text:
Тома Иванов Карайовов с псевдоним Клубски е виден български революционер, деец на Върховния македоно-одрински комитет, публицист, политик, дипломат и общественик.

Биография
Карайовов е роден на 17 април 1868 година в Скопие, тогава в Османската империя. Син е на видния български общественик Иван Карайовов, един от водачите на борбата за самостоятелна българска църква в Скопие. Завършва Солунската българска мъжка гимназия и право във Висшето училище в София.

В 1885 година става член на основания на 10 февруари в Пловдив Български таен централен революционен комитет и участва в Съединението.

В 1892 година Карайовов е сред учредителите на Младата македонска книжовна дружина в София. Създател и секретар е на дружеството "Братски съюз". В 1895 година завършва право в Софийското висше училище. В 1895 година на II конгрес на Македонската организация в София е избран за член на Върховния комитет. В 1896 година е редактор на вестник "Право". Между 1897 и 1900 година е секретар на българските търговски агентства в Битоля и Одрин. От 1900 до 1901 година е отговорен редактор на вестник "Пряпорец" – орган на Демократическата партия.

При разцеплението на ВМОК става подпредседател на крилото на Христо Станишев, което е за по-активно сътрудничество с ВМОРО срещу крилото на Стоян Михайловски – генерал Цончев. Христо Силянов пише:

Редактор е на вестник "Автономия" – орган на ВМОРО (1903). В 1903 година издава книгата си "Македонските искания и дипломацията", в която развива идеята на ВМОРО за автономия на Македония:

В 1904 година започва работа като секретар на дипломатическото агентство във Виена (до 1905), началник на II политическо отделение (1905 – 1906) и секретар на дипломатическото агентство в Рим (1907 – 1908).

Редактира вестник "Пряпорец" в София.

След Хуриета от 1908 година Карайовов е сред организаторите на Съюза на българските конституционни клубове и е избран за негов председател на I и на II му конгрес. В 1909 година издава органа на партията "Отечество". След разтурянето на партията отново се връща на работа във външното министерство и от 1910 до 1912 е на дипломатическа служба в руската столица Санкт Петербург. През 1913 година ръководи Информационното бюро при външното министерство, а по време на Първата световна война (1915 – 1918) е председател на управителния съвет на Търговска банка – Скопие и представител в Германия на Дирекция за стопански грижи и обществена предвидливост. След Първата световна война е задграничен представител на ВМРО.

След войните в 1923 година Карайовов е сред създателите на Македонския научен институт и негов действителен член. В 1924 година е български генерален консул в Албания. Делегат е на Шестия конгрес на ВМРО през 1925 година. Сътрудничи на списание "Отец Паисий". В 1933 година е редактор на вестник "Бюлгари".

Пътува често до Виена и Европа с мисии на ВМРО. Георги Занков го нарича:

Тома Карайовов не признава съществуването на македонска нация и пише в дневника си:

Умира на 2 декември 1950 година в София.

Личният му архив се съхранява във фонд 1079К в Централен държавен архив. Той се състои от 622 архивни единици от периода 1866 – 1945 г.

Родословие

Външни препратки
 "Македонскитѣ искания и Дипломацията", София, 1903 година,
 "Жълтата книга", статия от Тома Карайовов, публикувана във в-к "Право", год. II, бр. 40 (48), София, 1.II.1903 г.
 "Материали за изучаване на Одринския вилает", излседване от Тома Карайовов

Бележки

Български революционери от Македония
Дейци на ВМОК
Дейци на ВМРО
Български дипломати от Македония
Български журналисти от Македония
Български политици от Македония
Български юристи от Македония
Членове на Македонския научен институт
Членове на Младата македонска книжовна дружина
Членове на Съюза на българските конституционни клубове
Възпитаници на Солунската българска мъжка гимназия
Възпитаници на Софийския университет
Дейци на БТЦРК
Български политици (1878 – 1918)
Български публицисти
Български масони
Български общественици от Македония
Консули на България
Родени в Скопие
Починали в София
Български имигранти от Македония в София
Хора с архиви в Централния държавен архив


