We comply with all aspects of Australian Consumer Law. We are not required to provide a refund or replacement for products if you change your mind, however you can choose a refund or replacement if the product you purchased has a Major problem as defined by Consumer Affairs Victoria.
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Prepaid packages – we offer great discounts for prepaying for your sessions. If you change your mind and don't want to complete your sessions, you can transfer the sessions to another person, or get a credit note. The value of the credit is calculated at the package price, minus the sessions used charged at the full rate (not the discounted rate). Our packages have an expiry of 6 months after the date of purchase, please ensure you use all your sessions within this time frame.
Brunswick Holistic Health does not sell, rent or trade personal information to any third party. We take special care to protect the privacy and security of personal information.
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Brunswick Holistic Health therapists and staff have access to personal information only to manage the clinic business and will not be used or sold for any other purpose, except if required to do so by law or to comply with legal process.
Whilst all reasonable care is taken, some therapies carried out at Brunswick Holistic Health entail inherent risks. Patients are made aware of these risks, and assume the risk and responsibility.
We request that existing medical conditions be declared, which may exclude some patients from some therapies. If you have a serious medical condition or are taking pharmaceuticals, we recommend you check in with your doctor as to the suitability of the therapy of choice.
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If you remain dissatisfied with our response, you may contact the Health Complaints Commissioner (HCC). The HCC responds to complaints about health services and the handling of health information in Victoria. Their service is free, confidentail and impartial. To lodge a complaint with the HCC: fill out a complaint form online at hcc.vic.gov.au or phone 1300 582 113 between 9am and 5pm, Monday to Friday to discuss your complaint.
Brunswick Holistic Health makes no warranties or representations of any kind about the accuracy or suitability of the information contained on this website. Brunswick Holistic Health also cannot guarantee the accuracy, and has no liability in relation to, the content of linked third-party websites. Where required, you should seek advice for any condition from appropriate practitioners.
To the extent permitted by the law, Brunswick Holistic Health is not responsible for any loss, damage, injury to property or person, and costs incurred or suffered directly or indirectly in connection with the use of this website. Users of the Website thereby agree to release Brunswick Holistic Health from all liability (including in negligence) in respect of such use.
Brunswick Holistic Health therapists are accountable for their actions in professional practice and have moral and legal obligations for the provision of safe and competent healthcare.
1.1 conduct themselves ethically and professionally at all times.
1.2 render their professional services in accordance with holistic principles for the benefit and wellbeing of clients.
1.3 do no harm to clients.
1.4 maintain current professional knowledge, skills and attributes through continuing professional education.
1.5 respect a client's autonomy, needs, values, culture and vulnerability in the provision of natural medicine.
1.6 accept the rights of clients and encourage them to make informed choices in relation to their healthcare.
1.7 recognise the limitations of the treatment they can provide and refer clients to other appropriate healthcare professionals when necessary.
1.8 treat clients with respect, and do not engage in any form of exploitation whether financial, physical, sexual, emotional, religious or for any other reason.
1.9 have an understanding of any adverse interactions between the therapies and/or treatment provided and prescribed or any other medications or treatment the client is taking or receiving.
1.10 treat within their scope of practice.
1.11 behave with courtesy, respect, dignity and discretion towards the client, at all times respecting the diversity of individuals and honouring the trust in the therapeutic relationship.
1.12 shall declare any conflict of interest or bias to the client, whether the conflict or bias is actual or potential, financial or personal.
2.1 accept the rights of clients to make informed choices in relation to their healthcare.
2.2 ensure that informed consent appropriate to that assessment or treatment has been obtained prior to commencing treatment.
2.3 exercise reasonable skill, competence, diligence and care.
2.4 do not misrepresent or misuse their skill, ability or qualification.
2.5 do not attempt to dissuade a client from seeking or continuingmedical treatment.
2.6 take appropriate and timely measures to minimise harm to clients including, but not limited to, providing first aid assistance.
2.7 adopt Standard Precautions for the control of infection. It is the therapist's responsibility to be aware of Standard Precautions.
2.8 who carry out skin penetration comply with the skin penetration legislation for their state or territory under which such procedures are regulated.
3.1 will only adopt the title "Dr" if they hold a Professional Doctorate or PhD, and are registered with a properly constituted Australian registration body.
3.2 only use the health fund provider number(s) to which it is issued, and no other person.
3.3 will not provide false, misleading or incorrect information or documents, including without limitation, information or documents regarding health fund rebates, to any person or entity.
3.4 will not falsely claim or advertise for any modality or modalities for which they are not accredited.
3.5 will not denigrate any person or entity of the healthcare industry.
3.6 will not engage in any activity, whether written or verbal, that will reflect inaccurately or improperly on natural medicine.
3.7 do not provide treatment or care to clients while under the influence of alcohol or unlawful substances.
3.8 who are taking prescribed medication must obtain advice from the prescribing practitioner or dispensing pharmacist about the impact of the medication on their ability to practise and will refrain from treating or caring for clients in circumstances where their capacity is or may be impaired.
3.9 supply medicines in accordance with the relevant therapeutic goods and consumer legislation. All assessment and treatment devices are properly maintained and fit for purpose.
3.10 ensure that appropriate insurance arrangements are in place for their practice.
4.1 do not engage in a sexual or other inappropriate personal, physical or emotional behaviour or relationship with a client.
4.2 ensure that a reasonable period of time has elapsed since the conclusion of the therapeutic relationship before engaging in a sexual relationship with a former client.
4.3 decline any approaches of a sexual nature by a client and document this in the client's record.
5.1 comply with all applicable privacy legislation.
5.2 keep confidential the information given by a client in the therapeutic relationship.
5.3 securely store client records, and archive, pass on or dispose of in accordance with applicable privacy and health records legislation.
5.4 maintain accurate, legible, objective, comprehensive and up to date records in English of each client consultation. Any later modifications to these records are signed and dated by the therapist.


Seems like we can't live without a debit card these days ... and we don't think you should have to!
When you have a WWFCU Checking Account, you get a debit card with a personal identification number (PIN) that you can use on your day-to-day purchases as well as at any ATM. You can either use your PIN or signature when shopping – it's up to you. Any debit card purchases will be deducted from your credit union checking account.
We also offer ATM cards that you can use to withdraw or deposit money at ATM machines and select merchants. There are no surcharge fees if you use your ATM card at any co-alliance or WWFCU ATM.
No surcharges on any co-alliance and WWFCU ATMs.


