wildflowers: You belong among the wildflowers; the late Petty's greatest album, contemplative and gorgeous and at peace.
20. REM, Monster: Fuzzed-out and distorted, REM at their peak of fame, and their still strangely askew, enigmatic run of hits.
21. Soundgarden, Superunknown: IMHO, Pearl Jam's stuff hasn't really endured that well; Soundgarden's angst-filled grunge has.
22. Velocity Girl, ¡Simpatico!: Effortlessly charming, sunny grunge-pop, well worth seeking out.
23. Velvet Crush, Teenage Symphonies To God: Power pop with a '90s sheen, sweet harmonies and teenage kicks.
24. Weezer, The Blue Album: One of the great power-pop debuts of all time; I hear it makes you feel just like Buddy Holly.
25. Neil Young, Sleeps With Angels: Of the approximately 457 albums Neil Young has released, this one has the beauty of a dusty abandoned saloon falling apart somewhere way out in the wild west.
Bubbling just under: Sugar, File: Under Easy Listening; Outkast, Southernplayalisticadillacmuzik; Sebadoh, Bakesale; Veruca Salt, American Thighs; Portishead, Dummy; Meat Puppets, Too High To Die; Youssou N'Dour, The Guide (Wommat); Frank Black, Teenager of the Year; Alice In Chains, Jar of Flies.
Author nik dirgaPosted on November 17, 2019 November 17, 2019 Tags MusicLeave a comment on I can't stand it, I know you planned it: My top 25 albums of 1994
The Kinks, the Australian Outback, a memory, a dream
I'm roaring through the Australian Outback, more than 100km/h, past red dirt and yellow grass and under blue skies, and I'm listening to the Kinks.
Every day I look at the world from my window – Waterloo Sunset, The Kinks
I'd always wanted to go to the Red Centre, the wide-open Outback sung about in songs by Midnight Oil and ancient, enigmatic and empty. I went a few years back to Alice Springs, isolated and strange, and Uluru, the massive sandstone monolith hunched right at the heart of the old country.
There was no internet, and a few CDs I'd grabbed in Sydney in my rental car for the 4-hour drive from Alice Springs to Uluru. One of them was the Kinks' Something Else, their fifth album, from 1967.
Uluru stands out alone in the middle of a vast plain of red dirt, a giant unopened eye half-peering over the horizon, expanding in your car windshield from a distant hill to a towering monolith, all the more impressive for its isolation.
This is my street and I'm never gonna to leave it / And I'm always gonna to stay here if I live to be ninety-nine – Autumn Almanac, The Kinks
The Kinks are a band that grows on me more and more the older I get. Perhaps it's because of all the big '60s bands, The Kinks are the ones who seemed middle-aged even when they were young. Oh, they were hell raisers, don't get me wrong, but Ray Davies' lyrics always looked inward, introspectively. They were nostalgic for a world that's never been. Ray Davies' world view always seemed perpetually middle-aged.
Time is as fast as the slowest thing – Wonderboy, The Kinks
The Beatles looked back at the past either with droll mockery ("For The Benefit of Mr. Kite") or soul-baring pathos ("Eleanor Rigby"). The Stones generally only looked back at things that involved them getting laid. The Who looked back, with anger.
But The Kinks often looked back with rose-coloured glasses, with wistful thoughts of the way things used to be, or should've been. "Waterloo Sunset," "Death of A Clown," "Victoria," "Celluloid Heroes," "The Village Green Preservation Society."
I miss the village green, And all the simple people. – The Village Green Preservation Society, The Kinks
The Australian Outback humbles you. It's vast, sprawling, primordial and raw. It's the oldest place I've ever been. Hiking through 40C+ heat, desert black flies pickpecking away at all your exposed flesh, the world reduced to prime colours – red, blue, brown blending into yellow. You feel a weight. You feel history, and the weight of something that's been around way longer than you, or anybody you've ever known.
Nobody has to be any better than what they want to be – Australia, The Kinks
The Kinks felt a weight too, even if they would never articulate it precisely as that. It's the weight of what might've been, what was, what could never be. Sometimes music and a place blend together in your mind, and you can't separate the two in your memory.
The Outback is an old, old place, older than just about anywhere else, and Ray Davies sings for me.
As long as I gaze on Waterloo Sunset, I am in paradise.
Author nik dirgaPosted on October 21, 2019 Tags Australia, Music, travelLeave a comment on The Kinks, the Australian Outback, a memory, a dream
I'm Gen-X, and all my rock heroes are dying
Somewhere in the last few years, my music collection began to contain more dead people than live people.
It's been a grim decade for my tastes. Bowie. Prince. Cohen. Tom Petty. Aretha. The Fall's Mark E. Smith. Lou Reed. Scott Walker. Just in the past few weeks alone, Daniel Johnston, Eddie Money and Ric Ocasek all took the last train from the station.
When both The Cars' Ric Ocasek and Eddie Money died within a few days of each other recently, it felt like another thudding harsh reminder that my cassette-filled, Atari-drenched '80s childhood was in fact more than 35 years ago now. That the towering pop stars of my youth were now becoming old men.
Eddie Money, portrait of an '80s rock schlub.
Eddie Money's delightfully overwrought 1986 hit "Take Me Home Tonight" is the sound of your 14-year-old author, jittering with hormones and intensity, in unrequited love with a girl with spray-gelled hair dancing with her friends on the other side of the junior high school gym. I've never actually owned an Eddie Money album, but Eddie Money was part of the '80s DNA, in that same endearingly awkward rock crowd that included Billy Joel and Huey Lewis. You absorbed their hits, maybe you hated them, maybe you loved them, but 35 years on, they're the sound of your youth.
And The Cars were always cool and gawky, all at the same time, which is the best possible way to be. Ric Ocasek did not look like David Lee Roth; he looked like a guy in the shadows at the coffee shop reading a beat-up William Burroughs book. The Cars crafted perfect little new wave power pop gems that always sounded vaguely spooked by something far outside their control.
I know they say rock 'n' roll is a young man's game, for young people by young people, but for some reason most of the musicians I've dug have always been older than me. Being a Gen-X music fan often meant digging artists a decade or more older than you were. Bowie was already in his 30s when he became a superstar in the "Let's Dance" era. Someone like Bruce Springsteen or Phil Collins always seemed like an adult. Morrissey, The Clash, The Cure – they were all at least 10 years older than teens in the 1980s.
All the rock stars who defined the '60s, '70s and '80s are entering their 60s and 70s now. We'll continue to see a slow drip of rock star deaths for years to come, and every one of them will make some of us feel a bit more mortal ourselves.
One morbid thing about living in New Zealand is that if a "legacy" act comes here, you jump on it, because it might be the last time they ever come down this way. I saw Mick Jagger strut like a golden god with the Stones in 2014, and I wouldn't have missed it for the world. I didn't get to what turned out to be Leonard Cohen's last concert, ever, anywhere, right here in Auckland in 2013, and I'm kicking myself forever.
Watching the stars who peopled your teenage dreams grow old and fade away is a striking reminder that it's happening to you, too. I'm afraid my musical tastes have become even more calcified with age, and I'm far more likely to listen to a Ramones album or the Kinks than I am a Tekashi 6ix9ine.
On disc or stream or vinyl, they're all still young. They're still there, forever young, no matter how many years pass or obits roll. To quote The Cars, "Uh oh, it's magic, when I'm with you."
Author nik dirgaPosted on September 27, 2019 September 27, 2019 Tags Music, obituariesLeave a comment on I'm Gen-X, and all my rock heroes are dying
Review: Aldous Harding, The Powerstation, August 31, Auckland
It takes a lot to shush up an Auckland Saturday night crowd with a single look. But Aldous Harding was able to do that with a mere glance at the sold-out Powerstation gig celebrating our home-grown songwriter's success.
Harding is one of the more unique voices sprouting from New Zealand's fertile music scene these last few years. At just 29, she's crafting the kind of edgy crossover career that wins lifelong fans while never sounding like anything other than herself. She's mysterious and strange, sometimes sounding like an alien come down to earth, with a voice that moves from angelic highs to booming lows with ease, and song lyrics that defy easy interpretation. There's hints of Bowie, Laurie Anderson and Kate Bush in her work, but it's all dipped in an antipodean magic all its own. Her "Horizon" is one my favourite singles of the last few years, and her latest album "Designer" is one of 2019's best.
Dressed something like an extra in a 1990s Beastie Boys video, Harding took the stage alone, with a single guitar, and rather daringly played two of her most hushed, intimate numbers at the very start of the show. The crowd at the bar shushed; you couldn't even hear glasses jingle, nothing but Harding's chameleon voice echoing around the Powerstation. It was a masterful entrance by a performer who already clearly knows how to hold attention, and when the slower songs gave way to the full band joining her on the joyously bouncy "Designer," it was a powerful burst of catharsis and exhaled breaths.
Harding has developed a reputation for her striking performance style, sometimes gurning and contorting her features in confrontational ways. She was less trippy last night than some of her performances I've seen, but she still has a gift for upsetting audience expectations with an unexpected twist of her lips, roll of her eyes, or a kabuki-like set of gestures. The show moved between quieter numbers and ecstatic jigs by her excellent band – there's definitely a more pop sensibility in the songs of "Designer," and a song like "The Barrel" is an anthem that still remains distinctly its own thing, with lyrics like "The wave of love is a transient hunt / Water's the shell and we are the nut" rattling around your brain.
I've been to shows at the Powerstation before for similarly stark, intimate shows and left annoyed by the singer being overwhelmed by the crash of beer bottles and the yammering of the audience. That wasn't a problem tonight. On a cold August night, Harding felt like the hottest thing in town, something new and old at the same time blooming with an energy all its own. She closed with a magnificent, aching cover of Gerry Rafferty's "Right Down The Line" and terrific new song, "Old Peel," that left me with no doubt about her future.
She wasn't much for banter, but she gave us a glimpse of her self as she sighed with a tight smile at the encore, "What a life, eh?" Whatever strange roads Aldous Harding takes to in the future, I'll be there.
Author nik dirgaPosted on September 1, 2019 Tags live concerts, Music, New Zealand1 Comment on Review: Aldous Harding, The Powerstation, August 31, Auckland
The Elvis Presley behind the jokes
Sometime in the next few months, Elvis Presley will have been dead longer than he's been alive.
It's 42 years today since Elvis died at age 42 in 1977, and it took a long time for me to take him seriously. For most of us Gen-Xers, the King of Rock 'n' Roll who died fat and a parody of himself was a joke. It took me years to see that there's a thousand different Elvises.
I was a California kid, but I lived in Elvis' backyard for much of the 1990s, just outside Memphis and just an hour down the road from his birthplace of Tupelo. I wanted to work at Graceland for a summer job, but I couldn't beat the competition. I fell in love with a girl from Tupelo. I slowly found the King behind the jokes.
There's at least four eras of Elvis proper – the young fiery prodigy, captured best in the haunting Sun Records recordings that still amaze today; the post-Army burnout whose talents were wasted for years in movies and cheesy soundtracks; the black leather-clad colossus who stormed his way to a '68 comeback, and who then melted into the sad sweaty mess of his final years.
When a legendary person dies, they slowly transform into myth. There's a Shakespearean heft to the Presley story, a boy from nowhere who conquered the world. Elvis becomes a trailblazing comet or a paunchy punchline, a star of endless daffy movies, a boy who mourned his mother, a kung-fu kicking drug case who once pestered his way in to see Richard Nixon.
I like the "Comeback Elvis" years the best, from that stunning 1968 TV Special on to the early '70s. At his best, he's like a lone gunslinger bashing through the saloon doors, reminding all the young guns why he mattered. It's the height before the fall. He's got the years to give him authority, but he's still young enough to prowl like a tiger in that insane leather jumpsuit. There's a horrible trail of wasted possibilities in the Elvis story, which you can lay at the feet of his drug problem, his emotional immaturity, or the terrible mismanagement by the Colonel, who never really understood the power of Elvis. The story is Elvis is a story of lost dreams.
Imagine if a 60-something Elvis had gone on to have a Johnny Cash-style latter years revival, if he'd just taken a stage with a guitar and a song and captured something of the haunting echoes of the Sun Studios years.
One of my favourite Elvis songs is "Hurt," (not the Nine Inch Nails/Johnny Cash version, of course) which he covered just a year before he died. I used to listen to it with a jaded, ironic eye, because Elvis sings the HELL out of this song, murdering it with an unrestrained abandon that teeters right on the edge of parody. But listen to it, man. Listen to the voice breaking as the song launches into the stratosphere, listen to the way his voice dips deep into the canyons as he sings how he's hurt "way deep inside of me." He's singing about a lot more kinds of hurt than just being dumped. This is Elvis in his autumn, looking back at his highs and lows.
It's easy to see a punchline in the thousands and thousands of different Elvises the world has seen in the last 42 years. But deep inside the best of his songs, whether it's the slow burn of "Mystery Train" or the unrestrained operatic bombast of "Hurt," the real king still awaits.
Author nik dirgaPosted on August 16, 2019 Tags MusicLeave a comment on The Elvis Presley behind the jokes
Just can't get enough: Depeche Mode, I just can't quit you
If I ever was to bottle the essence of my late teenage angst circa ages 16-20, it would smell a lot like Depeche Mode.
Of all the '80s alternative icons I revisit in my dotage, there's few more evocative than Depeche Mode. There's a grandiose charm to Depeche Mode's work. It's the kind of twisted pleasure you sometimes get from being alone in your room, miserable, but yet you don't really want to be anywhere else.
The Cure were dark, Joy Division were doomed, but the spice that Depeche Mode has comes from Dave Gahan's sonorous voice, a bombastic prophet who makes everything he sings seem like the most important words anyone's ever had to say. His Las Vegas-style showmanship isn't subtle, but combined with the ever-inward songwriting of Martin Gore and the epic swirling keyboards of Alan Wilder, it made for a combination of gloom-pop you could dance to. Doubt and fear never seemed so glamorous. As Gahan sang on on 2005's "Lillian," "Pain and misery always hit the spot." That's Depeche Mode in a nutshell.
One of my bigger teenage regrets was not seeing Depeche Mode on their '101' tour when it passed through Sacramento. It would've been a great first concert for teenage me; instead I saw synth-popster Howard Jones, whose keyboards malfunctioned and he swore dramatically at them.