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How this Washington designer used SEO to grow her firm
50 states project | Nov 28, 2021 |
By Kaitlin Petersen
The 50 States Project is a yearlong series of candid conversations with interior designers across the country about how they've built their businesses. This week, Seattle-based designer Michelle Dirkse tells us about the top SEO lessons she has used to fuel her business, why her ideal projects are "weird in a good way," and how team trips have become part of her firm's culture.
What are your earliest memories of being drawn to design?
My earliest memory is of having Strawberry Shortcake curtains and wanting to tie them back. I wanted to kind of swag either one to the left and right with hair ties, but I only had one, so I had a choice: I either could have my hair look cute for kindergarten, or I could swag back my curtains. And I remember being 5 or 6 and telling myself, "This is ridiculous. No one's going to see your curtains." I don't remember where I landed, but I remember caring more about the curtains than my hair. In high school, I took a lot of photography classes, and music and woodshop. And then at home, I was always kind of like, "How can we make something work? How can I turn this into what I really want?"
You went in a different direction professionally, though.
I didn't really consider it an option to have a design career. I was also really drawn to the idea of helping people. If I have to work, I might as well do a job that's helping others. So I went to school for psychology, and when I first graduated, I did social work with chronically mentally ill adults—the "chronic" means that they don't ever get better, and it's really hard. Then I worked with kids in schools, and that was hard, but better.
When did you start thinking about pivoting?
I bought a condo during that time and had the freedom to remodel and paint it. I was like, "I love design. Why don't I go take a couple classes?" So I did. And from there, I was like, "Well, I can always go back to social work if this doesn't work out."
Was it pretty clear once you started taking design classes that this was it?
For sure. It was an intro class, and it was really fun to have a reason for what I kind of naturally wanted to do. Like learning triadic color theory and realizing that's why I think these colors that all my friends think shouldn't go together magically go together. I started working at furniture showrooms while I was in school, because I felt like I was behind [in] changing careers—I worked at Kreiss, and then at Roche Bobois. Then for one summer, I partnered with a friend and we flipped a house in the area I grew up in. I was doing work physically—with a sledgehammer, tearing out three chimneys and these deck or porch areas—and I could really see the process of construction, which was valuable later on.
After that, I worked at Waterworks, where I learned the ins and outs of how plumbing fixtures and tile layouts work. And then the recession happened, so I was picking up small things here and there—like drafting for a company that designed ice sculpture lands. I would call out the dimensions of the ice penguin and have to shop for a hat for the ice penguin—all kinds of weird things.
Eventually, I worked for an interior designer here in Seattle, and then for a construction company. It was at the construction company where I started to think about going out on my own. I realized that if I work harder, I want to benefit from that. I took a class at night to help with business planning, and then I left and I started serving at a restaurant. That was January 2013—I was serving part-time and had a couple clients—and then by November, I could take the plunge to [quit] the serving job. Soon, I was able to hire my first person, then my second. Each step felt so scary.
A graphic pattern from Dirkse's wallcovering line is a striking accent in a client's living room—and covers a wall that keeps the kitchen out of view. Haris Kenjar
When did you make that first hire?
I think it was August or September 2014 when I hired my first full-time junior designer or design assistant. And then I hired an office person for a couple days a week, and then after another year, I hired another interior designer. So then the team was me plus two and a half. [Hiring new people] was like a one-a-year thing. But I also don't want to do things twice—so if I'm coming up with a system for training, how do we document it and make it easy to replicate for the next person, and also a better experience for them? That became a priority.
How did you know you were ready to grow?
The first time [I hired someone] it was [because] I was on-site during the day so much that I couldn't get the work done. To have meetings, check on construction, design, invoice and do all the ordering—I just couldn't do it myself, so I needed help. I didn't really know how it was going to work, but it did.
Where did the early clients come from?
Houzz! I had a free profile, and maybe 75 percent of clients came from there for the first year or two. Now, it's about one-third repeat clients, either with a new project in the same home, or a new or vacation home. The rest are coming from SEO and Google search, which I've worked really hard on.
What does that require?
I'm so glad you asked, because I want everyone to know this. OK, some easy things: You want the internet to think you're a real thing and give you as the answer when [people use search engines]. So how do you do that? One, register with Google Places; register with Bing; register with Yelp. The class I took even suggested being on LinkedIn. Once you're registered, your name is tied to interior design, which helps. I also use Squarespace [for my website], and they have a tool where you just click a button and they'll tell you how to label things differently to help your SEO results.
Another thing I learned about is cross-linking: If I link to a reputable site and that reputable site links to me, that tells search engines that I'm real. When I'm published in a magazine, sure, I put the picture [on my site], but I also link to the magazine. I've been on a local talk show a couple times and I haven't gotten clients out of it, but the [talk show site] linked to me and then I linked to them, and it's a big site.
I've also heard that search engines like video, so I do some YouTube, [even though it's] maybe not 100 percent what I want for branding. So I hide a few YouTube links within my website. The viewer maybe wouldn't know it's there, but the search engine algorithm would. As long as it's not going to hurt my website or branding, then I think it's worth the try. You don't [always] know which things are working, because if you did, then everyone would just do those things. So I'm just trying all the ones I know about.
And you've seen results?
Yes, for sure. If you Google "Seattle interior design," I'm usually on the first page of results. I love when I get those emails from people like, "We can help you be on the first page of Google," and I can reply, "I am."
Spruce green cabinetry and whitewashed tongue-and-groove paneling enliven the kitchen of a client's vacation home.Aaron Leitz
Is a client who comes from Google search a good client?
Not always, no. That was really burning me out last year. I was reaching out to other local designers [asking] what I should do, because I was spending two hours a day on calls with people I was pretty sure weren't going to hire me because of budget. It's a good problem to have, so I feel bratty complaining about it, but it was really exhausting. Other designers suggested having a minimum. They said, "Write up an autoreply and send it out [to everyone who inquires]." I had thought of doing that years earlier, but I felt like my firm wasn't good enough at the time—like we hadn't been around long enough to have that type of response. I thought I'd push people away. [But] it's also not sustainable for me to talk to every single person, and [the minimum] pretty quickly weeds out [the wrong people]. Also, I want to work with a client that wants to work with us, not just anyone, and the minimum has been helpful for that.
What kinds of people are calling you now?
We're getting clients who are coming to us because they've looked at our website and, whether it's traditional or modern, they want something a little different. One client said it well when she was like, "I love things that aren't what they seem." I like that—how can I do that for your house? Another project we're working on is a condo in a former church, and [the client] said that she wants it to be "less sanctuary and more mortuary."
I can't wait to see both of those.
I know, right? I want weird-in-a-good way projects. I'm at a place now where I can afford to take the risk of putting those projects as more of a focus on the website, instead of: "We can do everything—look at this Carrara marble and white Shaker cupboard house." Yeah, I love doing that, but I don't want to only do that. It's nice to have a variety.
Have you been strategic about presenting your aesthetic to the world online?
At first, no. At first, I invested in photography. I researched which photographer works at local magazines or has provided photos to them, thinking, "OK, I'm probably able to get into this one. I have my best shot for my first publication with this one. I hired the photographer that they often hire so that he does it the way they like it." I think that worked.
Is that still your approach?
Not as much. Now, I only photograph the projects that say something we haven't already said on our website—which is kind of a bummer, because we do a lot of projects and I [only] photograph one-tenth of them.
Is that about what you think will have more appeal or attract new work, or is it just being selective about where you invest?
It's being selective about where I invest, but also thinking about what I want to do more of. We just photographed a project that was kind of small, but I loved it. It was a midcentury modern house [with] almost dark or edgy modern elements. It ended up being interesting [to figure out] how to make those go together. We photographed that because it's saying something different, and I want to have that on our website.
The cozy kitchen and living area feature matching soapstone on the countertops and fireplace surround.Aaron Leitz
What does your team look like today?
I have a senior designer, an intermediate designer, a junior designer, an operations manager, and then me, so there are five of us. I never worked at a big firm, so I didn't really have an example to follow. The way I structure it is that I'm working on every project, but I'm more like, "OK, let's brainstorm together: They said this—what do they really mean? I think we should go in this direction. You take a shot at it based on this and what you think, and then let's review again." Each designer is also their own project manager. For bigger projects, the senior interior designer leans on the junior interior designer to help, but we've never had a project where the entire team is working on it.
How hands-on are you with every project?
Pretty hands-on, and I don't know how to not be. That's maybe one of my next challenges, because I still want [the vision] to be what I'm trying to make us. I'm at the client meetings. I'm on the client emails. I'm not on vendor emails. I see, approve and edit everything before the client does. Sometimes there are more or fewer things to do because when you're working with the same people for so long, you start to think the same way.
How much do clients see you versus your team in the process?
Currently, they see me almost as much as the team because I'm at every design presentation. I've started to kind of back off when it's a smaller follow-up presentation—maybe I won't be there. I'm still afraid to do that. I maybe won't go to every single construction site follow-up visit. Again, I'm still afraid to do that for every install. I'm there 80 to 90 percent of the time.
What are the things you'd never want to delegate?
The concept, especially now that I'm excited about every project we get. I don't want to give that away. That's the part I love. I don't know how to grow bigger or if I ever want to, but if [the business] was bigger, maybe I would have two leads and review creative with them and let them guide it more. But right now, my name is on the door. I can't yet—2013 wasn't that long ago.
The designer's clients asked her to take her inspiration from their favorite Palm Springs hotel for their home.Aaron Leitz
How many projects are you working on these days?
We have 23 open projects, including 10 major remodels plus furniture and decor, some that are just furniture and decor, and six that are wrapping up or on hold [because] we're waiting for a contractor to be available. Or it's [product delays], like, "OK, your two sofas that have been taking forever because of COVID are not here."
Do you take one room at a time still, or the whole house?
I'm trying to stick to [whole houses], because design is a luxury and we charge a luxury price. We have a lot of efficient systems, but we're humans. I can only be so efficient, and when I'm doing one room and I still have to do all of those steps, the design fee invoice feels disproportionate to the outcome for the client, and I don't want to fight with clients. I'll even explain it that way to potential clients, like: "You're not going to feel like it's worth it, even if you love it."
Is that a new change?
Yes, I started that almost a year ago. Now, we have a minimum of $175,000, either for a furniture and decor purchasing budget or a remodel project budget. Remodel-wise, I basically can't do anything for less than that unless it's, like, a bathroom. Again, that comes back to the thing where my design fees are disproportionate per hour if I'm just doing a bathroom. And by having the audacity to say that, what client are you going to end up with? Someone who doesn't think that's a big deal, who hopefully isn't going to argue with you about the time it takes for their project because it's larger.
How has your relationship with clients changed as budgets get larger?
In general, I'm getting more clients that want what we do instead of just anyone. At first, I knew they just needed someone, and I was like, "Great, I will be that someone." But if someone is coming to you for your work and selecting you because of it, there's just a different respect there. I feel like they listen more.
What does growth look like to you?
I don't know if growth looks like more team members right now. I think it looks like always having a waitlist and being really selective with our clients and getting more projects that are a little weird in a good way, and in different ways too, like something traditional but a bit different, versus modern. I don't want to do the same thing over and over.
That's a really hard thing to guarantee in some ways, because I feel like one project begets more projects that look like that project to some extent.
I'm surprised by what projects bring in other potential clients. With the sanctuary-becoming-mortuary project, they had seen our work on a historic home where that client said, "We want our home to look like a haunted mansion." I'm like, "What is this niche that I'm becoming a part of?"
The client's sculptures guided Dirkse's design choices in this Seattle living space. Aaron Leitz
Tell me how and where you shop.
Everywhere. It would be my favorite if we could do almost exclusively vintage that we then customize. We're not there yet, just because of time and availability, but we're using [a mix of products] made in America, [by] independent makers, by small workshops, and then [those made by larger manufacturers, like] a B&B Italia sofa. A lot of our clients have a mix of high and low, especially for the kids' bedroom.
We have a Seattle design center that carries the national brands. I primarily use it for fabric and wallpaper samples instead of spending hours online and guessing. A lot of the furniture [I source] is online from different cities, big and small. I like shopping with smaller companies. But again, it has to be the right client and price point. We don't have a set rule or routine.
What are you seeing in Seattle, especially in the last year and a half or so?
The housing market is busy. Prices are going up. Every designer is busy, and one benefit of that is that designers are more open to talking about details with one another. I have a few different designers I can text, like, "Hey, I'm running into this—are you [seeing] it? This is what I've done. What did you do?" Then we're able to share that information because everyone has enough work. I want to say that it would be like that no matter what, but my guess is that [the hot market] has to help.
What is the biggest thing you wish you had known when you were first starting your business?
Know when to say no. What no one talks about with that is that being able to say no is a big freedom. When you're growing and afraid that you won't have work, you don't want to say no. When you're supporting a team, you don't want to have to lay someone off, and it's a different pressure. But there have been projects where I'm like, "I should have just said no to that," and it had a cascade effect of making some other stuff not feel great. But I feel like I'm in a place now where I can say no.
Have you changed the way you charge over time?
I've always charged per hour. My rate has gone up. I try to raise my rate every year. I don't always, but I'm going to start being better about that.
Does that impact current clients or just new jobs?
New jobs are always at my new rate. In my contract, it says on the one-year anniversary of starting their project, we can raise it by 3 or 6 percent—I forget which—but the rate goes up to reflect inflation. When I first started out, for purchases, I used my designer price plus 20 percent, and I capped it at retail. I did that at first because I didn't want clients shopping me, going out and buying it on their own. I was trying to cut out any incentives—because if I was charging my designer price at West Elm or something, and I already got like 10 percent or whatever, and then marked it up 20 percent, they're paying above retail for an item, and that's not great.
What changed for you?
One, I don't have to shop at big chains as often; two, I've changed my contract. Now it's the designer price plus 25 percent, and there isn't a cap. We used to detail shipping and warehousing [costs] and all of that, and it took so long. Finally, we did enough audits and I talked with enough other designers that we just [decided to] charge 18 percent.
So 25 percent markup and 18 percent shipping and handling on that original amount?
Yes. And actually, we've continued to audit it because I'm curious if COVID will [require us] to charge more. It hasn't yet, but I'm watching it. I've always had the client hire and pay the contractor directly. And I want them to purchase all of the major construction-related items, except what I call specialty items. So if I'm getting a beautiful chandelier from Lindsey Adelman, I don't want a contractor doing it. But if I'm getting can lights in the room, here are the can lights I want—you please buy them.
Why is that split important to you?
Part of it is that I feel like contractors pay more attention when they have to buy something, and there's more incentive because they want to get it right. So if something isn't going to work, they notice if they're buying it, and are more willing to speak up. Also, I want my client's project to be appealing. And I know that contractors make money on markup as well. I want to make it a worthwhile project for them so that there are enough items for them to purchase on there. But the reason I would never give away the beautiful chandelier is because they'll mess it up. It kind of also boils down to, like, independent places or ordering an item that's going to take a lot of thought and back and forth—those items we should just take care of and not make the contractor have to open a new account with a bunch of places they've never heard of.
A smoked glass mirror is a sultry backdrop to an arresting dining space.Aaron Leitz
How have you approached social media, and is that a place where you're getting clients?
I don't think anyone is coming to me through Instagram, but I think it's part of the package. So having a good Instagram feed is important. I don't think it's a strength of mine, and I'm trying to work on that. I think it's because I don't trust my own photography skills, but I also don't want to just recycle the professional photos I have. I wish I was getting more people from across the country through Instagram.
I'm scrolling through your feed now, and I feel like there's something very meditative about it. Users are seeing the same project, but also the same color palette through a trio of photos.
I started doing that because my projects were so different that my feed was looking really disjointed. So I started doing three photos in a row from the same project so that it felt [more cohesive]. I am now trying to think of how the color palette of each photo feeds into the next one. I'm trying to do six in a row, not at the same time, but like six days in a row, I'll post photos from the same project. I don't know if I'll stick with that, but I felt like it helps to highlight the difference [between projects]. [When] you can see six modern photos together and six traditional photos together, it doesn't look as messy.
There's always something on the list of what to do next, social-media-wise. For me, that's figuring out how to do Instagram Reels. For Stories, I'll do personal stuff sometimes—like with my friends—but I would never post that [on my grid].
Was this always a business account, or was it a personal account first?
It started as a personal account, and I kept a few of those photos to show the progression. But I also archived a lot of those early personal posts.
What's that transition like from person to brand?
I'll say to my team or husband: "Michelle Dirkse the person thinks XYZ," versus Michelle Dirkse the brand. I chose to have my name be a part of my firm name because I just felt like that's how people search. If someone's looking for me, I want to show up in their search results. At work, I definitely wear a different hat, and there are different sides of me at work versus outside. I think that's one of the hard things—as [my business] grows, I feel like I'm supposed to put up more boundaries, and I don't feel like I'm part of the team. Sometimes that doesn't feel nice.
Are you at that point?
Yeah. I get along with everyone, and we have team happy hours, but I know I shouldn't just be like, "Hey, want to go to happy hour?" I want to respect their boundaries. I think maybe those boundaries came with [my background in] social work. But we always have a great time. We have gone as a team to New York and L.A., and it's so fun.
What's the motivation behind those team trips?
It's for inspiration, sourcing and fun. My team works really hard, and I want to have some nice bonus [experiences] that they hopefully like, but they're never required to go. I took three team members—because that was the size of my team at the time—to ICFF in New York, and then to the La Cienega Design Quarter in L.A. We had tickets to go to San Francisco, but we had to cancel that because of COVID, and we haven't done anything since then. It feels irresponsible as an employer to travel with the team for fun, because if something happened, it's because of me. It's just not worth it right now. That said, the team really does want to go do things. I think there will come a time when it's like, "We want to photograph this project in New York," so we'll use that as the excuse to go there and have some fun and look at resources.
A sleek modern kitchen by Michelle Dirkse Interior DesignAaron Leitz
You mentioned boundaries, and it got me thinking about client management and boundaries. How much of your social work career comes into play there?
It's hard to say, because part of why I was drawn to social work is because of the person I am. But I think whether it's because of my social work background or the person I am, I listen for meaning. Don't just listen to the words that people are saying, because sometimes they don't know what they mean or they're using the wrong words. I'm always trying to figure out what they really mean. There are a lot of conversations in the office where I'm like, "I know [the client] said to do that, but don't do that. They're going to change their mind in a week."
And then they do.
Yes. The unexpected benefit of social work [experience] is the project management skills. In social work, there's not enough money, and that means you're overworked. I was managing 48 different clients as a case manager, and I kind of follow the same organizational systems for my client list now.
Oh, interesting. I would never have guessed that.
And billable hours too—how do you get the most out of your hours? How do you reflect the hard work you're doing without cheating in any way?
Was figuring that out one of the biggest challenges?
That was one of them. I think they're different every year, but my hardest challenge was [deciding] when to hire—and then at one point, I did have to lay someone off, and that was devastating.
Because of cash flow, or because it wasn't a good fit?
I just didn't have enough work. It was a dip, and I carried it for a bit, but then I was just like, "I don't know how long this will last, so I have to lay you off." That was really hard. But this year, my biggest challenge is that our lease was up and I bought us an office condo, which is great because now I'm not paying someone else; I'm paying my own mortgage. But also working with the SBA to get a business mortgage—it made it possible, but it is really hard.
What were the tricky parts?
I wanted to create another company that actually is the owner of the property to help protect my business. For example, let's say someone falls on the sidewalk out front, and so they're going to sue the owner, who's supposed to take care of the sidewalk. They would sue my other company, not Michelle Dirkse Interior Design. So basically, I had to do every piece of paperwork four times because there's the SBA loan and the regular portion that goes through the bank. I'm proud that it happened and I got through it.
How did that new space change the way your firm worked?
When you buy as a business instead of a homeowner, you can put 10 percent down for a commercial property, whereas normally, you have to put down 20 percent. That meant that I could actually tear out some walls once we got it. We moved over the summer, and it's hard to say how it will change things, because we're still working from home part-time. But it's a mile from my house, and studies show that life balance and smaller commutes equal increased happiness. I am in a position where I can kind of control that, so I'm going to. I think it will just give me the freedom to invest in it and not worry about spending money on cabinets that someone else is going to get to use in five years.
Is your business today what you'd have imagined when you first started?
It's more than what I imagined. When I first started, I was going to be happy if I was waitressing part-time the rest of my life and also had some clients. I gave myself the freedom to fail, and [I went from] thinking I would maybe have a client or two to having 50 projects a year and a team. I didn't think that would ever be possible.
To learn more about Michelle Dirkse, visit her website or find her on Instagram.
Homepage photo: Michelle Dirkse | Aaron Leitz
50 states project
Why this Alabama designer is starting the year by defining his process
How this Washington, DC, designer is getting over her fear of growth
I interviewed one designer from every state (again). Here's what I learned this year
Why this Wyoming designer grew (and then shrank) her firm
Why this Wisconsin designer welcomes hands-on clients