text:
1-Minute Consult
How should I treat acute agitation in pregnancy?
Joshua D. Niforatos, MTS, Jonathon W. Wanta, MD, Anna P. Shapiro, MD, Justin A. Yax, Do, DTMH and Adele C. Viguera, MD, MPH
Cleveland Clinic Journal of Medicine April 2019, 86 (4) 243-247; DOI: https://doi.org/10.3949/ccjm.86a.18041
Joshua D. Niforatos
Medical Student, Cleveland Clinic Lerner College of Medicine of Case Western Reserve University, Cleveland, OH
For correspondence: jxn187@case.edu
Jonathon W. Wanta
Resident, Department of Psychiatry and Behavioral Sciences, University of Washington, Seattle
Anna P. Shapiro
Resident, Department of Psychiatry, Neurological Institute, Cleveland Clinic, Cleveland, OH
Justin A. Yax
Assistant Professor of Emergency Medicine and Internal Medicine, Section Chief, Division of International Emergency Medicine, Department of Emergency Medicine, University Hospitals Cleveland Medical Center, Cleveland, OH
Adele C. Viguera
Associate Director of Perinatal and Reproductive Psychiatry, Department of Psychiatry, Neurological Institute, Cleveland Clinic
A cute agitation in the pregnant patient should be treated as an obstetric emergency, as it jeopardizes the safety of the patient and fetus, as well as others in the emergency room. Uncontrolled agitation is associated with obstetric complications such as preterm delivery, placental abnormalities, postnatal death, and spontaneous abortion.1
Current data on the reproductive safety of drugs commonly used to treat acute agitation— benzodiazepines, typical (first-generation) an-tipsychotics, atypical (second-generation) antipsychotics, and diphenhydramine—suggest no increase in risk beyond the 2% to 3% risk of congenital malformations in the general population when used in the first trimester.2,3
FOCUS OF THE EMERGENCY EVALUATION
Agitation is defined as the physical manifestation of internal distress, due to an underlying medical condition such as delirium or to a psychiatric condition such as acute intoxication or withdrawal, psychosis, mania, or personality disorder.4
For the agitated pregnant woman who is not belligerent at presentation, triage should start with a basic assessment of airways, breathing, and circulation, as well as vital signs and glucose level.5 A thorough medical history and a description of events leading to the presentation, obtained from the patient or the patient's family or friends, are vital for narrowing the diagnosis and deciding treatment.
The initial evaluation should include consideration of delirium, trauma, intracranial hemorrhage, coagulopathy, thrombocytopenia, amniotic and venous thromboembolism, hypoxia and hypercapnia, and signs and symptoms of intoxication or withdrawal from substances such as alcohol, cocaine, phencyclidine, methamphetamine, and substituted cathinones ("bath salts"). From 20 weeks of gestation to 6 weeks postpartum, eclampsia should also be considered in the differential diagnosis.1 Ruling out these conditions is important since the management of each differs vastly from the protocol for agitation secondary to psychosis, mania, or delirium.
NEW SYSTEM TO DETERMINE RISK DURING PREGNANCY, LACTATION
The US Food and Drug Administration (FDA) has discontinued its pregnancy category labeling system that used the letters A, B, C, D, and X to convey reproductive and lactation safety. The new system, established under the FDA Pregnancy and Lactation Labeling Rule,6 provides descriptive, up-to-date explanations of risk, as well as previously absent context regarding baseline risk for major malformations in the general population to help with informed decision-making.7 This allows the healthcare provider to interpret the risk for an individual patient.
FIRST-GENERATION ANTIPSYCHOTICS SAFE, EFFECTIVE IN PREGNANCY
Reproductive safety of first-generation (ie, typical) neuroleptics such as haloperidol is supported by extensive data accumulated over the past 50 years.2,3,8 No significant teratogenic effect has been documented with this drug class,7 although a 1996 meta-analysis found a small increase in the relative risk of congenital malformations in offspring exposed to low-potency antipsychotics compared with those exposed to high-potency antipsychotics.2
In general, mid- and high-potency antipsychotics (eg, haloperidol, perphenazine) are often recommended because they are less likely to have associated sedative or hypotensive effects than low-potency antipsychotics (eg, chlorpromazine, perphenazine), which may be a significant consideration for a pregnant patient.2,8
There is a theoretical risk of neonatal extrapyramidal symptoms with exposure to first-generation antipsychotics in the third trimester, but the data to support this are from sparse case reports and small observational cohorts.9
NEWER ANTIPSYCHOTICS ALSO SAFE IN PREGNANCY
Newer antipsychotics such as the second-generation antipsychotics, available since the mid-1990s, are increasingly used as primary or adjunctive therapy across a wide range of psychiatric disorders.10 Recent data from large, prospective cohort studies investigating reproductive safety of these agents are reassuring, with no specific patterns of organ malformation.11,12
DIPHENHYDRAMINE
Recent studies of antihistamines such as diphenhydramine have not reported any risk of major malformations with first-trimester exposure to antihistamines.13,14 Dose-dependent anticholinergic adverse effects of antihistamines can induce or exacerbate delirium and agitation, although these effects are classically seen in elderly, nonpregnant patients.15 Thus, given the paucity of adverse effects and the low risk, diphenhydramine is considered safe to use in pregnancy.13
Benzodiazepines are not contraindicated for the treatment of acute agitation in pregnancy.16 Reproductive safety data from meta-analyses and large population-based cohort studies have found no evidence of increased risk of major malformations in neonates born to mothers on prescription benzodiazepines in the first trimester.17,18 While third-trimester exposure to benzodiazepines has been associated with "floppy-baby" syndrome and neonatal withdrawal syndrome,16 these are more likely to occur in women on long-term prescription benzodiazepine therapy. No study has yet assessed the risk of these outcomes with a 1-time acute exposure in the emergency department; however, the risk is likely minimal given the aforementioned data observed in women on long-term prescription benzodiazepine therapy.
STEPWISE MANAGEMENT OF AGITATION IN PREGNANCY
If untreated, agitation in pregnancy is independently associated with outcomes that include premature delivery, low birth weight, growth retardation, postnatal death, and spontaneous abortion.1 The risk of these outcomes greatly outweighs any potential risk from psychotropic medications during pregnancy.
Nevertheless, intervention should progress in a stepwise manner, starting with the least restrictive and progressing toward more restrictive interventions, including pharmacotherapy, use of a seclusion room, and physical restraints (Figure 1).4,19
A stepwise approach to acute agitation in pregnancy.
Before medications are considered, attempts should be made to engage with and "deescalate" the patient in a safe, nonstimulating environment.19 If this approach is not effective, the patient should be offered oral medications to help with her agitation. However, if the patient's behavior continues to escalate, presenting a danger to herself or staff, the use of emergency medications is clearly indicated. Providers should succinctly inform the patient of the need for immediate intervention.
If the patient has had a good response in the past to one of these medications or is currently taking one as needed, the same medication should be offered. If the patient has never been treated for agitation, it is important to consider the presenting symptoms, differential diagnosis, and the route and rapidity of administration of medication. If the patient has experienced a fall or other trauma, confirming a viable fetal heart rate between 10 to 22 weeks of gestation with Doppler ultrasonography and obstetric consultation should be considered.
DRUG THERAPY RECOMMENDATIONS
Mild to moderate agitation in pregnancy should be managed conservatively with diphenhydramine. Other options include a benzodiazepine, particularly lorazepam, if alcohol withdrawal is suspected. A second-generation antipsychotic such as olanzapine in a rapidly dissolving form or ziprasidone is another option if a rapid response is required.20 Table 1 provides a summary of pharmacotherapy recommendations.
Drug therapy options for acute agitation in pregnant women
Severe agitation may require a combination of agents. A commonly used, safe regimen—colloquially called the "B52 bomb"—is haloperidol 5 mg, lorazepam 2 mg, and diphenhydramine 25 to 50 mg for prophylaxis of dystonia.20
The patient's response should be monitored closely, as dosing may require modification as a result of pregnancy-related changes in drug distribution, metabolism, and clearance.21
Although no study to our knowledge has as sessed risk associated with 1-time exposure to any of these classes of medications in pregnant women, the aforementioned data on long-term exposure provide reassurance that single exposure in emergency departments likely has little or no effect for the developing fetus.
PHYSICAL RESTRAINTS FOR AGITATION IN PREGNANCY
Physical restraints along with emergency medications (ie, chemical restraint) may be indicated when the patient poses a danger to herself or others. In some cases, both types of restraint may be required, whether in the emergency room or an inpatient setting.
However, during the second and third trimesters, physical restraints such as 4-point restraints may predispose the patient to inferior vena cava compression syndrome and compromise placental blood flow.4 Therefore, pregnant patients after 20 weeks of gestation should be positioned in the left lateral decubitus position, with the right hip positioned 10 to 12 cm off the bed with pillows or blankets. And when restraints are used in pregnant patients, frequent checking of vital signs and physical assessment is needed to mitigate risks.4
Copyright © 2019 The Cleveland Clinic Foundation. All Rights Reserved.
Aftab A,
Shah AA
. Behavioral emergencies: special considerations in the pregnant patient. Psychiatr Clin North Am 2017; 40(3):435–448. doi:10.1016/j.psc.2017.05.017
Altshuler LL,
Cohen L,
Szuba MP,
Burt VK,
Gitlin M,
Mintz J
. Pharmacologic management of psychiatric illness during pregnancy: dilemmas and guidelines. Am J Psychiatry 1996; 153(5):592–606. doi:10.1176/ajp.153.5.592
Einarson A
. Safety of psychotropic drug use during pregnancy: a review. MedGenMed 2005; 7(4):3. pmid:16614625
Wilson MP,
Nordstrom K,
Shah AA,
Vilke GM
. Psychiatric emergencies in pregnant women. Emerg Med Clin North Am 2015; 33(4):841–851. doi:10.1016/j.emc.2015.07.010
Brown HE,
Stoklosa J,
Freundenreich O
. How to stabilize an acutely psychotic patient. Curr Psychiatry 2012; 11(12):10–16.
US Food and Drug Administration
. Pregnancy and lactation labeling (drugs) final rule. www.fda.gov/drugs/developmentapprovalprocess/developmentresources/labeling/ucm093307.htm. Accessed January 8, 2019.
Brucker MC,
King TL
. The 2015 US Food and Drug Administration pregnancy and lactation labeling rule. J Midwifery Womens Health 2017; 62(3):308–316. doi:10.1111/jmwh.12611
Diav-Citrin O,
Shechtman S,
Ornoy S,
. Safety of haloperidol and penfluridol in pregnancy: a multicenter, prospective, controlled study. J Clin Psychiatry 2005; 66(3):317–322. pmid:15766297
Galbally M,
Snellen M,
Power J
. Antipsychotic drugs in pregnancy: a review of their maternal and fetal effects. Ther Adv Drug Saf 2014; 5(2):100–109. doi:10.1177/2042098614522682
Kulkarni J,
Storch A,
Baraniuk A,
Gilbert H,
Gavrilidis E,
Worsley R
. Antipsychotic use in pregnancy. Expert Opin Pharmacother 2015; 16(9):1335–1345. doi:10.1517/14656566.2015.1041501
Huybrechts KF,
Hernández-Díaz S,
Patorno E,
. An-tipsychotic use in pregnancy and the risk for congenital malformations. JAMA Psychiatry 2016; 73(9):938–946. doi:10.1001/jamapsychiatry.2016.1520
Cohen LS,
Viguera AC,
McInerney KA,
. Reproductive safety of second-generation antipsychotics: current data from the Massachusetts General Hospital national pregnancy registry for atypical antipsychotics. Am J Psychiatry 2016; 173(3):263–270. doi:10.1176/appi.ajp.2015.15040506
Li Q,
Mitchell AA,
Werler MM,
Yau WP,
Hernández-Díaz S
. Assessment of antihistamine use in early pregnancy and birth defects. J Allergy Clin Immunol Pract 2013; 1(6):666–674.e1. doi:10.1016/j.jaip.2013.07.008
Gilboa SM,
Strickland MJ,
Olshan AF,
Correa A,
National Birth Defects Prevention Study
. Use of antihistamine medications during early pregnancy and isolated major malformations. Birth Defects Res A Clin Mol Teratol 2009; 85(2):137–150. doi:10.1002/bdra.20513
Meuleman JR
. Association of diphenhydramine use with adverse effects in hospitalized older patients: possible confounders. Arch Intern Med 2002; 162(6):720–721. pmid:11911733
Enato E,
Moretti M,
Koren G
. The fetal safety of benzodiazepines: an updated meta-analysis. J Obstet Gynaecol Can 2011; 33(1):46–48. doi:10.1016/S1701-2163(16)34772-7
Dolovich LR,
Addis A,
Vaillancourt JM,
Power JD,
Koren G,
Einarson TR
. Benzodiazepine use in pregnancy and major malformations or oral cleft: meta-analysis of cohort and case-control studies. BMJ 1998; 317(7162):839–843. pmid:9748174
Bellantuono C,
Tofani S,
Di Sciascio G,
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. Benzodiazepine exposure in pregnancy and risk of major malformations: a critical overview. Gen Hosp Psychiatry 2013; 35(1):3–8. doi:10.1016/j.genhosppsych.2012.09.003
Richmond JS,
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Fishkind AB,
. Verbal deescalation of the agitated patient: consensus statement of the American Association for Emergency Psychiatry project BETA De-escalation Workgroup. West J Emerg Med 2012; 13(1):17–25. doi:10.5811/westjem.2011.9.6864
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. Emergency psychiatry. In: Stern TA, , Fava M, , Wilens TE, , Rosenbaum JF, eds. The Massachusetts General Hospital Comprehensive Clinical Psychiatry. 2nd ed. London: Elsevier; 2016:937–949.
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. Pharmaco-kinetics of drugs in pregnancy. Semin Perinatol 2015; 39(7):512–519. doi:10.1053/j.semperi.2015.08.003
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Joshua D. Niforatos, Jonathon W. Wanta, Anna P. Shapiro, Justin A. Yax, Adele C. Viguera
Cleveland Clinic Journal of Medicine Apr 2019, 86 (4) 243-247; DOI: 10.3949/ccjm.86a.18041
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Fattoria Le Pupille is the winery of Elisabetta Geppetti, mother of five and winemaker at this Tuscan estate in the Maremma. Here, Geppetti fashions D.O.C wines like her Morellino di Scansanos, and I.G.T 'superTuscans', like Saffredi, a Cabernet Sauvignon, Merlot and Alicante blend, and SolAlto, a dessert wine made from Botrytised Traminer, Sauvignon Blanc and Semillon. I recently tasted the two Morellino di Scansano wines in the Fattoria le Pupille stable, the regular cuvée from 2006 and the single vineyard 'Poggio Valente' from 2004. Poggio Valente comes from a 12-hectare vineyard near Pereta, planted with four Sangiovese clones. These are very serious and structured wines, the Poggio Velante in particular striking me as a wine that will need considerable time in the cellar to open and soften through the mid-palate. They are undoubtedly very profound expressions of the Morellino di Scansano D.O.C.