1990's "Violator," released just shy of 30 years ago now, was peak Depeche Mode. The deeply layered woe-is-me "Enjoy The Silence" was everybody's go-to misery pop anthem. "Personal Jesus" a swinging display of nonconformity. "World In My Eyes" and "Waiting For The Night" the kind of hushed dark romantic murmurings a black-clad teen wished he could dedicate to someone, anyone.
I got obsessive enough that I was the guy that bought the cassingle of "Personal Jesus" featuring no less than five loping, thumping versions of their hit single, carefully analysing each piece on a quantum scale of misery.
Depeche Mode can roughly be broken up into three periods – their lighter "synth pop" phase of the first couple albums, when Erasure's Vince Clarke was in the band, the "imperial phase" running from roughly "Construction Time Again" to "Ultra" when they pretty much ruled the proto-emo world, and the more muted, less omnipresent latter Mode, after Alan Wilder left the band, which continues pretty much to this day.
You know what you're getting with Depeche Mode – dark, glittery midnight music that casts pretty much every decision in one's life as an epic battle for the soul. It can wear thin – which is why their records post-1997 or so haven't gotten as much traction – but even the least of Depeche Mode's albums still has one fist-pumpingly bleak anthem to moan along to. I spin "Violator" yet again and it still transports me to their stark world. After that, words are very unnecessary.
Author nik dirgaPosted on July 26, 2019 Tags MusicLeave a comment on Just can't get enough: Depeche Mode, I just can't quit you
When Bob Dylan was the greatest rock star in America
I've seen Bob Dylan four or five times, but it's mostly been when he's been in his 60s and 70s.
Dylan can be inconsistent as a live performer – at one show every lyric sounded like "muzza muzza BUZZA muzza" and on another, he was an elegant elder statesman who even SMILED at one point.
But there was a point where Dylan was a blazing fireball on stage, during his mid-1970s Rolling Thunder Revue tour. It's the subject of a new documentary by Martin Scorsese, and it's must watching for anyone who thinks Dylan couldn't sizzle live on stage. The man was fierce.
In 1975, Dylan hadn't really toured since his late '60s motorcycle accident. He put together a kind of travelling show featuring guests like Joan Baez, Mick Ronson, Roger McGuinn, Allen Ginsberg and more to play smaller, intimate venues. The Rolling Thunder Revue had a theatrical bent – Dylan painted his face white, like a kabuki performer, and added touches like a dazzling electric violinist to his songs. There was a freewheeling electricity to the atmosphere.
He's performed thousands of shows over more than 50 years, but I'd argue that for the 50 or so shows of Rolling Thunder, Dylan was never better. Scorsese's documentary shows him commanding the stage, stalking, staring and singing like his life depends on it. There's no mumbling here. He spits every syllable of "The Lonesome Death of Hattie Carroll" with a power that makes this account of a racist murder a harrowing listen. Chestnuts like "Knockin' On Heaven's Door" or "Blowin' In The Wind" seem revitalised. Then-current songs like "Isis" and "Hurricane" rage when he performs them.
Clear-eyed and potent, there's a fierceness to Dylan's presence that's remarkable to watch. Sparks fly off him when he enters a room, not in a showy David Bowie or Mick Jagger way, but in a concentrated, smouldering focus. He combines the intensity of young folkie Dylan with the more grizzled maturity of someone in their mid-thirties, and it lends his songs new power.
"Rolling Thunder Revue: A Bob Dylan Story" is a great movie, and fitting with Dylan's mystique there's a bit of flirting with fiction and masks (let's just say some of the people interviewed are not what they seem). But in the end it's a celebration of one of Dylan's most fertile periods and a reminder that one of the greatest songwriters of all time could throw down with the best of them when he wanted.
Author nik dirgaPosted on June 28, 2019 Tags movies, MusicLeave a comment on When Bob Dylan was the greatest rock star in America
Movies I've Never Seen #1: 'Head', or how the Monkees blew themselves up
It took me a little while to warm up to The Monkees.
They were the pre-fab, 'reality TV' Beatles, or so I thought. But eventually, I cottoned on to their easygoing talents, the goofy charms of the TV show, and some of the most ingratiating pop nuggets of all time.
I've seen what's left of The Monkees twice in the past few years – in 2016, Micky Dolenz and Peter Tork did a terrific Monkees revue here in Auckland, and last weekend, Dolenz and the only other surviving Monkee Mike Nesmith took one last turn through town for another nostalgic blast. (Peter Tork died this past February, sadly.) The 2019 show was good fun, although hampered by muddy sound and the ageing limitations of the surviving band (the 2016 show was a lot more energetic, to be honest). I was still really glad to see Nesmith, 76, who's been in ailing health, because he's one of the great unsung songwriters of our time.
I've seen three of the Monkees live now, and I'm happy to have done so. But there was one last Monkee fan hurdle for me to cross: Their mysterious, controversial 1968 movie "Head," which is either their finest moment or their nadir, depending on who you ask.
I'd never seen it until this week. I expected a dated hippie mess. I had no idea it was a dazzling comic horror movie that would fill me with existential dread.
"Head" is a strange, groundbreaking film that assumes you know who the madcap Monkees are, and then proceeds to tear the ground out from under you. There's not much of a plot – the movie apes the surreal skit humour of the TV series, but with a jarringly nasty edge. You know you're not in kiddieville anymore when a song featuring shots of screaming female fans cross-cuts into the infamous images from the execution of a Viet Cong officer – it's like a Backstreet Boys video suddenly morphing into a Marilyn Manson joint.
I've generally a low tolerance for psychedelic storytelling, which tends to really only work if you're stoned yourself, but the Jack Nicholson script (yes – THAT Jack Nicholson) to "Head" never gets too completely up its own navel to become incoherent. Despite its scattershot approach, "Head" is about a fictional famous band who are trapped on a treadmill of fame in a world they can't escape. "Head" frequently breaks the fourth wall to show the sets and cameras the Monkees are forced to perform on, but it never gives us the possibility of escape. It's "meta" before anyone really even knew what that meant. The movie even rewrites the famous theme song:
Hey, hey, we are The Monkees / You know we love to please / A manufactured image / With no philosophies.
In a world where "Love Island," "Married At First Sight" and their ilk have overwhelmed commercial TV, it's still a cutting little blade of a film. It's a movie that begins with Micky Dolenz's apparent suicide and ends with the screaming Monkees being stuffed into a featureless black box and driving away into unknown horrors, forced to perform endlessly in a never-ending hell, a scene that is as dark as any ending from a David Lynch film. (Twin Peaks, meet The Monkees!) I can't imagine how a teenybopper fan of the band would've reacted to it in 1968.
"Head" is weird, funny and fragmented, but it's also a stunning little rebuttal to the goofy hijinks of the Monkees TV series and a warped meditation on the fame machine. It's a miracle it ever got made, and it's no surprise it sank like a stone at the box office, who expected "A Hard Day's Night" and got something like a Monkees Apocalypse Now. More than 50 years on, it's a stone cold trip.
Author nik dirgaPosted on June 15, 2019 July 2, 2019 Tags movies, movies I have never seen, MusicLeave a comment on Movies I've Never Seen #1: 'Head', or how the Monkees blew themselves up
On seeing Prince, two months before he died
Prince would've turned 61 today. I saw him for the first and only time just two months before he died in 2016. I wrote this back then, the morning Prince died, mostly for myself:
Dig if you will, a picture.
Prince. The first time I heard him I was 13 or so and he sounded like an alien. "When Doves Cry" slithered out of the FM radio like nothing else out there, the words "animals they strike curious poses" unlocking something deep in my brain.
Thirty years later he played maybe 10 metres in front of me, and he didn't seem to have aged a day. Prince would live forever.
He took the stage at Auckland's ASB Theatre for the early show on that balmy February night with a showman's swagger, orchestral music swelling up and swelling up for long minutes before, with a crash and a flash of light, Prince's distinctive afro-topped silhouette popped up before the crowd, twice as tall as the real man.
Two months later he'd be gone, and that doesn't seem possible, surely some kind of stunt like that time he changed his name into a spaghetti-like symbol.
I'm still not over Bowie. I'm weirdly numb about Prince today. He can't be gone because two months ago I saw him hold 2,000 people in the palm of his hand, and a force like that can't die in an elevator at Paisley Park at only 57, can it?
You look now for signs, but there weren't any. At 57, he was lean and sculpted, poised at the piano and eyes twinkling with amusement. Unlike the elaborate hairdos of his heyday, he'd reverted back to a natural afro, which towered over his head. He was a small man, but he was big. A wiggle of his finger or a tiny curve of a smile and 2,000 people at ASB Theatre sat riveted.
When I heard the Auckland show was Prince solo with a piano and a microphone I was a bit worried – none of those screeching, thunderous guitar solos, no dynamic interplay with the backing band. An "unplugged" Prince conjured up worrying images of a Las Vegas-style revue with the Purple One sipping on sparkling water and turning every song into a Liberace number.
I was wrong. Prince showed us the skeletons and muscle behind the songs, reminding us that while he was flamboyant and eccentric, he was also one of the greatest songwriters of the past 50 years.
They were his first and only New Zealand shows, two tightly planned gigs executed with tremendous precision. Tickets flew out the door in seconds no matter the cost. I dithered for five minutes too long and missed out, spent the next week or so in FOMO funk. Yeah, it was a lot of money, but PRINCE, man. There's no regrets like those born from chickening out at the last second.
Then the day before the concert, there was a flurry on Twitter over a few last-minute ticket releases for the show. No hesitation. I Would Die 4 U. Click. Ninth row. Nine rows from Prince. Forget the cost.
At ASB theatre, he cracked right in to the distinctive riff of "I Would Die 4 U," and summed up his appeal for all of us: "I'm not a woman / I'm not a man / I am something that you'll never understand." Is it hyperbole to say it felt like we were in the presence of genius? But it feels true.
The Prince on stage at Aotea Centre was at the top of his game, a master at playing the crowd. But he was having FUN as well, something that's hard to find at that lofty level of fame. He threw a dash of "Charlie Brown" theme music into "Little Red Corvette," and it was like watching a master painter at work, scribbling tiny doodles in the margins. He recast all the classics, turning "Purple Rain" into a gospel revival, "Kiss" into a funky dance party. More than 30 years into his career, it felt like a victory lap.
"Can I stay for a bit?" he purred at the end of one of several encores. He could do this all night, he was letting us know, but could we handle it?
He'd played Sydney and Melbourne just a day or two before, and the very next day he was off to bloody Perth on the other side of Australia. Then he was going to Oakland, California, right after that. This Prince would play forever!
The crowd stood on its feet for minutes. He basked in applause, raised a hand, waved, and spun, turned, and dashed off the stage in a disarmingly childlike, awkward manner – and that was our last sight of Prince, sliding off into the shadows, his music still ringing in our ears. How could he just leave us standing, alone in a world so cold?
Author nik dirgaPosted on June 7, 2019 Tags MusicLeave a comment on On seeing Prince, two months before he died
Alex Chilton and the art of falling apart
The Replacements wrote a song about Alex Chilton during the 1980s, when he was a cult figure who hadn't quite been rediscovered yet. It reimagined Chilton as the world-conquering pop superstar he only really was at the very start of his career, and never again: 'Children by the million sing for Alex Chilton when he comes 'round / They sing "I'm in love. What's that song? I'm in love with that song."'
Chilton had his first #1 hit at the age of 16 with The Box Tops, with "The Letter," a sneering, propulsive slab of teen pop that stands head and shoulders over a lot of its peers – seriously, look at the video above and check out the star power blooming in that kid.
He then resurfaced in the mid-70s as part of Memphis' Big Star, one of the most influential power-pop bands of all time, crafting unforgettable anthems like "In The Street" and "September Gurls" before moving on to brittle, beautiful broken gems on the gorgeous Third/Sister-Lovers album. Big Star got 'rediscovered' by many of us in the 1990s through some great CD reissues, and their cult only continues to grow decades later – like the Velvet Underground, they became legends only long after they were gone.
But after Big Star crumbled apart, Chilton's career from the late '70s to his sadly early death at age 59 in 2010 was a strange hopscotch through genres, laced heavily with sardonic wit and a weird irresistible ennui. He spent the rest of his life carefully taking apart all the things he'd built up – perfect pop songs, aching singer-songwriter ballads – creating a kind of ramshackle, slacker troubadour persona where almost every song seems delivered with a wink and a mildly insincere croon. It's the sound of irony, the art of falling apart.
Yet while I adore Chilton's tighter, more remembered Big Star and Box Tops work, there's a strange charm in him crashing his way through tunes like "My Baby Just Cares For Me" that I find unforgettable. Live albums of him from the period sputter and crackle with devil-may-care slacker pop, but Chilton himself is never less than magnetic. Sometimes you feel him pushing a song just as much as he could before it broke apart.
It wasn't for nothing that one of his best albums is called A Man Called Destruction. He was the spirit of punk rock incarnated in a teen crooner's body.
The man wrote some of the great songs of the 1970s, but after that he worked as a dishwasher, a tree-trimmer, a janitor, and a wayfaring gig musician. He moved to New Orleans, where the city's jazz added a cool, chilled-out vibe to his sound. His sporadic albums mixed loose-limbed originals like "No Sex," "Bangkok" and "Lost My Job" with out-of-the-box covers of all kinds of '50s and '60s rarities. He called an album of covers Cliches. He called another one, um, Loose Shoes and Tight Pussy.
Sometimes Chilton could get so loose he's practically in pieces – since his death, we've seen a fair bit of barrel-scraping in unreleased music come out, some of it great, some of it unlistenable.
Do I wish Alex Chilton had written some kind of Pet Sounds-type final masterpiece that had gotten him the acclaim he deserved before the end? Yeah, sort of, but I also appreciate diving into the bits and pieces he left behind, of a man who had nothing to prove and who spent his time scribbling around in the margins and between the lines of the craft he peaked at by age 25.
Author nik dirgaPosted on May 14, 2019 Tags Music1 Comment on Alex Chilton and the art of falling apart