redpajama_set_name: RedPajamaCommonCrawl


Learn how to Plant a Tree the Correct Way!
Cutting the root ball helps secure the life of the tree.
Spreading Mulch helps lock in moisture.
Tree pruning is a technique that can be successfully learned by many homeowners with some research and practice. With the exception of fairly large trees most instances where pruning may be necessary is something you can do without professional assistance.
A pivotal aspect when pruning these undesirable branches is to remove these portions while avoiding damage to the stem and trunk areas of the tree.
But first it's important to recognize the anatomy of these particular regions on a tree. Branches of the tree will grow from stems at the buds or nodes, pruning will always take place on the branch side of these buds/nodes.
By pruning on the branch side you will ensure the stem, bud, node and other branches of tree remain protected and can still grow normally. In addition, pruning done with this proper technique will allow the tree to heal afterwards with ease.
When it comes to any tool the best advice we can offer is to buy the best tools you can afford, while always striving to properly clean and keep them in good condition.
Basically a rope saw is a manual-chainsaw. Giving you the ability to cut high tree limbs from the safety of the ground. Rope saws are designed to prune trees by wrapping around limbs and branches as the ropes are drawn back and forth.
When pruning difficult to reach places the pole pruner & lopper is considered the perfect tool to make precise cuts. In addition, a pole pruner has a unique advantage, being able to attach the pruner to most any extension pole to meet the needs of any pruning task.
Similar to the advantages of the Pole pruner, the folding pruner can be attached to most any extension pole for lightweight and precise pruning capabilities.
Pruning shears or hand shears are the perfect tool for cutting/pruning maintenance on trees and shrubs. For small quick handheld cuts when the job doesn't call for larger equipment. Pruning shears can also be helpful for gardening, arboriculture, farming and smaller scale work.
A Portable Buck Saw is an ideal and unique tool for any homeowner. Able to cut through logs as wide as 15-inches, and collapsible for travel and storage needs. Versatile for yard landscaping and great for camping trips.
Firstly, make an underside small-sized cute in the shape of a wedge on the branch side of the stem. This type of cut will ensure an even break from the bark & stem while avoiding any unnecessary tearing.
Secondly, go an each or so further up the branch and cut entirely through leaving only a stub towards the end.
Finally, make a third and final cut near the beginning of the tree branch stem. This will cause the remaining stub to be at it's shortest length possible.
The final months of Fall & Winter seasons is the ideal time to prune your trees dead branches and limbs. But if necessary, pruning these diseased portions can be done at any time.
The main reason to prune during the colder months of the year is to reduce the loss of sap and diminish the amount of stress on the tree during pruning. Another benefit of pruning in this season is to encourage flourishing growth later in the spring/summer months.
Finally, most trees will lose leaves during the fall and winter months, for this reason you will have a better idea of the shape and growth patterns of the tree after your pruning is finished.
Typically, less is more when it comes to the correct amount of pruning. Whenever you prune you're adding stress and vulnerability to the overall health of the tree.
Some instances force you to prune or take corrective measures such as storm damage, crown reduction or to avoid contact with utility lines nearby.
Prune as little as you can, a common practice is to limit the cut to only 25% of the branch or stems crown. The remaining unpruned portions should always compose about 75% of the trees height.
Sometimes pruning jobs can be too much for homeowners to handle. if the tools and guidelines provided to pruning seem out of your level of comfort or management, hire the professional arborists here at All About Tree Care. Your safety and satisfaction is our first priority.


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Iran's Nationwide Uprising – Day 78
Nationwide uprising, protests in Tehran universities, Zahedan, and other cities.
On Friday, December 2, marking the 78th day of the uprising, protests of the people of Zahedan (southwestern Iran) started at noon and spread to different parts of the city. By setting fire to tires opposite the Sar-Jangal police station, the youths blocked the entrance and exit paths of the regime's security forces. They also took control of the street by lighting fire in the Kausar area. The regime's agents shot and threw tear gas at the protesters on Moddarres Street in Zahedan. They also shot at locals in the city of Taftan (Sistan and Baluchistan province). On Friday evening, youths in different areas of Zahedan staged nightly protests and put barricades on the roads by lighting fires.
Tehran residents in the Ekbatan neighborhood started a protest rally on Friday night and chanted anti-government slogans and lit fires. In Jannat-Abad, Tehran, people chanted "death to the dictator" (referring to the regime's Supreme Leader Ali Khamenei) from the buildings and held nightly protests.
In Bandar Abbas (southern Iran), the youth rallied chanting, "This year is the year of sacrifice; Seyed Ali (Khamenei) will be overthrown," "Death to Khamenei and Basiji", and "IRGC, Basijs, you are the same as ISIS". In Meshkin Shahr, locals closed Ahar Road by lighting fire. People in Qorveh held their protest rallies with anti-government slogans.
December 2 – Bandar Anzali, #Iran
Locals gathered to mark the third day of Mehran Samak's murder by the regime's oppressive security forces began chanting:
"This is the year Seyed Ali (Khamenei) is overthrown!"#IranRevolution2022#مهران_سماکpic.twitter.com/B6zPg2upFO
Locals in Izeh (Khuzistan province), locals paid homage to Hamed Selahshuri on his third day of martyrdom on Friday, in Izeh by chanting "Death to Khamenei," " Shame on Khamenei, let go of the country," " This year is the year of sacrifice, Seyed Ali (Khamenei) will be overthrown," and "We are a great nation, we shall not give in to humiliation".
Hamed Selahshuri,22, had been arrested on November 26 and, after being brutally tortured, died in prison on November 30. Security forces buried his body secretly, but Hamed's family moved his corpse to his hometown in Izeh and buried him in a local cemetery. Hamed's body showed signs of severe torture; his face was disfigured, and his bones were broken.
December 2 – Zahedan, southeast #Iran
Regime security forces began shooting at demonstrators.#IranRevolution2022#زاهدان pic.twitter.com/KgflXzDSzS
The ceremony on the occasion of the third day of Mehran Samak's martyrdom who was shot dead in Bandar Anzali turned into a fervent anti-Khamenei protest. Participants chanted, "We shall fight, and we shall take Iran back," and " You are foul, you are immoral, I am a noblewoman."
On the morning of Wednesday, November 30, Farzin Maroufi, 22, was shot dead by security forces in Ekbatan, Tehran. Farzin had come to the street to join the cheerful celebration of the loss of what Iranians called "the regime's team" in World Cup 2022 in Doha.
December 2 – Kermanshah, western #Iran
Truck drivers are on strike and continuing the nationwide protests against the regime on the 78th day of the uprising.#IranRevolution2022#اعتصابات_کامیونداران pic.twitter.com/XZa4MbLJa0
Tags: Iran human rights, Iran Opposition, Iran Protests, Iran Terrorism, Iran Uprising, Maryam Rajavi, Regime Change


Magic Voice Studio was well represented at this year's Starlight awards. Chloe Elmer, Elizah Knight and Cassie Miller were all selected to participate. Cassie and Elizah made it to the finals where they received medals and Elizah was selected to attend the 9-day Jimmy awards in NYC.