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Spiritual Competencies
Dr. Kathleen 'Kat' McCleskey, NCC
Immediate Past President, 2020-2021
Kat McCleskey is currently an Assistant Professor in and Program Director in the Counselor Education Program at Longwood University where she teaches classes such as Lifespan Development, Multicultural Counseling, and Techniques of Counseling. She holds a Ph.D. in Counselor Education and Supervision from the University of Virginia. Her clinical work has included addiction counseling, prevention counseling, family counseling, emergency screening/crisis work, career counseling, and clinical supervision. She uses a feminist and multicultural approach in counseling, supervision, and pedagogy. Within multicultural work, spirituality and religious perspectives are of particular interest to her. Her current scholarship focuses on applications of feminist theory in terms of clinical work, training, and counselor and client identity, and on multicultural issues in counseling. Other interests include knitting and crocheting, gardening, and enjoying the outdoors.
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Seven More Cases of Coronavirus in South Cyprus
The South Cyprus Ministry of Health has announced that seven more cases of coronavirus have been detected.
While five people were quarantined, the other two were taken to Limassol Hospital. All seven people arrived from the UK recently.
The total number of cases in the south of Cyprus is now 21. That number has increased to 26 across the whole of Cyprus.
Meanwhile North Cyprus Health Minister Ali Pilli has said that, so far, no new cases of coronavirus have been discovered in the TRNC. The current number of cases is five, comprising four tourists and one TRNC citizen.
Yeni Duzen


Call this an all natural pedicure: little carp eat the dead skin off your feat. What about the rest of the body?! We've got dead skin all over. If you can't dunk your whole body in a tub of these fish, you're soft.


ISP AOL UK ( The Carphone Warehouse ) has launched a beta version of its new homepage, which allows users to access multiple email accounts and social networking sites from a single online portal. The new site will allow integration of third-party services, content and has already been proven successful in the USA.
Bill Wilson, President of AOL's MediaGlow division said: "Today's beta launch of the new AOL UK portal builds on the tremendous success we've experienced in the U.S. offering consumers more choice and customization. For the advertising community, it means even greater reach and relevancy for campaigns aimed at audiences across a wealth of rich media content and channels already available across AOL."
Features: Customized backgrounds with six new designs to choose from; Ability to add any links to the page so users can more easily access their most frequently visited sites; Users can drag and drop to reorder channel navigation to suit personal preferences; Users can add RSS feeds and categories to get content from their preferred external sites; and Leading market quotes and global stock finder.


text:
Find this article at: http://www.nfl.com/news/story/0ap3000000685256/article/niners-blaine-gabbert-a-mixed-bag-vs-texans
Niners' Blaine Gabbert a mixed bag vs. Texans
By Marc Sessler
Published: Aug. 14, 2016 at 07:59 p.m.
Updated: Aug. 15, 2016 at 08:28 a.m.
Blaine Gabbert had a chance on Sunday to sink a knife in San Francisco's hyped-up quarterback duel. Instead, he delivered a comprehensive mixed bag of positives and negatives in the 49ers' 24-13 loss to Houston.
While Colin Kaepernick rested his sore throwing shoulder, Gabbert unfurled a handful of off-target lobs and failed to generate points over his first two drives against the Houston Texans.
His inauspicious start began with a poorly thrown screen pass to running back Carlos Hyde. Two plays later, Gabbert again targeted a wide-open Hyde in the flat, only to zip the ball out of reach.
Gabbert's second drive ended in full-blown disaster. After tossing off his back foot and badly underthrowing Quinton Patton, the signal-caller handed the ball to Hyde, who was pancaked by Vince Wilfork to trigger a fumble that linebacker John Simon took to the house.
Gabbert on that drive came up limping after a big hit, but showed toughness returning for a third and final march. From there, the former first-rounder finally got on track with the help of buzzy tight end Vance McDonald, who took a short pass from Gabbert 43 yards to paydirt.
Finishing 5 of 11 for 66 yards and the score, Gabbert's numbers were saved by that final throw. He also showed off his plus mobility with three rushes for 18 yards, but new coach Chip Kelly can't be happy with the streaky passing performance.
Amid whispers and innuendo that Gabbert has already won the job, Sunday's performance did little to call this fight.


Some images I managed over the holidays.
I think I managed to get out 3 times over the Christmas holiday but only managed to get a couple of imaging attempts in, one of them was on a really windy night so I were surprised to have got anything.
Firstly the international space station taken on Christmas eve, there was a gap in the clouds at just the right time so into the field I went with my Canon 1000D & tripod. It were pretty breezy but I'm pleased to have got it as it was my first attempt.
I first had another go at Orion as I've been struggling with diffraction spikes appearing, which would be fine if I were using the Newtonian but for these next few targets I were using the C80ED refractor so there shouldn't be any.
I was quite pleased with the Orion nebula even though there are spikes still showing, these are still unguided images due to the wind we were having so I doubt very much if it were guiding then it wouldn't have made much difference. Still a target I hope to do again, on this target I were using the modified Canon 1000D.
Same set up was also used for the Pleaides, this is my third attempt at it as these spikes are still showing but it's still the best I've managed so far but isn't going to be winning any awards.
My first go at the crab nebula, I really needed to use something with a longer focal length as the C80ED just isn't up to it really but as it was still hellish windy I decided that was the only thing I could use.
I know both images look the same size but I can assure you all the top one was taken using a 2X Barlow.
As the nights have been cloudy I did a re-process of the Elephants trunk nebula I took using the C80ED modified 1000D at it's native F7.5 as I didn't have a reducer for it back then.
Finally a short video I did when I were out on the 27th/28th December of the imaging I did, you can see it was quite breezy when I was recording Jupiter & it had died down by then.
Re: Some images I managed over the holidays.