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Jobs, Internships, and Volunteering
Flash Mentoring
City Hall Fellows
Placement: City Controller's Office – City Services Auditor
What I Worked On: I finished a report on the City's long term care spending that was used by the Human Services Agency to determine how to plan different social and health service programs for the City's senior and disabled populations. Concurrently, I dabbled in various other projects such as integrating all of the City's mental health clinics into primary care clinics, grant planning and research for a broader electronic health record system for the Department of Public Health and the Human Services Agency, and on a comprehensive analysis of all the City's rehabilitation services at both Laguna Honda and General hospitals.
Hometown: Hometown: Mountain View & San Luis Obispo, CA
School: University of California, Berkeley
Fields of Study: BA, Interdisciplinary Studies in International Development; Global Poverty & Practice
Selected Honors: Blum Center for Developing Economies Fellowship; Interdisciplinary Studies Field Major Highest Honors, 2009; Dean's Honor Roll: Fall 2008 & Spring 2009; Nominee for the UC Berkeley Public Service Award 2009
Selected Activities and Community Involvement: President, Berkeley Needle Exchange Emergency Distribution (NEED) ('08-present); Member, Berkeley Student Cooperative (2008); Research Assistant, Dr. Laura Schreibmann Autism Lab, UC San Diego ('06-'07)
Prior Work Experience: Computer Services Library Assistant, UC Hastings School of Law, San Francisco, CA 2010; Online Helpdesk Technician, Academy of Art University, San Francisco, CA 2009-2010; Helpdesk Technician Assistant, Berkeley Law School, Berkeley, CA 2006-2009;
Why San Francisco is important to me: Having grown up in the Bay Area, San Francisco has always been a focal point in my conversations about news or politics with friends and family. I even wrote my 4th grade social studies report on the City and County of San Francisco, complete with a paper-mâché replica of Alcatraz Island. As I grew older, I came to appreciate ow San Francisco acts as a staging ground for shaping and fine-tuning progressive policies in public health, community planning, and human rights. I feel so grateful for this opportunity to work in the city (and county) that is a leader in some of the most innovative and sustainable civic practices.
Something unique about me: I lived in a grass-thatched mud hut for five weeks during the summer of 2009 in Ugunja, Kenya.
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travelarioConakry
Conakry:
Airports in Conakry, Guinea
Discover 1 Airports in Conakry, Guinea in this map. The most exciting sights, the best hotels, a diverse nightlife, recommended restaurants and more for your Conakry vacation. Updated constantly, free and available for desktop/smartphone/tablet.
Conakry (Sosso: Kɔnakiri) is the capital and largest city of Guinea. A port city, it serves as the economic, financial and cultural centre of Guinea. Its population as of the 2014 Guinea census was 1,660,973 Originally situated on Tombo Island, one of the Îles de Los, it has since spread up the neighboring Kaloum Peninsula. The current population of Conakry is difficult to ascertain, although the U.S. Bureau of African Af... (read more on Wikipedia)
Capital of Guinea | Calling code: +224 | Area: 450.00 km²
MapMap for Airports in Conakry, Guinea (1 locations, show in full screen)
Show everything in Conakry
1Hotels/Accommodations (Agoda)
2Sights/Attractions
AirportsAirports in Conakry, Guinea
Conakry International Airport / Gbessia International Airport (CKY) (Conakry, Guinea)
Additional Guinea maps: Bissau, Guinea, Guinea-Bissau


