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Q: First time using phpMyAdmin but getting multiple error messages about invalid connection and don't know where to start screenshot
I am unable to connect to phpMyAdmin. This is my first time using it. These are all the errors I am getting, but I don't understand what any of them mean.
I installed XAMPP, ran Apache and MySQL, selected Admin, but then I get these errors in the screenshot attached.
I am completely new to this. I've been trying to follow a beginner guided project for MySQL on Udemy and the instructor is using phpMyAdmin. But, I couldn't find any instructions on how to install it and so I tried googling it and figuring it out myself. I looked at similar problems posted on here, but I honestly don't know where to start. Any suggestions? Or at least where to start?
I tried going into Config to check host, username, and password, but I am not sure what to look for and how to repair the problem.
I had MySQL Installer - Community and installed MySQL Workbench, MySQL Connector and MySQL Server prior to installing and using XAMPP. I was wondering if that was the problem so I uninstalled all of them, but I got the same errors anyways.


I ended up giving myself hair that was red orange on top and purple pink on the bottom. How? Not even the stylist figured out how that was possible from pink. This is how I looked on the way to the salon to get it fixed on September 26th.. Yeah bad ombre going on there.
Well, here is my hair now that bangs are finally behaving. I am so in love with this neon candy pink color. It seriously glows in the sunlight and makes me happy. Here is a semi unflattering pic just to show off the color's affect in the sunlight.
Do you like it? What colors do you love in your hair?
P.S. If you are in the Palm Harbor (FL) area and want your hair done too, don't forget to check out La Bella Vita Salon and Day Spa , Palm Harbor Fl on Facebook or labellavitasalonanddayspa on Instagram.
The candy pink looks so good! I wish I was brave enough to dye my hair – I've only ever gotten low lights twice! LOL My hair is rather basic, but if I did add color, I think I would love some olive green pieces, but that might end up just looking really off!


Move over, candy stashes and sugar crashes. Surprise the somebunny special in your life with an age-appropriate Easter basket that will keep her happy and entertained.
Hop below or check out Holiday Tips & Tricks.
Shop sugar-free fillers for baby's first Easter basket.
Princess Pirouette™ Easy Travel Toy Plie, releve and sashay away with the Princess Pirouette Easy Travel Toy from Bright Starts. The glitter and gold accents of the plush bear's tutu will shimmer and sparkle… just like your little princess! With the pull of a string, the smiling bear will spin and twirl and dance above your little girl's head. And with the travel clip tiara, you can attach this take-along toy to any stroller or carrier for a ballet performance anywhere.
Plie, releve and sashay away with the Princess Pirouette Easy Travel Toy from Bright Starts. The glitter and gold accents of the plush bear's tutu will shimmer and sparkle… just like your little princess! With the pull of a string, the smiling bear will spin and twirl and dance above your little girl's head. And with the travel clip tiara, you can attach this take-along toy to any stroller or carrier for a ballet performance anywhere.
Taggies™ Cozy Coo Ring Pal A cozy and quiet baby is just a hop, skip and a jump away with Bright Starts Taggies Cozy Coo Ring Pal. Flip-floppy ears will make baby coo and cuddle the soft plush toy. The ring-shaped body makes it easy for baby to grasp and hold her new friend while she uses her soothing "paci." Watch as she squishes and squeezes the bean-filled stuffed animal with delight. And with bright-colored Taggies surrounding baby's bunny, there's sure to be nothing but ooohs and awwws ahead. Those silky tabs are like mini security blankets that comfort your baby with every touch. No need to bounce around from pacifier to pacifier, this little bunny pacifier holder is compatible with multiple brands.
A cozy and quiet baby is just a hop, skip and a jump away with Bright Starts Taggies Cozy Coo Ring Pal. Flip-floppy ears will make baby coo and cuddle the soft plush toy. The ring-shaped body makes it easy for baby to grasp and hold her new friend while she uses her soothing "paci." Watch as she squishes and squeezes the bean-filled stuffed animal with delight. And with bright-colored Taggies surrounding baby's bunny, there's sure to be nothing but ooohs and awwws ahead. Those silky tabs are like mini security blankets that comfort your baby with every touch. No need to bounce around from pacifier to pacifier, this little bunny pacifier holder is compatible with multiple brands.
Simply Bright Starts™ Bunny Bites Teething Set™ The Bunny Bites Teething Set™ from the Simply Bright Starts™ collection are adorable, natural solutions to sore gums. The variety of textures massage tender gums. The assortment includes a natural rubber radish-shaped teether, bunny wooden toy ring, and soft food grade silicone carrot teether. The adorable sensory teethers are specially designed by Bright Starts™ for the multiple stages of teething. The radish is perfect for soothing the front and middle gums, while the carrot is designed to reach the back gums. These sensory teethers are designed with safe materials, and non-splintering wood that is easy to grasp. Designed with health and safety in mind, all 3 teethers are BPA-free. Recommended for ages 3 months and up.
Your challenge:Remember that you and your little one may have very different ideas of what a "gift" should be. To many of us adults, it feels like an occasion for something elaborate—when, in reality, our little ones are perfectly content with something small and meaningful.