In clipping mask, create a Brightness/Contrast adjustment layer and set the brightness to +7 and contrast to +8 to brighten the ground and add a bit of contrast.
Then create a Vibrance adjustment layer, in clipping mask and set the vibrance to -22 to decrease it's vibrancy and make it a bit desaturated.
Now that the main scene has been created, let's add some further details into the scene.
Then add a layer mask to it and using a soft brush of low opacity between 20-36%, mask the hard edges away.
Create a third Levels adjustment layer, in clipping mask and apply the following values to make the area of the cliff away from the lighting slightly darker. Follow the same procedure as you did with the other two levels adjustment above.
Create a New layer (Cmd/Ctrl+Shift+N) above all the cliff's adjustments layers. Now take a Soft, Black Brush with Opacity 24% and Flow 51%, and paint some more shadows again as shown below. With blend mode Normal, reduce the opacity to 35%.
Now duplicate the Cliff layer, with the transform tool (Cmd/Ctrl+T) scale its size and flip horizontally (Edit > Transform > Flip horizontal). Place it on the right side and with a layer mask; hide this part of the cliff using a soft brush.
Open Peak 1 stock image from Cgtextures and pick Image 4. Go to Filters > Camera Raw Filters and increase the clarity to +19.
Using a Magic Wand (W) selection tool or whichever method you prefer, select the peaks only and import it to the main canvas above all the Cliff's layers but below the Landscape layers.
Open Image 9 from the peaks stock image. Pick the Magic Wand (W) selection tool and select the parts shown below. Import it to your main document and place it above peak 1 layer.
Then fill the layer mask with black and using a soft brush 100% opacity, bring back the result of the Levels adjustment on the part selected below by setting the Foreground colour set to White.
Group (Ctrl+G) both of these peaks layers along with all their adjustment layers together and name it as "Peaks 1".
Then create a new layer (Shift+Ctrl+N), in clipping mask above the Peaks group layer. Name this layer Shadow/Lighting. We will add some contrast to the peaks by adding some shadow and lighting using dodge and burn tool (O).
Set this layer to overlay filled with neutral color, 50% grey.
Now activate the Burn tool and with the Range set to Midtones and Exposure set to around 15%, darken the lower parts of the peaks.
Then picking the Dodge tool with the range set to Midtones and Exposure of about 15%, paint some highlights where the light source is more profound.
Remember that all these layers should be place under the Landscape 1 layer.
Now open the second peak stock and choose Quick Selection Tool (W) to make selection of the peak stock selected in red.
Open the peak stock once again and select the part shown in red using a Quick Selection Tool (W). Import it to your main document and using a Free Transform Tool, scale its size if needed and rotate it slightly at an anti-clockwise direction.
With the same peak stock, select the upper portion of the peak shown in red. Copy (C) the part and paste (V) it above the previous peak layer. With the Transform tool, scale its size accordingly.
Next, we shall create some mists where the Foreground meets the Background. Go down below the "Cliff" group and create a New Layer (Shift+Ctrl+N) above the "Mountains" group and name it as "Mist".
Decrease the opacity of this layer to 76%.
Now open the old man stock, extract him from the background using Pen Tool (P) or whichever method of extraction you are familiar with. Import it to your main scene at the top (above the "mist 2" layer) and name it as 'Old man'.
We will paint some shadows for the man. Make a new layer under the man and name it as Shadow. Use a black brush with the hardness about 30-35%, the opacity about 30% to paint the shadow behind the man.
To apply some shadow and lighting on the man, create a new layer in clipping mask. Name this layer as "Dodge/Burn". Set this layer to overlay filled with neutral color, 50% grey.
Now activate the Dodge & Burn tool (O) and with the Range set to Midtones and Exposure of about 15%, darken the part of the man's overcoat facing away from the light.
And with the Dodge tool (same range & exposure as the burn tool), brighten the front part which is facing the light.
Let's add some more details in the scene.
Open the 'River' stock. Then using a rectangular Marquee Tool select the portion of the river as shown below and import it on to your main scene above the old man group and using a free transform tool, scale its size as needed.
Apply layer mask and using a soft brush of opacity about 34%, mask away the hard edges to blend it into the scene.
After this add a layer mask to it and using a soft, brush of opacity around 40-45%, mask away the hard edges to blend it with the whole scene as indicated by the red highlights.
The river is too bright according to the whole scene, so create a Hue/Saturation adjustment layer in clipping mask to desaturate it a bit. Adjust the Saturation to -59.
Open Brook 1 stock and select the part shown in red and place it above the stream 2 layer.
Apply a Hue/Saturation adjustment layer in clipping mask and reduce the Saturation to -50 as the brook is too bright compared with the whole scene.
Next, open the 'Brook 2' stock, select the part shown in the preview below using a rectangular marquee tool, copy (C) it over your main document above the 'Brook 1' layer.
Just like we did with the previous layer, create a Levels adjustment layer in clipping mask to darken the brook layer.
Create Levels once again to brighten some part of the brook. Fill it's layer mask with black, then taking a soft brush as we did in the previous step reveal back the effect with white as the foreground color.
Open Waterfall 1 stock. I only take the part of waterfall flow.
Move it onto the left peak after scaling it down, then using a layer mask hide away the hard edges with a soft brush.
I used Levels adjustment layer with Clipping Mask to make color and brightness of waterfall fit the rest.
Open waterfall 2 stock and only take the waterfall flow part.
(Edit > Free Transform Tool).
Using layer mask, mask away the hard edges and some unwanted parts as well.
I used a Levels adjustment layer with Clipping Mask to make color and brightness of waterfall fit the rest.
Open waterfall 3 stock and select the lower part of the waterfall flowing.
With the layer mask, remove the unwanted parts with a soft brush of opacity -37% and flow -64%.
Reduce the waterfall layer's opacity to 66%.
Open the 4th waterfall stock and select the part shown in the selection. Drag it onto our main document and reduce its size (Cmd/Ctrl+T) and flip horizontally (Edit > Free Transform > Flip Horizontal).
When we have the desired position and the transform tool is still activated, right click again to show up the transforming option box. This time, choose Warp. Now try to alter the shape of the rock by warping it.
Then reduce the opacity to 60%.
Duplicate this layer and group them together. Name the group Brook 2 and change the blend mode of the group from Pass Through to Normal.
To desaturate both the layers apply a Hue/Saturation layer within the group and reduce the saturation to -61 and lightness to -7.
With the transform tool scale its size and using a layer mask, remove the hard edges.
Then select both the village layers and group them together. Name this group as Village and change the blend mode of the group from Pass Through to Normal.
I applied Levels on both the layers to darken the houses as they are hidden away from the light source.
Take the castle stock now and select the castle part only. Place it onto our main document and scale its size with the free transform tool.
Next, go to Edit > Transform > Flip horizontal.
Group (Cmd/Ctrl+G) both the castle layers together and change the blend mode of the group to Normal from Pass Through.
I then applied two Curves adjustment. The first one is to darken some part of the castle where it should be dark as its facing away from the light.
Open the Pathway stock and select the path. Drag it onto our main document, then reduce its size (Cmd/Ctrl+T) .
We will now add some shadow and lighting over the whole scene. So create a new layer above all the other layers, set this layer to overlay filled with neutral color, 50% grey.
Now activate the Dodge & Burn tool (O) and with the Range set to Midtones and Exposure of about 17%, paint some shadows and highlights.
Now open the bottle stock, extract it from the background with the Quick Selection Tool (W) and place it above the 'Shadow/Lighting' layer.
Duplicate the bottle layer and change the bottom one to Multiply and the top layer to Screen blend mode. It should look the same as Normal mode.
Then create a Hue/Saturation layer in clipping mask above the multiply mode bottle and make Lightness to -100.
Fill its layer mask with black (Alt+Backspace), and the with the foreground color set to white, paint back in where we want the shadows of the bottle, around the mouth and thick parts of the glass.
Now select the top bottle layer (which is set on screen mode) and apply Inner Shadow layer style to it to create some lighting effects.
Make a new layer below the first bottle layer (the one on multiply mode) and name it 'Shadows'. We will paint some shadows for the bottle now.
Make sure to select the "Current & Below" option when cloning.
Make another new layer above the clone tool one and name it lighting. We will now paint some lighting effects on the bottle.
Using a soft brush with opacity -38%, Flow – 41% and varying between these two colours #ebe2ae, # b2a278, paint along the edges of the bottle where light is falling on it.
Change the blend mode to Overlay — 100% Opacity.
Create a new layer again (set as clipping mask) and name it 'lighting 2'. And then with a soft brush, colour #4e796f, paint inside the bottle. Brush opacity and flow should be around 35-40%.
Change the blend mode to Screen-69%.
Change the blend mode to Multiply and reduce the opacity to 63%.
Create a new layer again, name it 'lighting 3'.
Change the blend mode to Screen – 100%.
Then change its blend mode to Multiply – 100%.
Then fill its layer mask with colour black and taking a white brush, erase on these parts to reveal back the result of the photo filter adjustment.
Set its blend mode to Hard Light and reduce the opacity to 51%.
I then applied an Exposure adjustment to brighten only the dark parts of the bottle.
Fill its layer mask with colour black and taking a white brush, erase on these parts to reveal back the effect of the Exposure layer.
Add another Curves layer to darken the bottle and then filling its layer mask with black, pick a white brush and erase on these parts of the bottle to reveal back the darken effect of the Curves layer.
I painted some more shadows on the lower part of the bottle. Create a new layer in clipping mask and name it 'Bottle Shadow', then take a black brush, hardness about 40% and opacity 25%, paint some shadows on the lower part of the bottle.
Then change the blend mode to Soft Light with Opacity – 64%.
Ok then, go down to your layers panel and duplicate (Cmd/Ctrl+J) the landscape, cliff and mountains groups. Place them on top of the bottle, and clip it above the 'bottle shadow' layer.
Merge (Cmd/Ctrl+E) all these groups together and then hit Cmd/Ctrl+B on the keyboard to bring up the Color Balance adjustment. Apply the following values.
Then change the blend mode to Soft Light and decrease the opacity to 34%.
This is to show that the bottle is transparent and the background landscapes are visible through the glass.
Apply a layer mask and erase the lower and upper part of the texture; then change the blend mode to Multiply – 25%.
Open the 2nd moss texture and drag it on top of the first moss texture. With the transform tool scale its size and place it on the mouth of the bottle. Using the Warp tool, change the shape as that of the bottle's mouth.
Using a layer mask, erase the right part of the texture with a soft brush. Then change the blend mode to Multiply – 44%.
Duplicate the second texture layer and place it like shown in the image below.
With the Warp tool, tweak its shape like the bottle's and using a layer mask, erase the unwanted part with a soft brush of opacity about 50%.
Change the blend mode to Multiply – 32%.
Go to Edit > Transform > Flip Vertical and with the transform tool still activated, use the Warp tool to transform its shape. Use a layer mask to erase the hard edges with a soft brush of low opacity (35%).
Desaturate it by applying Hue/Saturation layer, in clipping mask.
Change the blend mode to Soft Light – 100%.
Duplicate the texture 3 layer again and put it over the bottle's body like shown below. Again use the Warp tool and tweak its shape to fit the size of the bottle.
Apply a layer mask and hide the unwanted parts with a low opacity soft brush. Then create a Hue/saturation layer in clipping mask and use the same values as with the previous layer.
Hue: +18, Saturation: – 16, Lightness -27.
Alter the blend mode to Soft Light – 100%.
Now group all the three texture layers as well as the duplicated layers. Name the group 'Texture' and reduce the group's opacity to 34%.
Remember to place this texture group within the bottle layers group.
We will now create a scene inside the bottle so open the magical sky stock and select the sky part. Drag it on to your main document above the bottle group and with the transform tool scale its size.
Place it on top of the bottle, in clipping mask. Now create a layer mask for it, we will erase the unwanted part of the sky.
Create a new group (Cmd/Ctrl+G) above the magical sky name it "Underwater" and change its blend mode to Normal from Pass Through.
Open the Underwater stock, drag it onto the main scene, and place it on top of the bottle within the underwater group.
Go to Edit > Transform > Distort and arrange it according to the perspective of the bottle. While distorting, hold the Cmd /Ctrl key on your keyboard and press a point on the corner to distort it freely and smoothly.
Take the underwater stock again and place it on the left side of the bottle. Distort the water as we did in the previous step and then using a layer mask, remove the hard edges with a soft brush.
Select both the underwater layers, duplicate it and then merge (Cmd/Ctrl+E) them together.
I took only the bottom part of the underwater, so use a layer mask to delete the upper part.
Set this layer to Multiply – 29%, to make the water a bit darker.
First desaturate the water by applying a Hue/Saturation layer.
Then create a Brightness/Contrast layer to reduce the brightness of the bottom section of the water. On its layer mask, brush away the effect from the middle section.
I wanted to add a bit of magical touch inside the bottle scene.
Open the starry fractal stock, resize it accordingly with the transform tool and place it on the sky part. Then change it into Screen blend mode.
Now load the starlight brushes and select the brush shown in the preset. With a white colour, opacity – 100%, paint some over the sky as well as on the underwater scene.
Take the moon stock, go to Edit > Transform > Flip Horizontal and place it on the water scene.
We will now apply an Inner Glow and Outer Glow layer style to the bottom moon.
Create a Brightness/Contrast layer, in clipping mask to darken the part of the moon where it meets with the water split. On this layer mask, use a soft black brush to erase around the lower part of moon area to keep the brightness there.
Then apply Inner Glow and Outer Glow layer styles to the top moon layer as well.
Group all of the moon layers as well as the water splash layer and name the group "Moon".
We will now paint some lighting for the water reflection falling on the ground.
Go down to the bottle group and create two new layers below the first bottle layer (the one on multiply mode) but above the Shadow layer.
On the first layer, taking a soft brush of 100% opacity, paint some reflection under the bottle and on the ground near it with colour #277ca7.
Then on the second layer, paint soft colour of #a9e2ff on the ground where the light of the water should be falling.
Change the blend mode to Overlay – 100%.
To make it seem realistic that the scene is actually inside the bottle, select all the bottle layers shown below, duplicate it and bring them to the top of all the layers.
Merge them all together and name it 'Bottle copy'.
Open 'Ivy 1' and drag it to the scene and with the transform tool, resize it and position it on the mouth of the bottle.
Then merge (Cmd/Ctrl+E) both the layers and name it 'ivy 1'.
Now create a new layer below the ivy, name it 'shadow'. We will now paint some subtle shadows using a soft, black brush with Opacity – 15% and Flow –12% under the ivy.
To create some lighting and shadows for it, I applied an Inner Shadow and Drop shadow layer style.
To remove the drop shadow effect from the unwanted parts, right-click on the ivy layer and select 'Create Layers'.
Reduce the Drop Shadow layer's Opacity to 75%.
I created a Levels adjustment on the ivy and applied the following changes on the Blues channel to give it a bit of light bluish color.
Create a second Levels adjustment to brighten the darken leaves of the ivy. Fill its layer mask with colour black and using a soft white brush, bring back the effect on the dark leaves.
Desaturate the leaves by adding a Hue/saturation layer.
I added some contrast by applying some shadow and lighting.
So create two layers of Levels adjustment, one for lighting and the other for shadows.
Group the ivy and its adjustment together and name it 'Ivy1'.
To add further lighting effect on the ivy, create a new layer above the group and set it as a clipping mask. Pick soft colour #bda95d and paint along the edges of the ivy where the light is coming from. Set the brush's opacity – 26% and flow – 20%.
Change the blend mode to Color Dodge – 100%.
I used two Curves adjustment layers to add more contrast and match the lightness of the ivies with the rest.
Create a new layer below the ivy 2's first layer within the group. Paint some shadows under the ivy with a black brush of opacity and hardness of about 25%.
I then applied a Bevel & Emboss layer style on the whole group to create some lighting. Right click on the group and select 'create layers'. Then using the layer mask, erase the effect of the layer style from the inner part of the ivies.
Create a new layer above the group and set it as clipping mask. Pick a soft colour #d4941a and paint some lighting along the edges of the ivies. Use the brush opacity as 29%.
Change the blend mode to Color Dodge – 40%.
Now take Ivy 3 and place it on the bottle above ivy 2. With the transform tool resize it and then use the Warp tool to change its shape.
Using a layer mask, erase the unwanted part of the ivy and then apply a Bevel & Emboss layer style to it.
Continue adding the ivies on the bottle using the same method of warping, using layer, etc. I used 22 layers for this effect.
Open the Ivy 4 stock and add it on the bottle. Then group all these layers of ivies and name it 'Ivy 3'.
I used two Curves layer to adjust the lighting and shadows.
To enhance the lighting on the ivies even more, create a new layer above the group in clipping mask, name it 'Lighting effect' and choose the colour #bda95d to paint along the edges of the ivies with a soft brush of opacity – 27%.
Then set the blend mode to Color Dodge – 100%.
Taking ivy 3, add it to the left side of the lower part of the bottle. Then apply a Levels adjustment to darken, in clipping mask to darken it.
I then applied a Bevel & Emboss layer style to it. Right click on the layer and then select 'Create layers'.
Merge (Cmd/Ctrl+E) all of these layers and name it 'Bottom ivy'.
Then create a new layer under the bottom ivy layer, we will now paint some shadows. Take a soft black brush of Opacity – 23% and Flow – 21% and paint the shadows, if you feel it's too dark, bring down the opacity of the layer to 65%.
Group both these layers together and name it 'Bottom ivy'.
I added a Hue/Saturation and Color Balance to match them with the rest.
Group all of them together and name it 'Bottom ivy 2'.
Add a Hue/Saturation adjustment layer to reduce its saturation.
Create a Levels adjustment to add contrast and darken the ivies.
To make some light effects, I created a new layer in clipping mask for the above group.
With colour #e2dabd, paint over the part of the ivy on the left. Keep the brush's opacity very low, about 26%. Change the blend mode to Overlay – 100%.
Create more lighting by applying an Inner Shadow layer style for the whole group.
Then by right clicking on the layer style, select 'Create layer' and using a layer mask, erase the inner shadow effect from the unwanted parts where it must be dark.
Now create a layer below the 'bottom ivy' group. Load the Tendrils brushes, and with the colour # 2c3e26, paint some tendrils under all the ivies to give some effects of dried ivies. I used 11 layers for this effect.
Finally, group all these ivies group together, and then create a new layer above, in clipping mask. This is to recreate the light of the water and night sky falling on the ivies.
Then change the blend mode to Color Dodge – 32%.
Create another new layer (set as clipping mask). Pick colour #26556d, and paint over the ivies on the front part of the bottle to give it a slightly blue hue. For this keep the brush opacity 20% and then change the blend mode to Overlay.
Duplicate this layer and change the mode to Color Dodge.
On a new layer again, then with the brush colour #d6e7ef paint over the same part of the ivies to enhance the lighting.
Then to enhance the blue colour inside the bottle, I applied a Color Balance layer.
I then created a Curves layer, to make the blue more intense from the same part of the bottle.
Create a new layer on the top and name it 'Bottle Highlights'. Set this layer to overlay filled with neutral color, 50% grey.
Then taking the Dodge tool (O), of exposure – 17%, paint some highlights on the water, along the edges of the moon and on the ivies as well. And also on the ground.
Add some birds using the birds brush and pick the first one. On a new layer, paint some birds with colour black on the left of the scene (the horizon area).
In this step we will add some light to the whole scene, create a new layer above the birds and fill it with black.
Then go to Filter > Render > Lens Flare. Choose 50-300mm zoom set to about 90% brightness. Set this flare layer to Screen.
Then using a layer mask, erase the red spot from the ivies.
I wanted to create a vignette effect, so create a new layer and go to Edit > Fill and fill it with the colour black.
Then make a layer mask for it and using a soft big brush, click on the center several times so as to make the effect visible only around the edges of the scene.
Decrease the opacity of this layer to 54%.
Moving on to the final effects, create a merge copy of all the layers by hitting Cmd/Ctrl+Alt+Shift+E. Name this layer 'Final stamp', then convert it to Smart Object.
Now go to Image >Adjustments >Variations to change the colour of the whole scene. First click on 'More Blue', then on 'More Cyan'. Click ok.
Then to sharpen the image, go to Filters > Sharpen > Smart Sharpen. Keep the Amount: 131 and Radius: 1.3px.
Add Curves adjustment again to brighten some part of the scene. Fill the layer mask with black and use a white brush to bring back the brightening effect from the sky, mountains and the surrounding areas near the bottle.
Then apply a Color Lookup adjustment, select 'filmstock_50' and decrease the opacity to 15%.
Group all these adjustments together and name it 'Final Adjustments'.
And finally, select the topmost layer and hit Cmd/Ctrl+Shift+Alt+E to merge all the visible layers into a single layer.
Name this layer, say Camera Raw Filter. Go to Filter > Camera Raw. Prior applying the filter, convert this layer into smart object by going to layer > smart objects > convert to smart object.
Thank you for reading, I hope that you've learned something new from my tutorial.
Feel free to share your outcomes, suggestions and feedback in the comment box below.
It means that the .exe file is missing. Sometimes it happens because you have had a previous version of it and accidentally deleted it. But maybe you are installing it from a CD-ROM and it doesn't have the file or it is located in another folder. Try to open the folder ahead i.e.: C:users-AppDataLocalAdobeOOBEPDAppDECore and see if there is any exe file. Another reason could be the path's name.
Awesome tutorial. I like the way these tutorials explain the things… specially the screenshots.
Thank you for sharing this I have learned a lot and will use some of it in my own compositions.