Why buy a stack of different tools when there's one that can do it all? With two great attachments the MTM MTX200 62cc Long reach Pro Multi-Tool comes fully loaded with dual floating bearings commercial quick change couplings, auto chain lubricator and adjustable chain oil feed for smooth, effortless performance. Get to work fast with its patented 'Easy Start System', then power through any job with ease thanks to the super responsive direct injector carburettor.
The most powerful in its class – the MTM200 boasts a gutsy 62CC engine. Featuring premium anodised commercial alloy shafts with a massive reach. This unit makes getting those hard to reach palms and branches under control easy. Its commercial grade quick connect couples equipped with dual ball-bearing floating centres and nine spline commercial shaft fastening ensure smooth, stable performance.
1. Chainsaw Attachment - 12' Sprocket nose bar Chainsaw Attachment, with an exclusive Premium Tru-Sharp Chain, perfect for safely lopping those out-of-reach branches or palm fronds.
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Earned the National Beer Day (2019) badge! Earned the Draft City badge!
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Earned the Riding Steady (Level 3) badge! Earned the 99 Bottles badge! Earned the Land of the Free (Level 3) badge!
A solid wheat. Nothing special though.
Katlyn: I love Piney River!!
Earned the Mardi Gras (2019) badge! Earned the Middle of the Road (Level 5) badge!
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Grant M.: I'm doing ucm jazz fest 2/23, what's up?