This is my favorite wall of Joe Bradley's show at Gavin Brown Enterprises in NYC.
Joe Bradley's recent NYC show at Gavin Brown was profound, funny, simple, huge, graphic, tactile, primitive and subtle all at the same time. Pay attention to this artist, who is quickly moving into the art-star category. I love his work.
So maybe he's telling us not to smoke?
Great to be aquainted to joe's painting.
Artists hate 'oh I can see this in it that in it' simply pure association.
Was intriguing as it seemed to suggest something just out of reach, at that point I hadn't seen the title. I just loved the vibrancy of the yoke yellow against the sort of grubby ground. I then found the title, which decoded some of the picture gestures and shapes 'interesting I can see that' but I'm still grabbed by the yellow .
Anyway bottom line love the stuff.
Check me out on Pictify .


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Ghostly Gallivants and Voodoo in the Vieux Carre
Strolling down Toulouse Street one warm summer night, I caught a hazy glimpse of an old woman appear out of nowhere. She was dressed in black with beads in her hand as she stepped into a doorway. Curious, I went to see where she went. As I approached the doorway, I felt a coolness and noted a strange aroma. Old yellowed mail was stuck in the door making it obvious that the place had not been visited recently. Goosebumps covered my arms, and I went home to research the area. Nearby is The Olivier House, a charming little hotel built in 1836 by Madame Olivier, a wealthy plantation owner.
Shop 'til You Drop Along the French Market District Colonnade
My best friend, Christine, is proud to admit that she is a shopaholic. She knows all the best spots to shop for any occasion. She knows how to pace herself by tying in music and craft events for diversion, and she wines and dines along the way to easily fill an entire day with everything she enjoys. She's a pro shopper but she was kind enough to allow a novice like me to tag along.
It's Time To Get Dirty Again! Dirty Linen Night 2018
The evening of August 11, 2018 marks the 17th annual Dirty Linen Night celebration on Royal Street. For the second year in a row, the event is being presented by The Royal Street Art District, French Quarterly Magazine, and Southern Glazer's Wine & Spirits, along with a long list of other generous sponsors. The event will once again encompass the 300–900 blocks of Royal Street. But as an extra treat this year, the shops of Wilkinson Rowe and several others along Chartres Street will be joining forces to bring an even bigger and more exciting event to the French Quarter.
When it comes to celebrating in style, there is no place like the French Quarter. Bursting with historical beauty, a rich, one-of-a-kind culture, and unrivaled wedding venues, this is the most fun and exciting place to be, especially on the most special and significant day of your life. Weddings in the French Quarter are as unforgettable and unique as the city itself, capturing the romance and timeless elegance of historic New Orleans.
A Celebration Like No Other!
There is no place quite like New Orleans! And this year our historic American port city celebrates its Tricentennial. Take a walking tour through the Vieux Carre and stop at the 400 block of Decatur to view the statue of Jean-Baptiste Le Moyne, Sieur de Bienville, a French-Canadian explorer and colonizer who founded New Orleans. As you stroll through the French Quarter's lively city streets, notice the architecture derived from France and Spain, giving you the feeling like you are transporting in time.
Curtain Call!
Could there possibly be a more delightful evening experience than taking a short stroll through the French Quarter, stopping for refreshments along the way, and ending up at one of New Orleans' grand theatres to enjoy a concert or a stage performance on par with the finest entertainment presentations anywhere in the world?
French Quarterly Magazine Summer 2018 Calendar Of Events
April 27-May 6
New Orleans Jazz and Heritage Festival
All About the Party!
Here in the Big Easy, one thing is for sure. We know how to "pass a good time," let the good times roll, and we know how to throw a good party that people from far and wide come to attend. Mardi Gras and the French Quarter Festival, the largest free music festival in the South, are two shining examples of hospitality in our fair city where "hostess with the mostest" has a whole new ring.
Carl Mack... Mardi Gras Museum & Chris Owens, Queen of Bourbon Street
In a French Quarter version of a "rags to riches" story, Carl Mack, a Rochester, New York native first appeared in 1984 in his trademark red and white striped suit and straw hat playing his wheeled xylophone for tips in Jackson Square. Meanwhile, he was astutely observing the local culture thinking of ways he could carve out his niche in it. He expanded his repertoire of entertainment skills to juggling, face painting, balloon twisting, pantomiming, and basic magic tricks.
Spring 2018 Calendar of Events
Krewe of Cork Parade
Cheers! This walking krewe celebrates "everything wine." About 200 members donned in wine and grape related costumes saunter through the French Quarter handing out wine centric throws to lucky recipients. kreweofcork.com
Krewe of Barkus Parade
This parade has gone to the dogs! Man's best friend takes center stage in parade. Escorted by their human owners, dogs are dressed up in their festive costumes as they walk down the streets in the French Quarter. It's a must see! Barkus.org
A Season of Performance and Celebration
While New Orleans sets the stage for one of the world's most fascinating winter festivals, Carnival, culminating in Mardi Gras --- the city may make a stab at observing Ash Wednesday, or giving up a pleasure for Lent. However, despite observations and traditions, New Orleans kicks the entertainment and social scene into a higher gear.


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terrenielsauto » Rock » Joan Armatrading - Me Myself I
Joan Armatrading - Me Myself I
Joan Armatrading Australia Records Soft Rock Pop Rock 1980
1 Me Myself I 3:16
2 Feeling In My Heart (For You) 3:36
3 Ma-Me-O-Beach 3:00
4 Is It Tomorrow Yet 3:31
5 When You Kisses Me 3:14
6 I Need You 2:44
7 Friends 3:05
8 Simon 3:40
9 All The Way From America 4:49
10 Turn Out The Light 4:19
SP-4809, SP 4809 Joan Armatrading Me Myself I (LP, Album, Pit) A&M Records, A&M Records SP-4809, SP 4809 US 1980
394 809-1 Joan Armatrading Me Myself I (LP, Album, RE, TP, W/Lbl) A&M Records 394 809-1 Greece 1988
SP 4809 Joan Armatrading Me Myself I (LP, Album, TP) A&M Records SP 4809 1980
2220288, 64809 Joan Armatrading Me Myself I (LP, Album) PGP RTB, A&M Records 2220288, 64809 Yugoslavia 1980
L 37333, L37333, SP 4809, SP-4809 Joan Armatrading Me Myself I (LP, Album) A&M Records, A&M Records, A&M Records, A&M Records L 37333, L37333, SP 4809, SP-4809 Australia 1980
AMS 7527 Joan Armatrading Me Myself I (7", Single) A&M Records AMS 7527 UK 1980
AMS 7673 Joan Armatrading Me Myself I (7", Single, Promo) A&M Records AMS 7673 Spain 1980
2240-S Joan Armatrading Me Myself I / When You Kisses Me (7", Single) A&M Records 2240-S US 1980
AMRS 1315 Joan Armatrading Me Myself I (7", Single) A&M Records AMRS 1315 Rhodesia 1980
AMP-703 Joan Armatrading Me Myself I (7", Single, Promo) A&M Records AMP-703 Japan 1980
Acoustic Guitar – Chris Spedding
Art Direction, Design – Chuck Beeson
Backing Vocals – George Kerr (tracks: A5), Sammy Turner (tracks: A5)
Bass – Marcus Miller (tracks: A1, A4), Will Lee
Drums – Anton Fig
Engineer – Thom Panunzio
Engineer [Assistant] – Gregg Caruso
Guitar – Chris Spedding, Hiram Bullock, Ricky Hirsch (tracks: A3)
Management – Mike Stone
Mastered By – Greg Calbi
Organ – Danny Federici
Photography By – Brian Hagiwara
Piano – Clifford Carter (tracks: B1), Paul Shaffer, Phillip St. John (tracks: A4)
Producer – Richard Gottehrer
Saxophone – Clarence Clemons
Twelve-String Guitar – Joan Armatrading
Written-By – Joan Armatrading
Manufactured and distributed under licence b y Festival Records Pty , Limited Australia(From the A&M album "Me Myself I" SP-4809)
Administered in the the U.S. and Canada by Irving Music, Inc. (BMI)
Phonographic Copyright (p) – A&M Records, Inc.
Copyright (c) – Festival Records Pty. Ltd.
Distributed By – Festival Records Pty. Ltd.
Recorded At – Record Plant, N.Y.C.
Mastered At – Sterling Sound
Manufactured By – Festival Records Pty. Ltd.
Published By – Rondor Music (London) Ltd.
Joan Armatrading 01-01-1980. Me Myself I. Me Myself I: World Tour Concert - Joan Armatrading. The album signalled a new energy and freedom taking shape in the 70s in Britain among the black population. I Need You, 02:52. Joan was propelled into the musical stratosphere, signing with major American label A&M for over ten years. Joan Armatrading - Friends. All the Way From. On the trio of albums that made her reputation in 1976-1978, Joan Armatrading, Show Some Emotion, and To the Limit, Armatrading relied on the pristine production of Glyn Johns to underscore the sensitivity of her folk-based confessional songs. Here, on her first full-length album in two years, she turned to rock producer Richard Gottehrer and a session band that included Anton Fig, Chris Spedding, and members of the E Street Band, making her case for being a mainstream rocker. Joan Armatrading MBE born Joan Anita Barbara Armatrading in Basseterre, Saint Kitts on 9 December 1950 and brought up in Birmingham, England, is a British singer, songwriter, and guitarist. Me Myself I Lyrics. Song: Me Myself I Artist: Joan Armatrading Album: Me Myself I Year: Armatrading - Me Myself I 1980. Me Myself I, 03:18. Joan Armatrading is one the most influential singer-songwriters in Britain. In Australia, the album peaked at . Joan Armatrading - When You Kisses Me. Feeling in My Heart For You, 03:37. Is It Tomorrow Yet, 03:33. Songs in album Joan Armatrading - Me Myself I 1980. Similar Artists. Joan Armatrading. Joan Armatrading - Turn Out The Light. To favorites 1 Download album. Joan Armatrading - All The Way From America. Album Name Me Myself I. Ma-Me-O-Beach Lyrics. A national icon, she is known for her singular vision, both as a writer and as a performer. Me Myself, I. Armatrading has mixed eclectic musical styl read more. Ma-Me-O-Beach, 03:03. It was also used in the soundtrack of an Australian movie of the same title made in 1999. Album 1980 10 Songs. Released in May 1980, the album was Armatrading's highest ever chart placing both in the UK no. Joan Armatrading - Ma-Me-O-Beach. Labels A And M Records. Play jigsaw puzzles for free Home. Released 1980. Язык: Русский. Me Myself I - Продолжительность: 3:19 Joan Armatrading - Topic 6. Listen album. Joan Armatrading - Is It Tomorrow Yet. Total duration:35 min. Band Name Joan Armatrading. Pop 1980. Me Myself, I, 1980. All The Way From America, 04:52. Me Myself I Tracklist. Joan Armatrading - Me Myself I. Me Myself I is the sixth studio album by Joan Armatrading. It was certified Gold in the UK by the BPI in July 1980. Страна: США. Me Myself I Q&A. Members owning this album1. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Type Album. Joan Armatrading MBE born Joan Anita Barbara Armatrading in Basseterre, Saint Kitts on 9 December 1950 and brought up in Birmingham, England, is a British singer, songwriter, and guitarisJoan Armatrading MBE born Joan Anita Barbara Armatrading in Basseterre, Saint Kitts on 9 December 1950 and brought up in Birmingham, England, is a British singer, songwriter, and guitaris read more. 5 and in the US . Released in May 1980, the album was Armatrading's highest ever chart placing both in the UK no. Joan Armatrading - I Love It When You Call Me Names. Title track from 1980 album. Ma Me O Beach. Joan Armatrading - Me Myself I 1980. Released date March 1980. She has performed around the world to sell-out stadiums, releasing records and touring almost constantly from the early 70s to the present day. Songs like Me Myself I and Drop the Pilot became overnight hits in the 80s, testimony to Joans consummate songwriting ability. The title track became one of her most successful singles, peaking at over an 11-week stay in the UK charts
Soft Rock, Pop Rock
Performer: Joan Armatrading
Title: Me Myself I
Category: Rock / Pop
Label: A&M Records
Catalog #: C 37333
Record Source: Cassette, Album
Music Albums Like Joan Armatrading - Me Myself I:
Joan Armatrading - Dry Land
Joan Armatrading - The Shouting Stage
Joan Armatrading - Flight Of The Wild Geese / Get In The Sun
Joan Armatrading - Down To Zero
Joan Armatrading - Kind Words (And A Real Good Heart)
Joan Armatrading - Joan Armatrading
Joan Armatrading - Show Some Emotion
Joan Armatrading - Lonely Lady
Joan Armatrading - Rosie / How Cruel
Joan Armatrading - Thinking Man