His rich voice, comic timing and touching anxiety over the blossoming relationship between his daughter Miranda and the shipwrecked Ferdinand make him poignantly humane, as does his evident regret as he relinquishes his power.
Roger Allam is Prospero. He is so natural that he commands the stage without raising his voice.
With his perfect vocalisation – he's thought about every single phrase he utters – and unforced baritonal melodiousness, he commands the stage as well as the elements (up to a point), before joining in the joyous masque for Miranda's wedding to Joshua James's hilarious, posh boy Ferdinand; he trips the light fantastic as well as he speaks it.
The great Roger Allam won an Olivier award for his magnificent performance as Falstaff at the Globe and this most versatile and humane of actors is in equally fine form here. Prospero can sometimes seem a testy, tedious old sage but Allam characteristically discovers a great deal of humour in the role, along with piercing moments of tenderness.
Allam's natural ease with Shakespeare's language opens up boundless opportunities for his character. One minute the audience is treated to a tortured Prospero, quivering with the desire to avenge his wrongful deposal; the next he eases into familiar adoration and affection for his sole offspring Miranda (Jessie Buckley), engaging in a string of sarcastic exchanges which establish the strong but affable bond between the pair.
With his arsenal of rolled eyes, awkward silences, exasperated sighs, and helpless looks, Allam finds a novel, funny and very human take on the oft stick-in-the-mud-ish Prospero.
Roger Allam brings refreshing humour to his portrayal of Shakespeare's vengeful sorcerer.
Allam weighs every word exquisitely. He has the ability to make a line as simple as "Fairly spoke" vibrate with meaning — in this case allowing wryness to chafe against humanity.
In the capable hands of Roger Allam, Prospero's accomplishment in the magical arts and preoccupation with revenge seem an almost reasonable approach to his predicament – the way in which he plays the puppeteer is nicely understated.
Allam's Prospero is absolutely steady in its musicality, its stillness, its projection of a wisdom that can contain paradises and purgatories, storms by sea and storms of the heart.
Prospero is as much a signature role as Hamlet and Allam conveys the weariness behind the histrionic mastery and the calm to which it will be a prelude. He never milks the language which represents Shakespeare's late manner at its most opalescent and baroque. But the steadiness of the variations on the iambic pentameter have a music that draws us into the heart of the mystery of this meaning-of-life play.
And when Allam does surrender to a barbaric splendour of emotion, the rhetoric makes you realise – as you should with Prospero – the King Lear inside this wizard and playmaker.
The moment when Allam breaks his staff – the moment when he drowns his book as an act of renunciation – is executed with a sudden, shocking brilliance.