"We visit the Theatre Communications Group annual conference in Chicago and chat with Paul Nicholson, Executive Director of the Oregon Shakespeare Festival, and Cynthia Rider, Managing Director of the Kansas City Repertory Theatre. Featuring a reduced overview (an underview?) of the weekend, wonderful moments of inspiration, a special appearance by Carey Perloff, Artistic Director of American Conservatory Theatre, and the value of not taking courage for granted. (MP3. Length 21:59) UPDATE: On August 9, 2012, Cynthia was named the new Executive Director of Oregon Shakespeare Festival, replacing…Paul Nicholson. Coincidence? You decide.


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Home » School Finance » Education Improvement Scholarships Tax Credits Program
School Finance. You are here.
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Information on this page is provided by the Office of Procurement.
Information for Foundations and Donors
The Education Improvement Scholarships Tax Credits Program provides state tax credits for persons or businesses making monetary or marketable securities donations to foundations that provide scholarships to eligible students and children attending eligible private schools and eligible nonpublic pre-kindergarten programs. The program is administered by the Virginia Department of Education. See Guidelines for the Education Improvement Scholarships Tax Credit Program Effective February 7, 2020-This is a Word document. (Word) and Code of Virginia Sections § 58.1-439.25 - § 58.1-439.28 .
Approved scholarship foundations make payments directly to eligible schools selected by qualifying parents or legal guardians. Parents or legal guardians should contact one or more of the Approved Scholarship Foundations-This is a Word document. (Word) to determine whether scholarship funds are available for the private school in which they wish to enroll a child.
Family income for students with disabilities with an individualized education program may not exceed 400% of federal poverty guidelines; family income for other students may not exceed 300% of federal poverty guidelines.
Scholarships are generally limited to the state share of per-pupil Standards of Quality funding —or the state share of per-pupil Virginia Preschool Initiative funding — for the locality in which the recipient resides, but attendees of some special education schools can receive larger scholarships.
SOQ Amounts for K - 12 Scholarships Awarded for Program Year 2020-2021-This is an excel spreadsheet. (XLS)
VPI Amounts for Pre-K Scholarships Awarded for Program Year 2020-2021-This is an excel spreadsheet. (XLS)
SOQ Amounts for K - 12 Scholarships Awarded for Program Year 2019-2020-This is a Word document. (Word)
VPI Amounts for Pre-K Scholarships Awarded for Program Year 2019-2020-This is a Word document. (Word)
Participation requirements include accreditation through the Virginia Council for Private Education (VCPE), or maintenance of an assessment system that measures scholarship recipients' annual progress in reading and mathematics using a norm-referenced achievement test recognized by the Virginia Department of Education. Schools should consult the Guidelines for the Education Improvement Scholarships Tax Credits Program-This is a Word document. (Word) for details on eligibility and reporting requirements.
Virginia Council for Private Education (VCPE)
List of Norm-referenced Achievement Tests-This is a Word document. (Word) – List of achievement tests that are norm-referenced, and a list of achievement tests that are not considered norm-referenced.
Student Achievement Test Results for School Years 2014-2015 and 2015-2016-This is a Word document. (Word) – Information related to the requirements referenced in § 58.1-439.28.D of the Code of Virginia.
Student Achievement Test Result for School Year 2016-2017-This is a Word document. (Word) – Information related to the requirements referenced in § 58.1-439.28.D of the Code of Virginia.
Student Achievement Test Result for School Year 2017-2018 and 2018-2019-This is a Word document. (Word) – Information related to the requirements referenced in § 58.1-439.28.D of the Code of Virginia.
Information for Scholarship Foundations and Donors
To participate in the program, scholarship foundations must apply to the Virginia Department of Education for approval to receive and administer tax credit-approved funds. Donations made prior to application approval by VDOE do not qualify for the tax credit.
To apply as scholarship foundation under the EISTC program contact tax.credits@doe.virginia.gov.
Approved Scholarship Foundations-This is a Word document. (Word) Revised September 24, 2019 – List of scholarship foundations eligible to receive tax credit-derived donations
Tax credits under the program are equal to 65 percent of the value of the monetary or marketable securities donation, and may be claimed against the following state taxes:
Corporate state income tax
Bank franchise tax
Insurance premiums license tax
Tax on public service corporations
Tax credits may be claimed for the taxable year in which the donation was made. Unused tax credits may be carried over for the next five succeeding taxable years or until the total amount of the credit has been taken, whichever is sooner.
The total amount of tax credits that may be issued during each program year (i.e., state fiscal year) is $25 million. For more information about donations and tax credits under the program, go to the following:
Qualified Donations & the Tax Credit Approval Process – Frequently asked questions about donations and tax credits
Request for Preauthorization for Tax Credits (Word) Fillable Form – Use this form to request preauthorization for a specified tax credit amount.
Reports to the Chairmen of the House and Senate Finance Committees on Scholarships Awarded
Report to the Chairmen of the House and Senate Finance Committees for FY 2019
Tax Credit Programs
Email: tax.credits@doe.virginia.gov


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Explore Houston By Public Transit. Seriously
Lillian Louisa *3/24/2015
Time Bonus Section April 2005: Inside Business
Texas Two-Step
LEAVE THE RENTAL CAR BEHIND AND EXPLORE HOUSTON BY PUBLIC TRANSIT. SERIOUSLY
By JYOTI THOTTAM/HOUSTON
Monday, Mar. 14, 2005
A rare and exotic species has found its way to Houston of late. Known in other cities as pedestrians, the carless creatures are suddenly appearing along a vibrant 7 1/2-mile stretch of the city, thanks in large part to Houston's new light-rail system. Any new visitor to the city would do well to see them in action--and join them for a ride on the new rails and a stroll around town.
Where to begin? Pick your spot. Reliant Park, a popular convention site, is on the Metrorail route, close to Reliant Stadium (home of the Houston Texans and the Houston Livestock Show and Rodeo). So are the hotels and high-rises of Houston's downtown business district. Near the northern end of the rails lie the Toyota Center, where Yao Ming's Rockets hold court, and Minute Maid Park (known locally as the Juice Box), where Roger Clemens pitches.
The Metrorail also goes deep into the heart of Houston's museum district. The Museum of Fine Arts and the Contemporary Arts Museum are on Bissonnet Street, adjacent to the rail. Also nearby: the Menil Collection--one of the country's most distinguished troves of 20th century art, in a serene, minimalist setting--and the Rothko Chapel, designed by artist Mark Rothko and home to 14 specially commissioned works in undulating shades of black, gray and violet.
And don't forget the food. Bank Jean Georges at the Hotel Icon, a lavishly restored former bank, sits less than two blocks from Preston Station on the Metrorail. Part of the culinary empire of chef Jean-Georges Vongerichten, the restaurant is a temple to gorgeous, delicious food. Golden, ruby red and candy-striped beets brighten a simple salad; Texas blue crabs star in a sublime crab cake. For a more casual, festive evening, try Bossa, near the Main Street Square stop, which offers zesty pan-Latin fare and has a hopping bar scene. Afterward, stride down the block and across the street to Sambuca Jazz Cafe on Texas Street, where you can hear live jazz and sample a California-heavy wine list.
While the Metrorail may pose little threat to Houston's status as a concrete paradise, it is a great alternative to downtown's scarce and expensive parking. A one-day Metrorail pass is just $2 (if anyone bothers to check your ticket), and several stations have their own parking lots. Of course, taking a walk in Houston means leaving the air conditioning behind. You've been warned.
Source: Time
"Blue Oh-Two" (#424)
Rick's header, Hondata gasket, Mugen thermostat/fan switch, Mugen radiator cap, Aussie mirror, Lucid's rear speakers, Alpine CDA-7893R & KCE-865B, Muz's saddlebag, Windscreen Light, Modifry's glove box organizer and lots of Zaino!


We can now draw up an idea of just what we are getting with the new Apple iPad device. We know that it will come with an IPS Display, an A4 processor chip and a Micro SIM, but we do not know enough about that hardware to say wow. Watch a hands-on video.
So let us take a closer look, the first is that 9.7-inch LED-backlit, IPS display. This technology certainly helps to give the iPad vivid and crisp details to the image being displayed. IPS stands for in-plane switching, meaning that there is a 178° viewing angle.
The next piece of hardware that we need to learn about is that 1GHz Apple A4 chip, which is one of the most important components. This CPU has been custom designed to offer high-performance and low-power system usage, it is this that helps the iPad achieve 10-hours of battery life.
The final feature that we wish to discuss is that Micro SIM. This is also known as 3FF or third form factor and is a smaller version of a standard cell phone SIM. It is thought that many new devices will start to offer the micro SIM, we think that Apple chose this to stop AT&T customers putting their SIM's in the iPad to take advantage of their current 3G data plan.
For more details of the iPad, visit the Apple website.


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Editorials Latest News | Common Ground Fair | Bangor Metro | Susan Collins | Today's Paper
Americans deserve full picture in impeachment debate. That requires White House participation.
Evan Vucci | AP
Secretary of State Mike Pompeo talks with President Donald Trump during his meeting with Canadian Prime Minister Justin Trudeau at Winfield House, Tuesday, Dec. 3, 2019, in London.
By The Editorial Board. The BDN Opinion Section operates independently, and does not set newsroom policies or contribute to reporting or editing articles elsewhere in the newspaper or on bangordailynews.com. • December 3, 2019 5:08 pm
As the impeachment inquiry in the U.S. House of Representatives heads into a new phase Wednesday with the first hearing before the Judiciary Committee, we still have more questions than answers.
The biggest question is why the White House, which denies the allegations against the president, is still refusing to participate in this process. To be fair, the process has its flaws but it is not " irretrievably broken" as the president's counsel has argued. Nor is it a baseless witch hunt. It is, in fact, a coequal branch of government doing its constitutional duty of holding the president accountable to the American people.
We've had our own concerns about the impeachment process, highlighting the quizzically rushed way the word impeachment was being used before formal House investigations or a vote, and noting the nuanced but substantial differences in how the Republican minority is involved in subpoenaing witnesses compared to past impeachments.
But if the underlying allegations of using the presidency for personal political gain are baseless, and the president has acted perfectly — to borrow from his own words — the administration should have no problem sending legal counsel to say so before the House Judiciary Committee.
And perhaps more importantly, it should have no problem sending top-ranking officials — such as Secretary of State Mike Pompeo, former Secretary of Energy Rick Perry or former national security adviser John Bolton — to provide a fuller picture of events, and to do so under oath.
A common refrain in the Republican response to impeachment has been that witnesses who have testified thus far in public, including several State Department officials, were not directly involved in certain conversations or decision making — thus making parts of their testimony hearsay. But there's a simple solution to that concern: have the top-ranking officials directly involved in those conversations testify themselves.
Republicans and Democrats should want as much detail as possible in order to cast an informed vote on an issue as significant as impeachment. And the White House's refusal to participate in these hearings, both by declining to send representation and by repeatedly ignoring congressional subpoenas to testify, limits access to information for lawmakers and the American public.
If the administration's argument that this investigation is a "witch hunt" is good enough for Twitter and TV, executive branch officials should be able to make that case under oath as well.
House Judiciary Chairman Jerry Nadler gave the White House until Dec. 6 to decide if it will participate in his committee's impeachment proceedings. Pat Cipollone, the president's counsel, left the door open just slightly in his Dec. 1 response, which also said the White House did not intend to participate in Wednesday's initial hearing.
"It is too late to cure the profound procedural deficiencies that have tainted this entire inquiry," Cipollone wrote in the letter. "Nevertheless, if you are serious about conducting a fair process going forward, and in order to protect the rights and privileges of the President, we may consider participating in future Judiciary Committee proceedings if you afford the Administration the ability to do so meaningfully."
We don't have any delusions that the White House will suddenly reverse course before Friday's deadline, but we're holding out a sliver of hope they will. The national gravity of this process requires the fullest picture of facts and events possible, and that requires participation from the White House. If their case is as strong as they've claimed, they should have little to worry about.