Welcome to the debut edition of The Rocky Maivia Picture Show!
Nate Milton realizes that he can't "Stand Alone" on his first episode, so he invites Brian Mann (Complex, "Keep It 2000") into the theater to review Dwayne Johnson's first major foray into the movie business, 2002's The Scorpion King.
The guys discuss DJ's strengths and weaknesses as a leading man, reveal Vince McMahon's role in The Rock's early films, and finally settle the age-old "camel vs. horse" debate!
The Rocky Maivia Picture Show is a monthly movie review podcast that drops every 3rd Saturday on POST Wrestling!


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Donati Family Vineyard: Celebrating the fruits of their labor and Italian heritage
Donati Family Vineyard has a tasting room at the intersection of Highway 46 West and Vineyard Drive. The vineyard was started as father and son project for Ron Donati and his three sons — Mark, Matt, and Brad in 1997. (Photo courtesy of Donati Family Vineyard)
By: BY BRIAN WILLIAMS - Updated: 7 months ago
For Donati Family Vineyard everything stems from "family, food, and fun." And not necessarily in that order, says long-time DFV Director of Sales and Marketing Mitch Bakich on a pleasant fall afternoon at the winery's tasting room and production facility nestled in the corner of Highway 46 West and Vineyard Drive intersection.
"We are always eating and celebrating," says Bakich, who has been with the family-owned winery since purchasing the 3-acre site between Paso Robles and Templeton in 2007.
The purchase of the former Mastantuono winery was a perfect fit for the quickly growing Donati label. Prior to 2007, DFV was producing wine out of Paso Robles Wine Services.
"We purchased the winery for its great location and the retail traffic it generates. We see a lot more potential for the site and look to the winery to introduce more people to our award-winning wines" said Ron Donati of Donati Family Vineyard at the time of the purchase.
Their first commercial vintage was in 2003, roughly 3,000 cases, and today after upgrading the facilities at the Templeton site, are producing nearly 30,000 cases a year of mainly Bordeaux wines.
"We bring all of our fruit in," Bakich says. "We process here, ferment here, we age here, we bottle here — just under 30,000 cases. Currently, we are distributed in 35-plus states."
The secret to the Italian family's success is really no secret at all.
"Hard work, determination, perseverance, that's the motto and the creed here," Bakich says.
As their label clearly says, the Donatis were first wine grape farmers and then like many growers began making wine and then selling it.
The vineyard was started as father and son project for Ron Donati and his three sons — Mark, Matt, and Brad in 1997. Ron had sold his successful electronics business and was looking to start a vineyard. The family owned a ranch near Salinas but found it was not suitable for wine grape growing and began looking for land elsewhere to start the project.
In 1998, the Donatis bought vineyard property in the little-known Paicines American Viticultural Area in San Benito County.
The quaint town of Paicines, population 204, consists of a country store, Mexican restaurant, and post office, all in one building. Paicines is approximately 10 miles from the booming metropolis of Hollister.
"It's just east of Monterey 30 miles or so," Bakich says. "It's the ninth-oldest appellation that even some of the highest-level sommeliers have never heard of."
The Donati Family Estate Vineyard site enjoys a variety of soils from limestone to decomposed granite to clay loam and access to the cooling ocean breezes of the Monterey Bay. Like much of southern Napa, Sonoma, and Monterey counties, Paicines has long warm days followed by cool nights.
The end result, Bakich says, are wines that are a "little bit more elegant, more delicate" than the fruit-forward wines of the Paso Robles AVA.
A number of vines, mostly Chardonnay and Pinot Blanc, had remained from the days of Almaden's ownership and the Donatis decided to make some "shiners" — wines with no labels — from the 40-year-old vines to see what could be produced.
"They made a little Pinot Blanc, they gave it out for Christmas gifts that year but made more than they could give away so they started selling it and that was how the wine label was developed," Bakich says.
Ron Donati grew up in South San Francisco, the son of a first-generation Italian-American family. One of his fondest memories was the sights and smells of his grandfather making wine in his basement. Like most Italian immigrants, Albino Donati made his own wine for the family dinner table.
"Wine was always a part of life. The whole theory behind it was if we are going to make some wine we are going to make wine for everybody," Bakich says.
The wines are in the capable hands of winemaker Briana Heywood, who came onboard in 2016 after working the previous seven years with J. Lohr Vineyards and Wines.
For the novice who is coming in and just wants something simple, Bakich says their Claret, a Bordeaux blend, is the "no fuss, no muss" choice.
Donati's flagship wine is the Ezio Cabernet Sauvignon, a wine named after Ezio Donati, the firstborn Donati in the New World. The 2014 Ezio is 100 percent Cabernet Sauvignon, hand-selected from the choicest barrel lots in the cellar.
The Immigrant is the latest addition to the Donati's premier tier. The Bordeaux blend is named in honor of Albino Donati, who immigrated to the United States in 1907.
Both of the wines are available at the tasting room as well as at select retailers and restaurants.
Donati's lineup also includes Rose, Pinot Grigio, unoaked Chardonnay and a red blend jug wine known as Naughty Donati.
"Any good Italian is going to have a jug wine," says Bakich with a chuckle. "We don't take ourselves too seriously here."
The jug wine came about when Donati had some extra bulk wine and was trying to figure out what to do with it.
"A guy in the cellar said, 'Why don't we make a premium jug wine.' It was all premium juice, so we went with this fun, basically a beer growler, and so now we serve these here on draught. You can bring in your jug and we can fill it up here," Bakich says.
Something for everyone is important at DFV.
"Wine shouldn't be for just the elite, it should be an everyday thing. We've got wines for all types of palates," Bakich says.
Donati Family Vineyard's tasting room is located at 2720 Oak View Rd., Templeton. Plug in the exact location into the GPS or just look for the three-story European chateau at the intersection of Highway 46 West and Vineyard Drive. Visitors can also make use of the covered picnic area and Bocce courts. The tasting room is open daily from 11 a.m to 5 p.m. For more information, or to make an appointment, call 805-238-0676 or email [email protected]
More In Arts & Entertainment
Templeton Wine Festival set for May 11
Sensorio dazzles: Community leaders attend viewing before it opens to public
'Charlotte's Web' returns to Cuesta College CPAC
PRYAF Winter Revue is Jan. 24-26


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redpajama_set_name: RedPajamaGithub


More Comic-Con madness for you today! It started slow, but eventually I got a ton of great pictures!!
A little lightsabre battle in the street!
Anyone recognize these anime guys?
One of the Mad Max guys, guess what movie is getting redone!
I like how every from the back his cosplay is impressive.
Time for the Marvel cosplay event... yes I took part!
Someone screamed "Don't touch the tips!!" during this picture..
I recognize Psylocke and Inuyasha.
I love people in cosplay texting or doing other mundane things!