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By: MeriTalk Staff
NRC Awards Two-Year Deal to Salient
The U.S. Nuclear Regulatory Commission (NRC) awarded Salient CRGT a task order with a two-year contract for roughly $1.44 million to provide the agency with Master Data Management (MDM) and Enterprise Data Exchange services, according to a Salient press release. NRC has charged the IT firm with reducing the agency's reliance on manual labor and widening its use of existing technology through agile methodology.
"The U.S. Nuclear Regulatory Commission has the incredible responsibility of ensuring human safety," says Mark Colturi, Salient CRGT Senior Vice President in a press release. "We are honored to be part of making the NRC's mission a reality to become more efficient and more effective in delivery data for their users."
The NRC licenses and regulates civilian use of "commercial reactors, nuclear materials, and waste transportation and storage."
Maureen Conley, NRC public affairs officer, said in an email interview, "This project utilizes a private cloud, not a FedRamp compliant service."
In addressing the idea of moving future projects to cloud computing, Conley added: "We continue to look at the implications of making that shift but do not yet have a schedule for moving forward."
MeriTalk Staff

redpajama_set_name: RedPajamaCommonCrawl


Tall people rejoice, 32er bikes are here!
32" wheels - the future for the tallest of riders?
The 32" model is a good fit for DirtySixer owner, David Folch who measures a lofty 6'6"
DirtySixer, the foremost proponent of the truly wagon-wheel proportioned 36er bike standard has recently launched a (moderately) more sane sized line of 32"-wheeled bikes.
We can hear the chorus of disgruntled comments already: "What?! Another wheel size to contend with?!" Fear not, as unless you're particularly tall - or in the words of founder David Folch, "super tall" - you're unlikely to ever climb aboard one of these bikes.
Sensing there was a demand for bikes between regular 29ers and its larger sized 36" option, DirtySixer decided to develop the new wheel size for the taller, but not truly gargantuan, riders out there - the 32" bikes are designed for riders from 5'8" (size small) to a really rather big 6'8" (size large).
Unsurprisingly, the market isn't flooded with 32" tyre options and DirtySixer worked with one of its suppliers to produce an option which is best described as an all-round 'gravel' tread which, when paired with the matching 42mm, 36-hole rims should make for a strong and versatile wheelset.
Like all DirtySixer frames, the 32"-wheeled bikes will be handmade in California using materials and components which make for a stronger bike, necessary given the extra heft associated with taller riders.
The prototype shown here is built around a reliable Rohloff drivetrain and what appears to be an MRP Groove inverted fork - the lack of a crown on the fork permitting the use of the larger wheels.
The bikes are expected to ship in the second quarter of 2017 and start at $4,499 for a single speed option, rising to $6,899 for a Rohloff equipped model. International pricing was not available at the time of writing.
And if you're tall enough that ceiling fans regularly pose a problem, you could always go for the size large, 36er model which suits riders up to a cloud-grazing 7'5".
Have you been blessed with excessive height or is the ex basketball player in your life just looking for a new bike? Let us know if the DirtySixer may be the bike for you in the comments below.