Investigation, design and inspection of repairs to tyndal stone veneer.
Repair of building envelope to prevent severe condensation problems.
Investigation, design and inspection of new EIFS cladding system.
Design and inspection of a complete wall, window and roof retrofit of a large seniors housing complex.


Nancy has been a nurse-midwife since 1982 and has been with WSNM since 1998. She became a nurse soon after high school and has always believed that midwives create a difference in the birth environment wherever they are. Along with her husband Bob, Nancy has two teenage sons, Wally and Sam. She enjoys cooking and entertaining. Along with her family, Nancy is involved with her church where she likes working with the youth groups and parish nursing programs.
Special Interests: Nancy has worked as a certified nurse-midwife in several clinical settings since 1982. She believes in offering women and families feedback and information so they can make informed choices through all phases of their healthcare. It's a special joy for Nancy to be part of a woman's pregnancy and birth.


What a way to start my 2014 here at Mommy Practicality. The very first blog post will announce the winners to the recently concluded Mommy Practicality Christmas Giveaway! Baka suwertehin din ako because bongga ang first post, WINNERS agad!
First of all, HAPPY NEW YEAR to all of you my dear readers, followers and online friends! I can't thank you all enough for your support from the time I started up until now. I will be turning two this year and I have a lot of other plans for my humble blog. Plans to be able to reach more and inspire more women and practical moms as well. My heartfelt thank you message could also be found HERE.
Thanks so much once again to everyone who joined! Until our next bonggang giveaway! Happy New Year everyone!
Yey thank you! Happy New Year!
Congrats to the winners and Happy New Year, Mommy Louise.
Wow, I won.. i was really surprised, just visited your page today because our home connection just got fixed from troubles.. Anyways, thank you so much Ms. Louise..:) so happy po talaga.
I'll be waiting for your email po.


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Arrest of Two More Baha'is
October 26, 2008 , editor , No Comment
The following is an unconfirmed report and requires further verification by the Baha'i institutions before it is accepted as factual. For that purpose, readers are advised to consult Baha'i World News Service (http://news.bahai.org/), the official&hellip
Tehran Conference on Religion (and video)
October 25, 2008 , editor , 1 Comment
About 10 world figures, including former UN Secretary-General Kofi Annan and some former presidents and heads of European governments, attended a conference in Tehran in mid October 2008 on the relationship between religion and politics,&hellip
Desecration of the Baha'i Cemetery of Darzikola [Updated]
October 24, 2008 , editor , 2 Comments
Darzikola is a small town associated with Qa'im-Shahr (pop. 175,000 in 2006) in the province of Mazandaran, in the northern part of Iran. It is also near the larger towns of Babul and Sari (see&hellip
Document Vindicating Baha'i Youth Prisoners in Shiraz
[On Thursday, 23 October 2008, the prestigious organization Human Rights Activists of Iran published the following report vindicating the position of the Baha'i youth presently incarcerated solely for providing educational and socio-economic assistance to the&hellip
Why Islamists Persecute the Baha'is
By Amil Imani [On Friday, 6 June 2008, Amil Imani, an Iranian intellectual who has written on discrimination against the Baha'is of Iran in the past, posted the following essay on his site: http://www.amilimani.com/index.php?option=com_content&task=view&id=107&Itemid=2. Since&hellip
Report of the UN Secretary-General on the situation of human rights in Iran
On October 1, the UN Secretary-General issued a report on the situation of human and civil rights in the Islamic Republic of Iran. The report's summary stated: The present report, submitted in accordance with General&hellip
100 Years of Regress
By Ahang Rabbani Anyone who has read much Iranian history of the last 500 years or so knows that in many instances Iranians developed extremely brutal methods for torture and punishment, which unfortunately has become&hellip
Harvard's "Scholars at Risk" Initiative
On Monday, October 20, Drew Faust, the President of Harvard University, circulated the following letter: Dear Colleagues, I am writing to bring your attention to a Harvard initiative concerning scholars who face persecution. Seven years&hellip
U.N. concerned on Iran Human Rights
UNITED NATIONS (Reuters) – U.N. Secretary-General Ban Ki-moon on Monday expressed concerns about possible human rights abuses in Iran and urged the country to do more to combat discrimination against women and minorities. While praising&hellip
Iran's Leader Considers Zoroastrians to be Infidels
A document that has profound implications for all religious minorities in Iran, including the Baha'i community of that nation, has come to light and is presented below in both its original version and a translation&hellip
More on the destruction of the Isfahan Cemetery (plus video)
[On Saturday, 18 October 2008, the following report was posted in Persian by the prestigious Human Rights Activists of Iran at http://www.hrairan.com/Archive_87/1123.html — it is shared below in translation. It should be noted that the&hellip
End the Persecution of Baha'is
[On Thursday 29 May 2008 the organization United Republicans of Iran demanded the immediate release of the Baha'i leaders incarcerated in March and May of that year, http://www.iranrepublic.org/, and their proclamation is shared below for&hellip
Warning About Baha'i Population Increase
[Hardly a day goes by that a vicious attack against the Baha'i community is not published in one of the leading newspapers in Iran — this site will try to bring more of these to&hellip
Shirin Ebadi at Saint Mary's College in Moraga, California
[On Tuesday, 14 October 2008, Mrs. Shirin Ebadi, Iran's Nobel Peace Laureate and renowned lawyer for human and civil rights, spoke at St. Mary's College in Moraga, California. One of the kind Baha'i readers of&hellip
Attack on the Baha'i Faith at a Conference on the History of Iran and the British Empire
The report below is in two parts: (1) extracts from remarks at a recent conference in Tehran provided in translation, and (2) a response from the perspective of the present writer against the accusations stated&hellip
Song by Friends in Iran
Some Friends in Iran have sent us this song, available for download. The words are from a Baha'i addressing his persecutors. Innovative and touching. Listen to the Song: Download the MP3 file here.
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I'm a local filmmaker based in Leeds and as the title says I'm looking for interesting stories/groups/people for my next short documentary. If you this is off any interest to you or have leads on potential subjects for a film I'd love to hear from you.
I am sure that there will be plenty more info. in the coming days.
I can not think what the family went through at that time its something you just would never get over,We should think about this when we moan about trivial things its so easy to take life for granted may they rest in peace.