Sponsor: Seedling USA, Inc. (the "Sponsor"). 923 E. 3rd Street #115, Los Angeles, CA 90013.
The Sweepstakes is open only to legal residents of the fifty (50) United States and the District of Colombia (excluding residents of all other U.S. territories, commonwealths and possessions, including but not limited to Puerto Rico) who are at least eighteen (18) years of age and have reached the age of legal majority in their state of residence at the time of entry. Employees, officers, and directors of Seedling USA, Inc. and of any company directly connected with the creation and/or administration of the Sweepstakes, and of each such company's respective related companies, and advertising and promotion agencies are not eligible, and immediate family members (defined as parents, siblings, children, and spouses) and persons living in the same household of any such employee, officer, or director are not eligible. The Sweepstakes is subject to all applicable laws and regulations and is void where prohibited by law.
Sponsor. The Sweepstakes is sponsored by Seedling USA, Inc. (the "Sponsor"). Seedling is located at 923 E. 3rd Street #115, Los Angeles, CA 90013.
Timing. The Sweepstakes will run from 12:00am Pacific Standard Time ("PST") on December 1, 2017 to 11:59pm PST on December 15, 2017 (the "Sweepstakes Period"). Sponsor's computer is the official time keeping device for the Sweepstakes.
1. Purchase Parker: Your Augmented Reality Bear and be automatically be entered to win a Bedtime Kit.
All entries must be received by December 15, 2017 at 11:59 p.m. PST.
Winner Determination. Every 72 hours the Sponsor will select the winner in a random drawing from among all eligible entries/product reviews received. There will be 15 total winners, for the 15 days. For the avoidance of doubt, provided that the product review is in compliance with these Official Rules, the content of the product review will not be taken into account in selecting the prize winner. Potential winner will be contacted via e-mail and may also be required to sign and return an Affidavit of Eligibility, a Liability Release and a Publicity Release (where legal) and/or documents confirming/perfecting/effecting Sponsor's ownership rights in the entry/product review (perhaps including permissions from third parties) and/or additional representations/warranties as to the accuracy of product review, within (3) business days. If winner cannot be contacted for any reason, is determined to be ineligible or is not in compliance with these Official Rules, prize will be forfeited and an alternate winner selected from among all remaining eligible entries received for the random drawing. By participating, entrants agree to these Official Rules & decisions of Sponsor and its agencies, which are final & binding in all respects.
Taxes. The winner is responsible for all taxes and fees associated with prize receipt and/or use.
Publicity. Except where prohibited by law, participation in the Sweepstakes constitutes the winner's grant to Sponsor and its subsidiaries, affiliates and those acting pursuant to its authority, the right to print, publish, broadcast and use, worldwide in any media now known or hereafter developed, including but not limited to the world wide web, at any time or times, the winner's name, address (city & state), portrait, picture, voice, likeness, biographical information, entry, and comments for advertising and promotional purposes without additional consideration.
Release. By participating in the Sweepstakes, you agree to release, indemnify, and hold harmless Sponsor and each such company's respective related companies, suppliers, distributors, advertising/promotion agencies and each such company's respective officers, directors, employees and agents (collectively, the "Released Parties") from and against any claim or cause of action arising out of or related to, directly or indirectly, in whole or in part, your participation in the Sweepstakes, your entry, or your receipt, use, or misuse of any prize, including but not limited to: (1) claims that your entry violates any intellectual property, publicity, or other rights; (2) claims arising from any use or other exploitation of, or failure to use or exploit, your entry; (3) claims arising out of any breach or alleged breach by you of these Official Rules; (4) claims arising from technical delays or failures of any kind or from printing errors; (5) claims arising from unauthorized human intervention during any part of the Sweepstakes; (6) claims arising from technical or human error during the administration of the Sweepstakes or the processing of entries; (7) claims arising from lost, late, incomplete, illegible, misdirected, postage-due, or undeliverable mail or email; (8) claims arising from injury, death, or damage to persons or property; or (9) claims based on defamation, infringement of intellectual property rights, or on the rights of privacy or publicity. To the extent permitted by applicable law, all judgments or awards shall be limited to the actual out-of-pocket costs associated with participation in the Sweepstakes, and in no event shall the Released Parties be liable for attorneys' fees or any indirect, special, punitive, incidental and/or consequential damages, whether foreseeable or not and whether based on negligence or otherwise. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATIONS OR EXCLUSIONS OF LIABILITY SO THE ABOVE MAY NOT APPLY TO ALL PARTICIPANTS.
Additional Terms. Sponsor reserves the right, in its sole discretion, to cancel, suspend and/or modify the Sweepstakes, or any part of it, if any fraud, technical failures or any other factor beyond Sponsor's reasonable control impairs the integrity or proper functioning of the Sweepstakes, as determined by Sponsor in its sole discretion. In such event, and if feasible, Sponsor may select potential winners from among eligible, salvageable, and non-suspect entries received on or before the termination date. Inclusion in such drawing shall be each participant's sole and exclusive remedy under such circumstances. Sponsor reserves the right in its sole discretion to disqualify any individual it finds to be tampering with the entry process or the operation of the Sweepstakes or to be acting in violation of these Official Rules or in an unsportsmanlike or disruptive manner. Any attempt by any person to deliberately undermine the legitimate operation of the Sweepstakes may be a violation of criminal and civil law, and, should such an attempt be made, Sponsor reserves the right to seek damages from any such person to the fullest extent permitted by law. Sponsor's failure to enforce any term of these Official Rules shall not constitute a waiver of that or any other provision. In the event of a dispute as to any entry, the authorized accountholder of the account used to enter will be deemed to be the entrant. A potential winner may be required to provide identification sufficient to show that he or she is the authorized accountholder. In the event that an entry is confirmed to have been erroneously deleted, lost or destroyed, entrant's sole remedy shall be another entry into the Sweepstakes. If any provision of these Official Rules is held to be invalid or unenforceable, such provision shall be struck, and the remaining provisions shall be enforced.
Applicable Laws and Jurisdiction. Issues concerning the construction, validity, interpretation and enforceability of these Official Rules shall be governed by the laws of the State of California, without regard to any principles of conflict of laws. All disputes arising out of or connected with the Sweepstakes will be resolved individually, and without resort to class action, exclusively by a state or federal court located in Los Angeles, California. Should there be a conflict between the laws of the State of California and any other laws, the conflict will be resolved in favor of the laws of the State of California.