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Home Products Black Wings V Edited by S. T. Joshi Signed and Numbered Slipcased Limited Hardcover
Black Wings V Edited by S. T. Joshi Signed and Numbered Slipcased Limited Hardcover
This fifth instalment of S. T. Joshi's critically acclaimed Black Wings series features twenty stories that use H. P. Lovecraft's mythos as the basis for imaginative ventures into the weird and terrifying. One of the central themes in Lovecraft's work is the problematical nature of science in human affairs, and in this volume we find stories by Caitlín R. Kiernan, Lynne Jamneck, and Donald R. Burleson where scientists come face to face with the appalling implications of their discoveries.
Lovecraft was a master of the "sense of place," inventing imaginary towns in New England with a rich and sinister history stretching back centuries. In this book, Jonathan Thomas, W. H. Pugmire, and Sunni K Brock bring Lovecraft's towns of Arkham, Kingsport, and Innsmouth to life. Sam Gafford, Darrell Schweitzer, and Stephen Woodworth evoke terror in other corners of the American continent, while British writers David Hambling and John Reppion find Lovecraftian horror in little-known towns in England. The world-building that led Lovecraft to fashion an entire universe set in the realm of dreams is duplicated in tales by Cody Goodfellow, Mark Howard Jones, and Donald Tyson.
Madness is always an occupational hazard of the "searchers after horror" who populate Lovecraft's tales. In this volume, stories by Robert H. Waugh, Nicole Cushing, and Nancy Kilpatrick searingly display the psychological aberrations of characters as they encounter the bizarre. Lovecraft himself has become an iconic character, and his gaunt, lantern-jawed figure stalks the tales by Jason C. Eckhardt and Mollie L. Burleson. This volume concludes, as did its predecessor, with a long poem by Wade German, one of the most dynamic figures in a remarkable renaissance of weird poetry inspired by the work of Lovecraft and his colleagues.
Black Wings V can take its place as a pioneering anthology that shows how the work of H. P. Lovecraft is inexhaustibly rich in the inspiration it can provide to contemporary writers of weird fiction.
Collections: Lovecraftian Horror and Weird Fiction, Out of Stock Products
Category: black wings, cosmic horror, lovecraft, lovecraftian horror, weird fiction
Type: Out of Stock Product
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You may get an invitation for the new soon to be launched Just Action game by going to justaction.com and signing up. There will be a very limited number of invitations released per month to former players, Facebook page fans, and Twitter followers so get in soon. I will keep you informed on progress as we move closer to launch date.