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HAMMER!: Making Movies Out of Sex and Life
Select ratingGive HAMMER!: Making Movies Out of Sex and Life 1/5Give HAMMER!: Making Movies Out of Sex and Life 2/5Give HAMMER!: Making Movies Out of Sex and Life 3/5Give HAMMER!: Making Movies Out of Sex and Life 4/5Give HAMMER!: Making Movies Out of Sex and Life 5/5Cancel rating
HAMMER! is the first book by influential filmmaker Barbara Hammer, whose life and work have inspired a generation of queer, feminist, and avant-garde artists and filmmakers. The wild days of non-monogamy in the 1970s, the development of a queer aesthetic
HAMMER! is the first book by influential filmmaker Barbara Hammer, whose life and work have inspired a generation of queer, feminist, and avant-garde artists and filmmakers. The wild days of non-monogamy in the 1970s, the development of a queer aesthetic in the 1980s, the fight for visibility during the culture wars of the 1990s, her search for meaning as she contemplates mortality in the past ten years—HAMMER! includes texts from these periods, new writings, and fully contextualized film stills to create a memoir as innovative and disarming as her work has always been.
Barbara Hammer has made over eighty films and video works over the past forty years. Her experimental films of the 1970s often dealt with taboo subjects such as menstruation, female orgasm, and lesbian sexuality. In the 1980s she used optical printing to explore perception and the fragility of 16mm film life itself. Her documentaries tell the stories of marginalized peoples who have been hidden from history. Her most recent work, A Horse is Not a Metaphor, won the 2009 Teddy Award for Best Short Film at the Berlin International Film Festival. A retrospective screening of her work will be presented at the Museum of Modern Art in spring 2010 and will travel to the Reina Sophia in Madrid and the Tate Modern in London.
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Select ratingGive HAMMER!: Making Movies Out of Sex and Life 1/5Give HAMMER!: Making Movies Out of Sex and Life 2/5Give HAMMER!: Making Movies Out of Sex and Life 3/5Give HAMMER!: Making Movies Out of Sex and Life 4/5Give HAMMER!: Making Movies Out of Sex and Life 5/5
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Por SST puede referirse a:
 Sólidos suspendidos totales
 SST Records un sello discográfico estadounidense de música.
 SST, Seguridad y Salud en el Trabajo (OHSAS18001).
 SST gen que codifica la somatostatina, hormona inhibidora de hormona del crecimiento (GHIH).

redpajama_set_name: RedPajamaWikipedia


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Matthew F. Tympanick
Former Alabama Basketball Player Darius Miles Charged With Capital Murder
According to various reports, Alabama Men's Basketball player, Darius Miles and another man, Michael Lynn Davis have been charged with capital murder in connection with a shooting near the University of Alabama campus in the early hours of January 15, 2023. The root of the shooting appears to have been a minor argument between the alleged victims and the alleged suspects. However, what does capital murder actually mean in the state of Alabama?
For a crime to be classified as capital murder, there has to be a special circumstance. In this case, the special circumstance is that the alleged victim was shot in a vehicle. According to Alabama Criminal Code Title 13A-5-40(17), it is a capital offense because it is "murder committed by or through the use of a deadly weapon while the victim is in the vehicle." Additionally, if the alleged suspects fired the deadly weapon from within another vehicle, that would be a special circumstance capital as well. If convicted, Mr. Miles would be eligible for the death penalty. If the suspects were convicted of capital murder and the jury chose not to impose the death penalty, they would have to serve a minimum mandatory sentence of 30 years in prison day for day before they would be eligible for parole. The biggest question will be who was the shooter and was this potentially self-defense?
As stated by the Captain Jack Kennedy, commander of the Tuscaloosa County's Violent Crimes Unit, he didn't say who investigators believe pulled the trigger, but he did say "both suspects are being charged because their actions led to the alleged victim's death." The alleged victim was the passenger in the vehicle, but the driver of the vehicle told officers, "The vehicle had been shot into and he (the driver) had fired back in self-defense." These two pieces of evidence are potentially significant. First, as to who is the actual shooter. Both individuals can be charged with capital murder (usually an accessory/accomplice theory) but it sounds like only one of them shot at the vehicle. That is because whoever wasn't the shooter probably doesn't need to worry about getting the death penalty imposed if they were convicted of capital murder. A jury isn't going to impose a death sentence for potentially someone being in the wrong place at the wrong time. The other key piece of evidence is that the alleged victim's vehicle shot back. This is significant for the defense of Mr. Miles and Mr. Davis because now their defense attorneys can potentially argue a "who shot first defense". That is because Alabama is a "Stand Your Ground" state which allows a Judge to grant absolute immunity to a defense if the Judge determines that the actions of self-defense were reasonable under the law.
This case is a long way from trial. However, it is not far away from seeing the inside of the Courtroom. This article will be the first in a multi-part series.
Matthew F. Tympanick, Esq. is the Founder/Principal of Tympanick Law, P.A., located in Sarasota, Florida where he focuses his practice on Criminal Defense, Personal Injury Law, and Sports Law. Arrested or Injured? Don't Panic…Call Tympanick! 1(888)NOPANIC. He is a graduate of the University of Massachusetts School of Law where he served as a Public Interest Fellow and a Staff Editor on the UMass Law Review. He has appeared nationally on television, radio, and podcasts discussing criminal cases specifically sports criminal cases. He was previously a felony prosecutor where he prosecuted thousands of misdemeanor and felony criminal cases. He also has tried over 40 jury and non-jury cases. You can follow him on Twitter, Instagram, and Facebook @TympanickLaw


Dragging. That's what this day is doing. Dragging. This seems to be the case each and every Monday. Although the #MelindaMondays posts can help me through say the first two hours of the day, by the time the clock strikes 12, I find that I'm dragging my feet again. I'm in need of something – anything – to get me through the damn day! Why not a little jingle? How about the new single and video from Lonely Island featuring Pharrell Williams? Although their lyrics general have absolutely no meaning and contain crude references to the male…ehrm…member, they're a laugh and will lighten the mood.
This entry was posted in Ballads and tagged Ballads, Comedy, Funny, Hugs, Lonely Island, Music Video, Pharrell Williams, SNL on May 19, 2014 by The Noblest Rogue.