text:
Art for Everyone - Sky Arts to become a free to air channel
Sky Arts, the UK's only channel dedicated to arts and culture, is to be made free for everyone this September, supercharging its mission to increase access to and drive participation in the arts, at a vital time for the cultural sector.
With a renewed focus on bringing more of the arts to more people, Sky Arts will embark on an ambitious programme of activity to support and champion the arts – putting artists, creatives, and public participation centre stage on a channel that everyone across the UK can watch on Freeview.
The move to become free-to-air will include a bold new slate of original programmes and increased and deepened partnerships with artists and arts organisations, providing them with a platform to create and showcase their work. And to support new talent, the channel will launch a series of bursaries worth £30,000 each, that will see leading figures from the arts support and mentor diverse and emerging new artists.
As a creative business, we believe it's important to have a thriving cultural sector. By making Sky Arts free for everyone we want to give more artists and arts organisations a platform to create and share their work and to bring more art and culture to everyone across the UK.
Stephen van Rooyen
EVP and Chief Executive Officer, Sky UK and Europe
While the Sky Arts linear channel will be made free for everyone, the extensive Sky Arts On Demand library of arts content, with more than 2000 thousand hours of shows, will remain exclusive to Sky and NOW TV Entertainment Pass customers.
Some highlights of the brand-new original programming coming to Sky Arts includes:
Landmark, a bold and ambitious series for 2021 where artists and local communities across the UK will join forces in a quest to create the next great British landmark, in response to the current debate about the meaning of public monuments, and who or what is commemorated.
Portrait Artist of the Week, the live-streamed paint-along version of the channel's flagship series 'Portrait Artist of the Year', has been confirmed to return this Autumn both on @SkyTV Facebook and Sky Arts, following its huge success during lockdown. Complementing this, Portrait Artist of the Year will return at the same time, with new celebrity sitters including Normal People's Paul Mescal, First Dates front-of-house Fred Sirieux, singer Ray BLK and Sir Trevor McDonald.
Goldie: The Art That Made Me: Renowned visual artist and musician Goldie goes on a personal and passionate journey into the world of graffiti and street art.
Danny Dyer on Pinter, sees Dyer explore the life and works of Harold Pinter and tell the story of their unlikely friendship.
Sky Arts Late, a new monthly arts and culture show creating a feature-length space for original perspectives, debate, critical discussion, and performance from across the arts.
English National Opera's Drive & Live, a world-first exclusive broadcast of the ENO's drive-in opera performance of La Bohème.
No Masks, A brand new drama from Theatre Royal Stratford East based on the real-life testimonies of key workers in East London during the pandemic.
Life & Rhymes, A celebration of spoken word hosted by Benjamin Zephaniah, featuring some of the country's leading spoken word performers.
Inside Art, presented by Kate Bryan, will explore leading exhibitions across the UK, starting with the Walker Gallery's major exhibition of Linda McCartney's photography.
Brian Johnson meets Dave Grohl, the AC/DC frontman hangs out and chats at the Foo Fighters' studio in Los Angeles.
Becoming a free channel means the existing slate of Sky Arts programming will be available for everyone to watch for the first time including popular series such as Portrait Artist of The Year, Landscape Artist of The Year, Tate Britain's Great Art Walks, Treasures of the British Library, The South Bank Show, Urban Myths and countless documentaries and performances, from Kylie, Ed Sheeran and U2, to Matthew Bourne's Swan Lake, Wagner's Ring Cycle and Cats.
Philip Edgar-Jones, Director of Sky Arts, said: "There's never been a stronger need or demand for the arts, nor a more important time to champion and celebrate creativity. That's why we're throwing open the doors to make Sky Arts a free channel. During lockdown we've seen audiences to the channel increase by 50% and our weekly live paint-along show, Portrait Artist of The Week, reached 4.6 million people with over 20,000 portraits painted.
"As a free to air channel I hope that Sky Arts can help arts organisations and cultural institutions of all shapes and sizes across the UK, providing them with a platform to create and showcase their work to a broad audience. With our renewed focus and mission to increase accessibility and participation across the arts, we want to hear from everyone with ideas for how we might be able to work together – we can only succeed with artists and creatives at the heart of what we do."
This is fantastic news for our world-leading cultural and creative industries. The coronavirus pandemic has underlined just how important they are to our health and wellbeing. I am delighted that Sky Arts is opening up its vast array of programming to the nations' living rooms, for us all to enjoy.
Caroline Dinenage
Culture Minister
Charlotte Mitchell, Senior PR Manager, Sky, charlotte.mitchell2@sky.uk
Rick Behari, Director of Communications, Content and Brand, rick.behari@sky.uk
To view images of Sky Arts programming please visit Sky's editorial asset centre.
Please see below for
Full details on programming announcements
Details on existing Sky Arts programmes
Full details on programming announcements:
All new programmes listed have been commissioned by Phil Edgar-Jones, Director of Sky Arts and Entertainment, and Zai Bennett, Managing Director of Content, Sky UK and Ireland.
Landmark, a bold and ambitious series for 2021 where artists and local communities across the UK will join forces in a quest to create the next great British landmark, in response to the current debate about the meaning of public monuments, and who or what is commemorated. Landmark will capture the national mood, giving a diverse range of British artists the chance to create the public art of the future.
Landmarks is produced by Primal Media; executive producers are Adam Wood and Mat Steiner, head of development is Ben Riley. Barbara Lee is commissioning editor at Sky.
Portrait Artist of the Week, the live-streamed paint-along version of the channel's flagship series 'Portrait Artist of the Year', has been confirmed to return to @SkyTV Facebook, as well as airing on Sky Arts, this Autumn, following its huge success during lockdown. The first event during lockdown received over 20,000 entries and was truly international, receiving global submissions from Pakistan to Ecuador to the UK. Portrait Artist of the Week features celebrity sitters in their own homes, with main series finalists and winners taking turns to paint live via Facebook. Artists at home can submit their final portrait to the judges through social media using the hashtag #MYPAOTW. At the end of each week judges choose three of their favourite portraits to feature on the following live programme. The competition is open to everyone as the judges also picked out their favourite 3 children's portraits each week. The pilot series reached more than 4.6 million people, with previous sitters including Noel Fielding, Will Young, Booker Prize winning author Bernardine Evaristo, acclaimed dancer and choreographer Akram Khan and broadcaster and journalist Clare Balding.
Portrait Artist of the Week and Portrait Artist of the Year are produced by Storyvault; Executive producers are Danielle Graham, Sam Richard and Stuart Prebble. Benedetta Pinelli is commissioning editor for Sky.
Goldie: The Art That Made Me: Renowned visual artist and musician Goldie goes on a personal and passionate journey into the world of graffiti and street art, tracing the evolution of the art form in parallel with his own career. In a story that takes us from New York via London, Manchester, Wolverhampton, Miami and Lisbon, Goldie meets the originators and crucial artists from the scene, plus those who continue to push at the edges of the art form today.
Goldie: The Art the Made Me is produced by Somethin' Else and Debonair; the director is Lauren Jacobs; executive producers are Ian Sharpe and Debby Lee. Barbara Lee is commissioning editor at Sky.
Danny Dyer on Pinter, Taken under his wing following roles in films like 1997's Human Traffic, Pinter cast Dyer in several of his plays, including No Man's Land and The Homecoming. Now, twelve years after Pinter's death, Danny takes a look back at his mentor's work and the profound influence he had on his life. The 1x60 is due to air in autumn 2020.
Danny Dyer on Pinter is produced by BBC Studios; executive producer is Rob Unsworth and producer is Ian Denyer.
Danny Dyer said: "It was an honour to take part in this documentary as I got to go on this journey down memory lane. My relationship with Harold is something I will always cherish and I was very touched by the whole experience. What an incredible complex humble human being he was. I miss him every day".
Sky Arts Late, a new late-night, feature-length monthly arts and culture show, with Tim Marlow hosting alongside a cast of leading and new voices from across the arts. Featuring original perspectives, topical debate, critical discussion, and performance, the first edition of this lively and provocative series will assess the importance of culture in the nation's recovery from Covid-19 and how it is reshaping creativity. Due to air in Autumn 2020.
Sky Arts Late is produced by Cultureshock Media; executive producers are Debby Lee and Phil Allison. Barbara Lee is commissioning editor at Sky.
English National Opera's Drive & Live, in partnership with the ENO, Sky Arts will film and broadcast the ENO's much-anticipated return to live performance in September with a drive-in, super-sized, and socially-distanced production of La Bohème at London's Alexandra Palace.
English National Opera's Drive and Live is produced by Somethin Else; executive producer is Jez Nelson and live director is Marcus Viner. Benedetta Pinelli is commissioning editor for Sky.
No Masks, in partnership with Theatre Royal Stratford East and their artistic director Nadia Fall, Sky Arts and Moonshine Features will present a new work based on the real-life experiences and testimonies of key workers from East London. Weaved together with imagined narratives, written by Nadia Fall and Rebecca Lenkiewicz, No Masks will be a testament to the dedication of key workers during the COVID crisis as well as an exploration of our shared hopes and fears. Due to air in autumn 2020.
No Masks is produced by Moonshine Features; executive producers are Michelle Crowther and Mike Reilly. Barbara Lee is commissioning editor at Sky.
Life & Rhymes, A celebration of spoken word hosted by Benjamin Zephaniah, featuring some of the country's leading spoken word performers who will be lighting up the mic with their lyrical creativity. The poets will perform in front of a live, committed audience of spoken word fans who are key to every performance. Each week Benjamin will open up the floor to give members of the audience the opportunity to spontaneously take part in the open mic section of the show.
A 4x30 series due to air in Autumn 2020. Life & Rhymes is co-produced by CPL Productions, a Red Arrow Studios company, and Licklemor Productions; a company owned by Mama Youth Project. Exec producers are Murray Boland, Danielle Lux, Sharon Ali for CPL Productions and Bob Clarke for Licklemor Productions. Barbara Lee is commissioning editor at Sky.
Inside Art, presented by Kate Bryan, is a series that explores temporary art exhibitions at galleries and cultural venues in the UK, connecting audiences with art experiences from photography, painting and sculpture exhibits, to design video and fashion. Inside Art will look at the curatorial decisions being made at institutions as well as focusing on the artists themselves. Arts institutions involved in the series include: Four Corners, Beecroft Gallery, The Hepworth Wakefield, Walker Art Gallery and Manx Museum. Each episode will TX in the first two weeks of an exhibition launching.
Inside Art is produced by Unity House; executive producers are Richard Shaw and Nicola Schofield. Jack Oliver is commissioning editor at Sky.
Brian Johnson meets Dave Grohl, In an exclusive special recorded at the Foo Fighters' LA studio, the AC/DC frontman hangs out with the (other) nicest man in rock…
Brian Johnson meets Dave Grohl is produced by Somethin' Else; the executive producers are Ian Sharpe and Tarquin Gotch. Barbara Lee is commissioning editor at Sky.
Brian Johnson said: "Dave Grohl's passion for rock music is infectious, we had a ball reminiscing about the early days in our different careers. If he ever runs for President, he'd get my vote."
The South Bank Show, a host of the arts' leading figures discuss their work, influences and inspirations in a collection of eye-opening exclusive interviews with Melvyn Bragg. In the next series, due to TX in November 2020, new interviewees will include Bernardine Evaristo, Benjamin Zephaniah, Gillian Anderson and Simon Armitage. This brand new series is complemented by The South Bank Show Originals, featuring famous past episodes with added footage and extra interviews and contributors.
Landscape Artist of The Year, Eight artists use paints, pencils, brushes and biros to showcase their artistic flair for the outdoors in only four hours, all in the hope of impressing judges Tai Shan Schierenberg, Kate Bryan and Kathleen Soriano.
Tate Britain's Great Art Walks, Hosted by Gus Casely-Hayford, Tate Britain's Great Art Walks is an epic travelogue through British art in the company of Danny Baker, Simon Callow, Richard E Grant, Cerys Matthews, Miriam Margolyes and Michael Sheen, as they each journey to discover the landscapes that inspired their favourite paintings, chosen from Tate's national collection.
Treasures of the British Library, A host of famous faces pick out what they believe are the most important items in the British Library. Writer Julia Donaldson, comedian Meera Syal, poet Benjamin Zephaniah and musicians Jamie Cullum and Alison Balsom share their personal histories and passions as they explore the extraordinary range of the British Library's treasures.
Urban Myths, Urban Myths, the International Emmy Award nominated series, fictionalises some of the most peculiar stories to have ever leaked out of Hollywood, the music industry and the worlds of art and culture. The latest series, airing in Autumn 2020, features cast including Steve Pemberton, Robbie Coltrane, Kara Tointon and Katherine Ryan.
The Art of Drumming, This four-part series joins some of the greatest drummers on the planet as they discuss their passion for music and the fellow drummers who inspire them. More than that, these icons do what they do best and play, demonstrating how iconic beats and solos are created and how they make a unique contribution to the creation of legendary tracks.
About Sky Arts:
As the UK's only dedicated arts channel, Sky Arts exists to bring more art to more people across the UK. By throwing open the doors to make the channel free to air, we want to increase access to and participation in the arts.
Offering something for everyone, whatever their passion, Sky Arts showcases the best of classical and popular music, theatre, opera, dance and the visual arts, as well as original drama and comedy.
Audience reach of the channel – Sky Arts currently has an average monthly audience reach of 6.2m, its biggest reach since 2016.
No of hours – Sky Arts broadcast more than 530 hours of brand-new programming in 2019 and houses more than 2000 hours of arts-focused shows on demand for Sky customers.
Awards – Multi-award winning programming including 2020 BAFTA TV Craft Award-winning Battle of the Brass Bands, 2018 BAFTA TV Award-winner Morgana Robinson's Summer, 2019 RTS Programme Award winner The Art of Drumming and 2019 Prix Italia winner Why Do We Dance? The Sky Arts channel has twice won the Specialist Channel of the Year category at the Broadcast Digital Awards in 2017 and 2018.
Partnerships – Across the years Sky Arts has partnered with major institutions including the National Theatre, Royal Academy of Arts, Tate, English National Opera, National Portrait Gallery, Northern Ballet, National Youth Theatre, British Library, Glyndebourne, Hay Festival, Cheltenham Literary Festival, Isle of Wight Festival, Download Festival, The Barbican, BALTIC Centre for Contemporary Art, Scottish National Portrait Gallery, National Gallery of Ireland.
Talent – Sky Arts has worked with a host of leading talent including: Antony Gormley, Brian Johnson, Stephen Fry, Akram Khan, Matthew Bourne, Gus Casely-Hayford, Jonathan Yeo, Tamara Rojo, Melvyn Bragg, Tony Visconti, Danielle de Niese, Joan Bakewell, Stephen Mangan, Chris Addison, Isabella Rossellini, Lily Cole, Helena Bonham Carter, Don Letts, Steve White, Nitin Sawhney, Frank Skinner, Denise Mina, Ronnie Wood, David Tennant, Emma Thompson, Noel Clarke, Kim Cattrall, David Threlfall, David Suchet, Sheila Hancock and Noel Fielding.
Innovation - Sky Arts is committed to innovation and some of our most innovative programmes over the years have included:
Animal Symphony - a remarkable experiment looking at the effect music has on animals, culminating in a unique concert orchestrated by acclaimed composer Nitin Sawhney
Computer Says Show - a world first, which looked at the effect of technology on the creative process, by presenting the premiere of the world's first 'computer generated musical'…
Virtual Reality: Mystery of Creativity - four virtual reality experiences and a documentary that will see world renowned artists - Antony Gormley, Jonathan Yeo, Farshid Moussavi and Humphrey Ocean – experiment with VR as an art form, as part of the 250th anniversary celebrations of the Royal Academy of Arts
One & Other – a living artwork by sculptor Antony Gormley, where 2,400 people occupied the fourth plinth at Trafalgar Square for 60 minutes each, taking place over 100 days.
Art 50 – Fifty diverse art projects funded by Sky Arts examining what it means to be British in a post-Brexit world. Artworks included a song book created by choirs around the country, a new poem by Simon Armitage, a new national anthem composed by Nitin Sawhney, a comic film of different British dogs 'talking' about British culture and a play by John Godber featuring a Brexiteer and a Remainer as they take a tandem bike ride across Europe.
With 24 million customers across seven countries, Sky is Europe's leading media and entertainment company and is proud to be part of the Comcast group. Our 32,000 employees help connect our customers to the very best entertainment, sports, news, arts and to our own local, original content.
Following the success of Sky originals like Chernobyl, we plan to double our investment in original content by 2024. We're also developing a new TV and movie studio, Sky Studios Elstree, which is expected to lead to the creation of over 2,000 new jobs and generate an additional £3 billion of production investment in UK creative sector in the first five years alone.
Our technology allows customers to watch what they want, when they want, how they want, and as we connect millions of families to content they love, we believe it is our responsibility to do it safely. That's why we offer services like Sky Broadband Buddy and the Sky Kids app. And our online streaming service, NOW TV, brings viewers all the enjoyment of Sky with the flexibility of a contract-free service.
We also believe that a company of our scale has a responsibility that goes beyond our business, and into the community. We recently announced a series of commitments to help tackle racial injustice and improve diversity and inclusion. To ensure the commitments are delivered, Sky will invest £10million per year across its markets for each of the next three years. We're committed to being Europe's first net zero carbon entertainment company by 2030 – two decades before we have to – and we're an inclusive employer recognised by The Times and Stonewall for our commitment to diversity.
Comcast announces Peacock coming to Sky
Gemma Cairney to host new Sky Arts series Landmark
Sky sets ambitious 2025 target to increase its ethnic diversity and representation