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CBS's Rodriguez: Critics 'Having Fun' with Palin's Hand Notes
Published: 2/8/2010 12:58 PM ET
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By Kyle Drennen
Senior News Analyst
While discussing Sarah Palin's Saturday Tea Party Convention speech with political analyst John Dickerson on Monday's CBS Early Show, co-host Maggie Rodriguez remarked: "She was really scrutinized because she wrote those notes on her hand during her speech....I want to show real quick....boy, are her critics having fun with that one."
As Rodriguez mentioned the incident, a headline on screen read: "Helping Hand? Palin Seen Glancing At Notes On Palm." Dickerson was forgiving: "Well, we all face a little difficulty getting our words together in public moments," but added: "I think this will be the kind of thing the Democrats will use to pick at her, you know, the notion is that basically she doesn't have the capabilities to be president." Dickerson concluded: "I don't think in the long term, though, this is - will cause her too much trouble."
While Rodriguez made sure to point out Palin's gaffe to viewers, during an interview last February, Rodriguez glossed over an obvious gaffe made by Vice President Joe Biden.
On the February 25, 2009 Early Show, Rodriguez asked about the transparency of the newly passed stimulus bill, Biden explained: "We're going to put every bit of this transparently up on a website." When Rodriguez later asked for the name of the site, a confused Biden replied: "You know I'm embarrassed, you know the website number. I - you know I should have it in front of me and I don't. I'm - I'm - I'm actually embarrassed." Rodriguez attempted to let him off the hook: "Alright. I'm going to call your office directly to and get it later." Biden finally found the website name: "Well, excuse me, you know, it is - it is recovery.gov."
Here is a full transcript of Rodriguez's discussion with Dickerson:
MAGGIE RODRIGUEZ: Joining us now from Washington, CBS News political analyst John Dickerson. Good morning, John.
JOHN DICKERSON: Good morning, Maggie.
RODRIGUEZ: President Obama bringing in the Republicans to hammer out health care reform. Could this really work? Is it realistic to think that they could meet in the middle?
DICKERSON: Well, it's - it's not that realistic after what we've seen in Washington. This is a bit of a show. But it's an effort for the President to revive health care reform, which has been stalled a little bit. This is a moment where he can talk about this on a public stage again and maybe build a case against Republicans if health care doesn't pass. He can he say, look, we tried and they just didn't have any solutions.
MAGGIE RODRIGUEZ: I want to talk about someone who could potentially challenge the President in the next election, Sarah Palin. Let me play for you a bit of what she said at the Tea Party Convention this weekend and then afterwards in an interview.
SARAH PALIN: The Obama/Pelosi/Reid agenda, it's going to leave us less secure, more in debt, and more under the thumb of big government. And that is out of touch and is out of date.
CHRIS WALLACE: Why wouldn't you run for president?
PALIN: I would, I would if I believe that that is the right thing to do for our country and for the Palin family. Certainly, I would do so.
WALLACE: You're basically saying you will consider it.
PALIN: I think that it would be absurd to not consider what it is that I can potentially do to help our country.
RODRIGUEZ: Why doesn't she just say 'I'm running in 2012'?
JOHN DICKERSON: Well, because she may still decide not to run. And it's always better to kind of keep your options open and if she said she were running, then everything she says raises to a higher level. There's a little bit more scrutiny. She's being scrutinized plenty enough already, but it would raise things up a little bit more. Now she gets to sort of have it all ways.
RODRIGUEZ: Yeah, and she was really scrutinized because she wrote those notes on her hand during her speech. I don't know if our viewers saw that. I want to show real quick, she had energy, budget, tax, and some other notes on her hand. And people immediately criticized her saying that she new her speech like the back of her hand. Do you think that's a fair criticism?
[ON-SCREEN HEADLINE: Helping Hand? Palin Seen Glancing At Notes On Palm]
DICKERSON: Well, we all face a little difficulty getting our words together in public moments. I think this will be the kind of thing the Democrats will use to pick at her, you know, the notion is that basically she doesn't have the capabilities to be president. And, you know, this is a way to bedevil her. I don't think in the long term, though, this is - will cause her too much trouble.
RODRIGUEZ: But, boy, are her critics having fun with that one. John Dickerson. Thank you so much, John.
-Kyle Drennen is a news analyst at the Media Research Center.
Bozell Slams Hillary's Shills in Media: 'They Are Covering for' Her
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College of Performing Arts>
Jazz>
Performance >
Creative artists must be world citizens, and The New School for Jazz and Contemporary Music seeks to leverage its access and opportunity both domestically and internationally on behalf of its students to create awareness, participation, learning and experience.
The GRAMMY Museum's University Affiliates program provides like-minded educational institutions with access to the rich musical history and archives of the GRAMMY Museum for educational purposes, curriculum resources, research programs, internship opportunities, professional development seminars, collaborative marketing and promotions, and project-based learning.
International Association of School of Jazz
Founding membership in the International Association of Schools of Jazz (1989): The IASJ is the only world based jazz education organization, now encompassing more than 80 member schools from over 35 countries. Annual faculty and student participation in IASJ meetings hosted by member schools rotating through different countries throughout the world has brought NSJCM tremendous benefits of visibility, global thinking and ideas, student recruitment, faculty and student professional and personal development, and a greatly expanded international network of contacts.
Walker Hotel Greenwich Village
Walker Hotel Greenwich Village and the School of Jazz and Contemporary Music collaborate to showcase student performances in the hotel's lobby lounge, The Parlour at Society Cafe. The partnership began when the hotel borrowed a Yamaha piano from The New School for its Jazz Dinner Series with Smalls Jazz Club during the winter holidays. Students would come over between classes to practice on the piano when it was sitting unused in the hotel lobby. Once the Jazz Dinner Series was complete, the two organization worked with each other to form a musical program together.
Bern Jazz Festival
Since 2009, the School of Jazz and Contemporary Music has enjoyed an exciting collaboration with the Bern International Jazz Festival. Every spring, six New School student ensembles travel to Switzerland to play three sets a night for five nights of the festival. This is a wonderful learning experience for young musicians — traveling abroad, working in front of an enthusiastic and sophisticated audience, and interacting with world-renowned artists. The program has become a cornerstone of the global learning experience students receive, and is often the first overseas gig of their career.
City Parks Foundation
City Parks Foundation is dedicated to invigorating and transforming parks into dynamic, vibrant centrs of urban life through sports, arts, community buildings and education program for all New Yorkers. The School of Jazz and Contemporary Music partners through various musical concerts, most notably the Charlie Parker Jazz Festival, where the finest musicians are assembled who reflect Charlie Parker's' musical individuality and genius to promote appreciation for this highly influential and world-renowned artist. In 2017 we collaborated to put on our biggest event yet doing "Bird with Strings" featuring students and faculty from the College of Performing Arts.
Union Square Partnership
It wouldn't be summer in New York City without jazz music playing in the open air. New York City Parks teams up with the School of Jazz and Contemporary Music every summer to present weekly concerts at "Summer in the Square" in Union Square Park. This is a paid opportunity where students get to organize, prepare for, and lead out professional public concerts for a wide variety of audiences.
Take Me To The River is an award-winning full-length documentary film directed by award-winning filmmaker and GRAMMY-nominated producer Martin Shore. The film celebrates the intergenerational, cross-cultural and gender inclusive musical influence of Memphis in the face of pervasive discrimination and segregation, and has been a catalyst for a global movement that has sparked community building through music by promoting tolerance and respect for all people and cultures. The film was an official selection at over 30 film festivals globally, the Audience Award Winner at the South by Southwest Film Festival and the Best Feature Film at the Raindance International Film Festival.
The Take Me To The River Education Initiative seeks to inspire a deeper understanding of history, culture, and the meaning of intergenerational and cross-cultural collaboration. The film is brought directly to schools with screenings, master classes and Q&A sessions, interacting directly with students, teachers and the community to bring history to life. Through this The School of Jazz and Contemporary Music put on a panel and concert during GRAMMY Week 2018 featuring Al Bell, William Bell and Bobby Rush performing with students from the school. In addition the Take Me To The River history course was co-developed and launches in the Fall 2018.
The School of Jazz and Contemporary Music partnered with D'Addario through their education department to provide access for students through D'Addario LIVE. D'Addario LIVE is an interactive educational event and content series that enlightens, inspires, and supports the next generation of players by deconstructing the creative and technical processes of bands and musicians. Additionally The School of Jazz and Contemporary Music has one of six musial products vending machines from D'Addario.
Conn-Selmer Division of Education
The Conn-Selmer School Partnership Program offers schools, districts, community arts organizations, colleges, and universities the opportunity to partner with the world's largest manufacturer of American made band and orchestra instruments. Through this the school has access to in-kind grant opportunities, artist support, discounted instruments and access to events and professional development.
A leading consumer electronics manufacturer provides Casio Artist clinics to students and has donated a Grand Hybrid piano to the school. In addition our keyboard lab is outfitted with Casio keyboards.
The Center for Jazz Studies
The School of Jazz and Contemporary Music's 2009 agreement with the Conservatory of Tel Aviv continues a deep and historical connection with Israeli jazz. Students at CJS are provided with two years of School of Jazz and Contemporary Music curriculum taught at the Israel conservatory partner, with students transferring to complete the BFA in New York. As a result, the School of Jazz and Contemporary Music enrolls the finest jazz musicians from Israel, supporting an Israeli jazz movement that is recognized worldwide as a new artistic vanguard in jazz.
Veneto Jazz Workshop
Travel to Italy in July for the Venezia Jazz Festival. As part of the festival, the School of Jazz and Contemporary Music and Veneto Jazz co-produce an eight-day workshop in beautiful Chioggia, Italy. The workshop includes daily instrumental master classes, three levels of theory classes, several special topics, and rehearsals. The program culminates in a series of student big band and ensemble performances. Under the musical direction of New School faculty member Rory Stuart, the program boasts an exciting lineup of teachers. 2018 faculty include Billy Harper (saxophone); Amy London (vocals); Rory Stuart (guitar); Armen Donelian (piano); and Jeff Hirshfield (drums); joined by Italian bass teacher Stefano Senni and Italian Big Band instructor Ambrogio De Palma
The workshop is part of the annual Venezia Jazz Festival. In addition to pursuing their musical studies, participants attend festival performances by their teachers and other well-known artists, take part in evening jam sessions at local venues, and meet new friends from around the world.