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"Miss Representation" Film and Images in Church
1 Comment on "Miss Representation" Film and Images in ChurchPosted in Changing Church, Resources By jannaPosted on October 4, 2012 June 2, 2013
Dr. Marian Wright Edelman
"You can't be what you can't see." —Dr. Marian Wright Edelman, founder and president, Children's Defense Fund
This Marian Wright Edelman quote from "Miss Representation" expresses one of the film's main themes. This award-winning documentary film exposes how mainstream media's misrepresentations of women have led to the under-representation of women in positions of power and influence. As I watched this film, I thought of similar ways that the church limits the gifts of women and girls.
The film "Miss Representation" challenges the media's limited and often disparaging portrayals of women and girls, which make it difficult for women to achieve leadership positions. In a society where media is the most persuasive force shaping cultural norms, the collective message that our young women and men overwhelmingly receive is that a woman's value and power lie in her youth, beauty, and sexuality, and not in her capacity as a leader. While women have made great strides in leadership over the past few decades, the United States is still 90th in the world for women in national legislatures, women hold only 3% of clout positions in mainstream media, and women earn only 77 cents for every dollar men earn.
This film includes many more disturbing statistics. Women make up 51% of the population and only 17% of Congress. When they're seven years old, an equal number of boys and girls want to be President of the United States, but by the time they're fifteen, the number of girls who say they would like to be President drops off dramatically as compared to the boys. Women are only 3% of Fortune 500 CEOs, 37% of lower-level and middle managers, and 26% of vice presidents and other senior managers. Men occupy 80 to 95% of the top decision-making positions in American politics, business, the military, religion, media, culture, and entertainment.
Media contribute to this under-representation of women. Only 20% of news stories are about women, and many of these stories are of violence and victimhood. Only 16% of movies feature female protagonists. Although men are the main characters in most commercials, only 2% show men cooking, caring for children, or doing other domestic chores; men are most often in business settings, while women are doing household tasks and/or selling household products.
Also alarming, "Miss Representation" shows how the increasing objectification and sexualization of women and girls in the media lead to low self-esteem and violence against women and girls. Over the years the media have become more obsessed with appearance. In magazines and advertisements pictures of women are often airbrushed or digitally altered. Women in television shows and movies are often under the average weight or anorexic. Thus 65% of women and girls report eating disorders, the number of girls who are unhappy with their bodies increases from 53% when they're thirteen to 78% when they're seventeen, 80% of ten-year-old girls say they've been on a diet, and rates of depression among girls and women have doubled between 2000 and 2010. About 25% of girls will experience teen dating violence, 1 in 4 women will be raped in their lifetime, and 15% of rape survivors are under the age of 12.
"Miss Representation" also reveals the damaging effects of media images on men and boys. Mainstream media often portray boys and men as violent, in control, and unemotional. Images of men are hyper-masculine and dominant. Increasing exposure to sexually explicit video games and music videos is linked to men's acceptance of sexual harassment and violence against women.
So you may be asking, "What does this film have to do with changing church?" For me, it raises questions about the gender messages we're also sending through our church worship services and educational programs. Do the visual images in churches reflect the equal value of women and girls? How are females and males portrayed in Sunday school curricula? Do sermons demonstrate gender equality? Is there gender balance in the biblical characters presented, and how are these characters portrayed? Do church services, programs, and literature represent diversity in gender, race, and sexual orientation? Do images and names for Deity include female and male?
A tour through the children's and youth's Sunday school rooms in churches of various denominations reveals the dominance of male images. On the walls and in the church school literature, pictures of the patriarchs and other men in the Bible greatly outnumber pictures of women in the Bible. And women, people of color, and LGBTQ people are under-represented in the images of even contemporary people of faith. Biblical and contemporary women are likewise under-represented in the stories in Sunday School curricula, and Deity is almost always named as "He" and imaged as a white male.
A walk through church sanctuaries also reveals a lack of gender and racial diversity in the imagery. Stained glass windows, even in "progressive" churches, overwhelmingly depict male disciples and other male biblical characters as well as male images of Deity. The majority of other visual images in most sanctuaries are of white males. Icons and statues in Catholic churches usually include Mary, but the majority of images in most churches are male.
Just as women are under-represented in Congress and business leadership, women are under-represented in church leadership. The two largest Christian denominations in the US, Roman Catholic and Southern Baptist, as well as other denominations, still refuse to ordain women, and others that ordain women continue to exclude women from the pastorate. In mainline Protestant denominations, only about 12% of the pastors are women. Fewer than 17% of leaders in theological education are women.
Also, the sermons and liturgy in the majority of churches lack gender equality. Sadly, some preachers still use sexist jokes, and condemn or ridicule homosexual persons. Sermons are filled with illustrations from male sports, and when women are included, they are often portrayed only in relationship to men or in domestic roles. Biblical women, especially the good and powerful ones, are ignored or discounted. Some preachers dismiss Deborah, the judge and prophet in the book of Judges, saying that it was a shame God had to choose a woman leader because all the men in Israel were disobedient! And some pastors and priests still demean Mary Magdalene as a prostitute, even though the Bible presents her as the apostle to the apostles and the Second Vatican Council in 1969 finally declared that the church for centuries had been wrong in its disparaging depictions of her. Rarely do sermons include Huldah, the prophet who was the first person to declare written words as Scripture, or Junia, the apostle. And whatever happened to Wisdom? In all my years growing up in church I never heard of God as Wisdom. I never heard God referred to as "She," even though the Bible uses Wisdom ("Sophia") as a female personification of God and refers to Wisdom as "She.
"Wisdom Sophia" by Mirta Toledo
It is also disturbing that most of the songs our young people sing in church lack gender diversity. These songs are especially powerful to shape belief and action because the music embeds words in the memory of singers. In the catalog of Choristers Guild, one of the largest ecumenical publishers of music for children and youth, about 75% of the musicals feature male biblical characters like Moses, Elijah, Jonah, and Noah, and only one features a female character, a contemporary girl named Jane. The only musical that includes Wisdom and other biblical female divine images is Imagine God! A Children's Musical Exploring and Expressing Images of God, that I wrote with composer Larry E. Schultz. Although some recent hymnals use inclusive language for humanity, few use inclusive language for divinity. Even though the Bible includes female images of the Divine, very few hymnals do.
In the religious education literature and in worship services of most churches of all denominations, names and images for Deity are male. The message we are sending is that males have more sacred value and can thus represent the Divine more fully than females. Biblical female images of the Divine are not even included in the children's curriculum of Progressive Christianity, a contemporary ecumenical organization dedicated to inclusivity and social justice. Although this curriculum includes a wonderful emphasis on ecology, women of faith like Harriet Tubman and Marian Anderson, and pictures of children diverse in gender and race, the names for Deity are male or gender-neutral but never female. Neutral names generally evoke male images because of the predominance of male references to Deity in our culture. Thus it is vital to use female names and images for Deity to affirm women and girls as created equally in the divine image.
Marian Wright Edelman is right that we can't be what we can't see. If girls and women can't see ourselves in the media as respected leaders and if we can't see ourselves in church as in the divine image and as capable leaders, then we can't become all we're created to be in the divine image. What can we do to bring change?
We can work to bring change in the media by joining groups like MissRepresentation.org, the social action campaign of the documentary film. On the MissRepresentation.org website (http://www.missrepresentation.org/ ) there are practical actions we can take to empower women and girls to challenge limiting labels in order to realize our potential and to encourage men and boys to challenge sexism. The mission of this social action campaign is to shift people's consciousness, inspire individual and community action, and ultimately, transform culture so all people, regardless of gender, can fulfill our potential.
There are also many ways we can work to change the church so that people of all genders, sexual orientations, races, and cultures can fulfill our potential in the divine image. The national ecumenical, multicultural Equity for Women in the Church Community, sponsored by the Alliance of Baptists, is one organization working to open doors for clergywomen in order to transform church and society. This group addresses the interlocking injustices of sexism and racism that impede women's equality as leaders in the church. We can also work with Evangelical & Ecumenical Women's Caucus-Christian Feminism Today, an international organization of women and men who believe that the Bible supports the equality of the sexes (http://www.eewc.com/), inclusive in race and sexual orientation as well as gender. We can work with these groups and/or with many other organizations that have the mission of changing the church so that all have equal opportunities. Through the biblical and contemporary models we feature in our religious education literature and in our worship services, we can encourage all children and adults to be all we can be. And through a diversity of images of the Divine, including female images, we can send the message that all are created equally in the divine image.
Changing Church: Dr. Kendra Weddle, Associate Professor and Chair of Religion and Humanities, Texas Wesleyan University
"Welcome Our Sister-Brother Creator" Video
One thought on ""Miss Representation" Film and Images in Church"
JoMae says:
Thanks for spelling it out! I've shared this article on Facebook.
− = 2


Monospaced Used for commands, HTTP request and responses and code blocks.
The FileSystem scheme of WebHDFS is "webhdfs://". A WebHDFS FileSystem URI has the following format.
In the REST API, the prefix "/webhdfs/v1" is inserted in the path and a query is appended at the end. Therefore, the corresponding HTTP URL has the following format.
dfs.web.authentication.kerberos.principal The HTTP Kerberos principal used by Hadoop-Auth in the HTTP endpoint. The HTTP Kerberos principal MUST start with 'HTTP/' per Kerberos HTTP SPNEGO specification.
Step 2: Submit another HTTP PUT request using the URL in the Location header with the file data to be written.
Note that the reason of having two-step create/append is for preventing clients to send out data before the redirect. This issue is addressed by the "Expect: 100-continue" header in HTTP/1.1; see RFC 2616, Section 8.2.3. Unfortunately, there are software library bugs (e.g. Jetty 6 HTTP server and Java 6 HTTP client), which do not correctly implement "Expect: 100-continue". The two-step create/append is a temporary workaround for the software library bugs.
curl -i -X POST "http://<HOST>:<PORT>/webhdfs/v1/<PATH>?op=APPEND[&buffersize=<INT>]"
Step 2: Submit another HTTP POST request using the URL in the Location header with the file data to be appended.
curl -i -X PUT "http://<HOST>:<PORT>/<PATH>?op=MKDIRS[&permission=<OCTAL>]"
curl -i -X PUT "http://<HOST>:<PORT>/webhdfs/v1/<PATH>?op=GETACLSTATUS"
A Tokens JSON object represents an array of Token JSON objects.
See also: Token Properties, GETDELEGATIONTOKENS, the note in Delegation.
The ACL spec included in ACL modification operations.
The access time of a file/directory.
The block size of a file.
The size of the buffer used in transferring data.
If the parent directories do not exist, should they be created?
The delegation token used for authentication.
An absolute FileSystem path without scheme and authority.
Allowing a proxy user to do as another user.
The name of a group.
The number of bytes to be processed.
The modification time of a file/directory.
The name of the operation to be executed.
If a file already exists, should it be overwritten?
The username who is the owner of a file/directory.
The permission of a file/directory.
Should the operation act on the content in the subdirectories?
The username of the renewer of a delegation token.
The number of replications of a file.
A list of source paths.
A list of comma seperated absolute FileSystem paths without scheme and authority.
The delegation token used for the operation.
See the note in Delegation.
The authenticated user; see Authentication.


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A 60-year-old carpenter was killed on the spot around 17.00 hrs yesterday at Pearl, East Bank Demerara, after he was crushed by a lumber-laden truck that was being driven by an alleged drunk driver.
Ramdolar Dhanraj, 60, of Lot 8, Pearl, East Bank Demerara, was riding on the East Bank Demerara Public Road when he was struck from behind.
His son, Mahendra Dhanraj, told Kaieteur News that his father was heading for the adjoining community of Sara Johanna, East Bank Demerara, to meet some of his workers, when misfortune struck.
Deep tyre tracks on the eastern parapet indicated that the driver lost control about 100 meters from where Dhanraj was riding before ramming into him.
The son, Mahendra Dhanraj, said that the driver and porter appeared to be under the influence of alcohol. However, Kaieteur News understands that traffic ranks who arrived at the scene did not have breathalyzer kits.
One man told Kaieteur News that the driver and other truckers were consuming alcohol at a Soesdyke, East Bank Demerara spot just a few minutes before the accident occurred.
The driver and porter were detained at the Timehri Police Station.