in recipes for your testing.
We suggest soaking the amaranth for an hour before cooking.
lightly on top. Bake 20 minutes at 350|F.
ingredients. Beat egg and add it to the milk and the melted margarine.
minutes before removing from tins.
stand 10 minutes. Bake on hot, lightly greased griddle.
Amaranth's most important advantage is its nutritional value.
as valuable as that found in meat or eggs.
In addition to its seeds, some amaranth species have edible leaves.
chopped and eaten in salads or cooked in soup.
get "incredible' yields up to 2.3 tons per acre.
Society. If you would like to try some, see page 24 for details.
hardy plant, it can stand a variety of climates and soil conditions.
high-lysine corn meal, can be baked into a loaf or served as muffins.
can detect the exciting amaranth flavor.


"The data suggest that a 20-pound increase in men's weight may increase the chance of infertility by about 10 percent," says Markku Sallmen, lead author on the paper who is now at the Finnish Institute of Occupational Health. BMI is a number calculated from a person's weight and height. BMI provides a reliable indicator of body fatness for most people and is used to screen for weight categories that may lead to health problems.
"Women who are overweight or obese tend to have a more difficult time becoming pregnant than normal-weight women, but whether men who are overweight or obese also have fertility problems had not been studied," says Donna Baird, Ph.D., an NIEHS epidemiologist with the study. The study is published in the September 2006 issue of Epidemiology.
The data on infertility and body mass came from questionnaires that 1,468 farmers and their wives completed when they enrolled in the study. The wives completed a family health questionnaire, which included information about the couple's reproductive history. The men reported their weight and height on a questionnaire about their health. The analysis was limited to couples with a pregnancy attempt during the four years before enrollment, and to women under the age of 40.
Researchers found that men's BMI was an independent risk factor for infertility. The researchers adjusted for other factors that could affect fertility, including high BMI of the woman, age, cigarette smoking, alcohol intake, and solvent and pesticide exposure. After adjustment, there was a general increase in infertility with increased BMI, reaching a nearly 2-fold increase among obese men.
When researchers divided the sample into two equal groups by men's age, they found that men's BMI was a risk factor for infertility in both the older and younger men.
The NIEHS unveiled a new strategic plan, "New Frontiers in Environmental Sciences and Human Health," in May aimed at challenging and energizing the scientific community to use environmental health sciences to understand the causes of disease and to improve human health. The plan can be accessed at http://www.niehs.nih.gov/external/plan2006.
The National Institute of Environmental Health Sciences (NIEHS), a component of the National Institutes of Health, supports research to understand the effects of the environment on human health. For more information on environmental health topics, please visit our website at http://www.niehs.nih.gov.


Hand Sanitizer description, usages, side effects, indications, overdosage, supplying and lots more!
In case of a accidental ingestion, seek professional assistance or contact a Poison control Center immediately.
To decrease bacteria on the skin.
Flammable. Keep away from hear or flame.
Keep out of eyes. In case of contact with eyes, flush throughly with water.
Wet hands throughly with product and allow to dry without wiping.


epic continuity of settlement. but centralist/majoritarian expansion. lebensraum.
trauma of migration. mainland chinese people coming to australia.
I thank Aurelia Guo for her poetic communiqué (with herself and others) delivered through her text 'natureisnotnaturalandcanneverbenaturalised.pdf' (2016); Anastasia Klose for her jarring exposé into capitalism and the dynamics of a family education in 'Together' (2011); Peter Tyndall's building of perceptual frameworks through his graphic, a family's visit to the gallery; and Angela Brennan for her painting, which represents her speech and radical parenting style — to 'just be'.
My own, in-gallery research (presented at Bus Project — Melbourne) includes a series of chalkboards which define parenting's politics.
I would like to thank Ziga Testen and Rob Janes for their talent and contribution to this exhibition as they construct the online platform, which is in on-going dialogue with this show, and Mel Deerson for her continued support and writing assistance.


I try to avoid retail dressing rooms. The lights are harsh and unforgiving. They aren't really private. Getting undressed and re-dressed is an annoying hassle. So yeah, dressing rooms aren't always pleasant, but when I need to find jeans that actually fit, I have no choice but to make use of the fitting rooms offered by the stores at which I shop. But I don't like it.
Sometimes, I will even skip trying something on in favor of doing so in the sanctity of my home and return it if I don't like it. An extra, inefficient step? Yes, but it works wonders for my sanity.
Dressing rooms can be intimidating for all the reasons I've already mentioned, but also because there's so much going on. I find that a bunch of questions race through my mind and most of them have absolutely nada to do with whether or not I like the actual piece of clothing I am trying on.
Why am I worrying about the last time anyone around here vacuumed or why the person who tried this item on before me wore so much deodorant? And why can't this overly friendly fitting room attendant just let me be? Will anyone try to stop me if i just run out screaming?
Here are eight things that run through everyone's mind when they're trying stuff on. You know the dressing room struggle is real.
1. "Should I really be taking off my shoes on this unvacuumed floor?"
I hate dirty rugs and I don't even want to think about what I'd find if I ran a black light over dressing room carpets. Yet, when trying something on, I cringe at removing my shoes.
2. "Why did the person who tried this on before me wear so much deodorant?"
When an article of clothing has deodorant all over it from the previous customer who tried it on, I am baffled. Did they just rub their stick of deodorant all over the shirt?! Take the loss, retailers, and get me a fresh, clean garment.
3. "Please go away, friendly clerk. Your helpfulness is stressing me out."
I don't mind a clerk who wants to help me and be useful by grabbing another size if the one I brought with me doesn't fit. But when she comes at me and asks me "How are things working out?" or if she can get me another size for the third time, I'm pretty much wishing for peace and quiet.
4. "These doors don't even lock well! Someone's definitely going to see me naked."
Massive fear right there. The door locks are marginal at best. Why even have a door?! I am always concerned that in my haste of trying to get dressed under fluorescent lights in the room the size of a jail cell that I will knock the door open and give everyone a show.
5. "Will this even go with anything else I own?"
Despite the anxiety, sometimes, I will actually think about how the piece I am trying on fits the rest of my wardrobe.
6. "OMG I'm going to be stuck in this too-small dress forever if I don't rip it off."
We've all heard that dreaded pull or rip of threads when trying on something a bit too tight. I am always gripped by the "What if this rips? Do I leave it and sneak out? Am I going to get arrested?!" fear.
7. "Why does the music need to be as loud as the inside of a subwoofer at a rave?"
Seriously, why are dressing rooms at some stores louder than raves? I feel like I am in a subwoofer. Who needs all those "untz untz untz" beats to accompany the act of trying on jeans? It's a fitting room — not a freakin' house party.
These are the reasons why I skip the dressing room more often than not. I'm sure you understand.