> This is a stale lock cause by abnormal exit, i.e. segfault.
back to normal.  Whoa!  You're so smart!
That sure beats reformatting the box.
> to the corrupt package so that I can get the segfault fixed.
with the database, then I got SEGV after that.
to steal a couple ideas from that?


text:
Phạm Văn Thành can refer to:

 Phạm Văn Thành (footballer) (born 1994), Vietnamese footballer
 Phạm Văn Thành (swimmer) (born 1958), Vietnamese swimmer

redpajama_set_name: RedPajamaWikipedia


'Insidious: Chapter 3' is now in production, and it turns out the film will take place before events in the first two 'Insidious' movies.
Focus Features has moved 'Insidious Chapter 3' to May 2015, while also bumping back Tarsem Singh's sci-fi thriller 'Selfless' by a couple months.
Actor Dermot Mulroney will take over for Patrick Wilson as the male lead of 'Insidious 3', which enters production this July.
Josh Brolin joins 'Hail Caesar!', Kristen Wiig plans to direct, 'Hitman: Agent 47' nabs a release date, 'Insidious: Chapter 3' casts its lead and more!
'Insidious 1 & 2' screenwriter Leigh Whannell will take over directing duties on the the third installment, which James Wan is producing only.
Leigh Whannell talks about 'Insidious 3', which will introduce a new story and characters, but bring back ghost hunters Specs and Tucker.
Producer Jason Blum sees an 'Insidious' TV series as a possibility, and says the 'Amityville Horror' found footage project is still alive.
The ghostly world of 'Insidious' will return in April 2015 with 'Insidious: Chapter 3,' but can the series succeed without director James Wan?
'Insidious: Chapter 3' has entered the early stages of development (despite previous reports to the contrary), but will James Wan return as director?


Belzona 1591 Ceramic XHT is replaced by Belzona 1593. Perspect Benelux is authorised distributor for Belzona in The Netherlands, Belgium and Luxembourgh. Contact +31 (0) 78 303 19 20. Please contact Perspect Benelux for further information on the replacement of Belzona 1591, Belzona 1593.


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Q: jQuery replicating attributes of one table's headers to all table data cells in another table I have the following jQuery which will allow me to update the widths and classes from the header of one table onto the data cells of another.
Currently the following only updates the first row in the other table but i need it to update all the widths and classes in the other table for consistency :(
$($orginalHeaders).each(function(index) {
    $headWidth = $(this).attr('width');
    $headClass = $(this).attr('class');
    $('#quotations').find('tbody tr td:eq(' + index + ')').attr({
        width: $headWidth,
        class: $headClass
    });
});

A: Try
$('#quotations tbody tr').each(function(){
    $(this).find('td:eq(' + index + ')').css('width', $headWidth).addClass($headClass);
});

redpajama_set_name: RedPajamaStackExchange


A common challenge facing firms is how to effectively embed strategic business-IT alignment into daily routines at the operational level. Based on our findings from following an alignment project in a global aerospace industry leader for almost two years, we put forward a framework, which we call OperA, for establishing operational level business-IT alignment. This framework has three dimensions -knowledge, communication and trust, and identifies alignment paths for three strategic situations faced by firms: major planned changes, regular operations and major unplanned changes. Each path is anchored in a different dimension of the framework. The global aerospace case shows how different mechanisms used for each path improve business processes and enable successful change. The case also revealed frequent pitfalls and dependencies between the dimensions and associated mechanisms that top managers should be aware of as they strive to achieve operational business-IT alignment.
Wagner, Heinz-Theo and Weitzel, Tim (2012) "How to Achieve Operational Business-IT Alignment: Insights from a Global Aerospace Firm," MIS Quarterly Executive: Vol. 11 : Iss. 1 , Article 5.


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U.S. consumer agency sues Freedom Debt Relief for misleading consumers
Pete Schroeder
WASHINGTON (Reuters) - The U.S. Consumer Financial Protection Bureau said on Wednesday it filed a lawsuit against Freedom Debt Relief, the largest U.S. debt-settlement services provider, and its co-Chief Executive Andrew Housser, alleging that they deceived consumers.
The CFPB said its suit alleges "that Freedom charges consumers without settling their debts as promised, makes customers negotiate their own settlements, misleads them about its fees and the reach of its services and fails to inform them of their rights to funds they deposited with the company."
The agency is also seeking compensation for affected consumers, civil penalties, and an injunction against the San Mateo, California-based company and Housser to end their unlawful conduct, it said in a statement.
Freedom Debt Relief did not immediately respond to a request for comment.
The CFPB accused the company of offering to negotiate debt settlements on behalf of consumers while knowing that some companies refuse to negotiate with debt-settlement companies as third parties. Furthermore, the CFPB alleged that the company leads consumers to believe its negotiators will work on behalf of consumers, even when some consumers merely receive "coaching" before having to negotiate on their own.
"Freedom took advantage of vulnerable consumers who turned to the company for help getting out of debt," said CFPB Director Richard Cordray. "Freedom deceived consumers about its clout with creditors that it knows do not negotiate with debt-settlement companies, made some customers negotiate on their own, and misled consumers about its fees and their accounts. Today's lawsuit seeks to stop the deception and get compensation for consumers Freedom cheated."
The CFPB also said the company misleads consumers on its fees by claiming payment is only required when it negotiates a settlement. Rather, the CFPB said the company charges a fee when creditors stop collection efforts even without a settlement, or when the company took no action on the consumer's account.
Reporting by Eric Walsh and Pete Schroeder; Editing by David Gregorio


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Sleeping With Sirens - CTRL + ALT + DEL Tour
Sleeping With Sirens made their to Chicago's famous House of Blues on July 14th, 2022. The CTRL + ALT + DEL Tour featured a full line up with openers: Garzi, Point North, and Don Broco. It was a packed house from front to back and bottom to top.
There was no shortage of energy for all the openers. Garzi got the night started with his alt-rock influence that the crowd vibed with from beginning to end. One of his most energetic performances came from "Sick of Me" that even featured Travis Barker on its release. Point North was up next and kept the crowd going with their pop-punk feel. One of my favorites from their set was "Into The Dark" which even features Sleeping With Siren's Kellin Quinn. Don Broco was up next who had the crowd JUMPING for the majority of their set. Each song packed a powerful punch with heavy drops and amazing vocals from Rob Damiani, who's drip was unmatched.
Sleeping With Sirens stepped up to the stage and was greeted with a huge uproar from the crowd. Complete with crowd surfers and pits, there was no shortage of energy from the crowd. SWS started the night off with "Break Me Down" of their latest album "How It Feels To Be Lost." One of the most memorable songs I feel of the night was their cover of Goo Goo Dolls "Iris" which delivered soft yet powerful vocals from Kellin. They also live debut their single "Crosses" which released only a few weeks ago. SWS then closed the night off with one of their most popular songs "If You Can't Hang." Even without lead guitarist Jack Fowler, who recently left the band to pursue other ventures, SWS didn't skip a beat.
Review & Photo by: Connor Hannan


The Basics section of the Academy is designed to introduce community microgrids: what they are, why they are valuable, and how they work.
What is a Microgrid: Provides a basic definition and reviews various types and configurations of microgrids.
Benefits: Reviews four key microgrid benefits: power reliability, economic advantages, grid resilience and environmental improvement.
Technologies: Introduces specific generation, storage and control systems for microgrids.


dreamcounselor.ms » Can Dreams Give You a Heads Up About Your Health?
You have a tool within you can access anytime – your dreams. Our dreams, properly understood tell us the truth about ourselves. Dream work in counseling and coaching is a wonderful resource. Dreams give us pictures – images of our inner mind and our deeper wisdom. I don't interpret your dream. My job is to teach you to discover the meaning in your dream for yourself. Insight from this process often comes very quickly and is enough to solve specific problems.
In addition to problem-solving, dream work is also a way of enriching and deepening your understanding of yourself, your relationships and your creative potential. Your dreams can guide you as you develop your potential to its fullest.
Can Dreams Give You a Heads Up About Your Health?
I attended the Haden Institute Summer Dream Conference a few weeks ago. I go every year and this year's conference was the best one I've attended in a long time. One of the breakout workshops was given by Dr. Larry Burk, a radiologist, who has recently published a book with his friend Kathleen O'Keefe Kanavos about dreams that give an early warning about disease in the body. Specifically, this new book, Dreams That Can Save Your Life, recounts experiences of 18 women who had dreams referencing breast cancer and how those dreams propelled them to seek treatment often before any symptoms were evident. Fascinating! Dr. Burk was very familiar with two other books on this subject: She Who Dreams by Wanda Burch and Healing Dreams by Marc Ian Barasch.
Here's what these types of dreams have in common: They often include deceased loved ones or medical professionals; unlike other kinds of dreams, they often, but not always, present in a more literal way – the dreamer is often directed outright to seek medical treatment; they have a clarity and urgency; they often depict spiders or crabs….
I brought Dr. Burk's book home with me and I've just about finished it. I recommend all three books. Another reason to pay attention to your dreams!


Ground pumice stone & sea salt exfoliate dead skin while shea butter & grapeseed oil moisturize. The odor fighting powers of peppermint & eucalyptus Tighten and smooth unwanted dimples with our Caffeine & Cypress Salve for a beach ready body.
Massage into desired area with a circular motion.


The back entrance at the Southern Apartments building of the Housing Authority of Frankfort was updated for security, accessibility, and aesthetic purposes. Since new flood walls were constructed closer to the nearby Kentucky River, the tall red flood walls that encompassed the back entrance to the apartments were no longer necessary. These walls also created visibility and security concerns as children's daycare centers were on both sides of this entrance.
Exterior renderings were created to show the client the potential uses for the existing walls. These walls were cut down to match the existing fence height, and were wrapped in a stone veneer similar to the existing first floor stone exterior. The 4-story stair and elevator shaft was painted a color similar to the stone for a more aesthetically pleasing look. A structural pergola-like wood and steel design was installed on top of the shortened flood walls. Steel canopies were installed above the stair exit doors, and all exterior doors were replaced to meet handicap accessibility requirements. To complete the project, a new security key card system was installed at the front and back entrance doors.