Choosing a commercial care vendor is an important decision, so we want to give you the tools to make an informed decision. From state compliance laws to LEED best practices, we cover the things you need to know about professional commercial care.
The Building Owners and Managers Association of Sacramento (BOMA) website contains great information that anyone involved in commercial property should understand. 20/20 Commercial Care is a proud partner of BOMA.
Questions about the effect the drought has on your ability to maintain your commercial property? Be sure to check out the city of Sacramento's official website for news and current conditions.
We buy all of our environmentally-friendly cleaning products and state of the art equipment from abc Window Supply Company. And if you're as interested in the particulars of commercial care as we are, their blog is a fascinating study.
Safety is paramount in our business, and we work strictly within the California Industrial Relations (DIR) code of regulations and ANSI/IWCA I-14.1-2001. This industry standard identifies accepted safe practices for window cleaning. From scaffolds to ropes to ladders, feel free to check out the requirements we comply with from the DIR, specifically the window cleaning section.
The International Window Cleaning Associations provides all kinds of resources for safety and best practices worldwide.
Our team has coupled safety and self-rescue techniques with guidance from one of the largest and most acclaimed safety companies in the world, Safety One.
Of course we do! We specialize in window washing and cobweb removal, from high-rise buildings to one-story storefronts.
Do you offer other services other than windows?
Yes—we offer an entire range of services suited for any commercial property, including things like pressure washing and parking lot cleanup. See our services pages for details.
What can I expect from your crew?
You can expect a thoroughly trained, uniformed and professional crew to show up on time and get the job done with the utmost care and speed.
What makes you different than other window washers?
While individual and one time services are a part of our business, we see ourselves as partners with property managers in the long-term care and maintenance of commercial properties. Our attention to detail is unparalleled.
What does your consulting service include?
We offer consulting because over the years we have found that not all property managers are experts in commercial care—they would rather be presented with the facts and best practices to make an informed decision. Our team of professionals can size up any job and make those recommendations.
Yes, we have $11 million dollars in liability insurance. We also carry worker's compensation for all our team members.
What does the tagline "We maintain your sanity, too!" mean?
We bend over backwards to make sure property managers don't have yet another thing on their plate to worry about—we take care of all their commercial care needs so they can focus on other aspects of their business.


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Tagged / arts-based research
BU-led Kosovo-strand of AHRC-project 'Changing the Story' commenced with Dorset artist residency in February, 2018
Awarded & submitted bids, BRIAN, BU Challenges, BU research, Global engagement, humanities, Impact, innovation, international, Knowledge Exchange, Knowledge Transfer, Public engagement, Research assessment, Research communication, Research news sssievers
Bournemouth University leads the Kosovo-strand of a major four-year AHRC 'Global Challenges' project titled 'Changing the Story'. This project aims at supporting the building of inclusive civil societies (CSOs) with, and for, young people in five post-conflict countries. It asks how the arts, heritage, and human rights education can support youth-centred approaches to civil society building in Cambodia, Colombia, Kosovo, Rwanda and South Africa. The Kosovo strand benefits from an established track record of collaboration with University of Prishtina (Co-I) and Stacion: Centre for Contemporary Arts in Prishtina as well as several arts-based civil society organisations in the country. The BU-led strand focuses on formal and informal civic education through the arts in Kosovo, to be explored locally by a Postgraduate Research Assistant, attached to University of Prishtina, through a critical review and proof of concept exercise during the first year. In support, BU is contributing a fully-funded PhD scholarship under the title 'Imagining New Futures: Engaging Young People Through Participatory Arts in Post-Conflict Kosovo', which is currently being advertised.
International collaborative activities commenced last week in collaboration with an internationally-acclaimed CSO partner in Dorset, devoted to developing global youth citizenship through culture and the arts. The award-winning Complete Freedom of Truth project (TCFT), with which BU collaborated already previously, kindly offered a one-week residency to Albert Heta, Director of Stacion: Centre for Contemporary Arts in Prishtina. This residency brought together a group of artists, workshop leaders and young people from across the UK between February 12 and 16 in Bridport. Albert's visit from Kosovo was funded by the AHRC and facilitated by BU's new Research Centre 'Seldom Heard-Voices: Marginalisation and Society Integration' of the Faculty of Health and Social Sciences (FHSS). Together with Albert, some of the Centre's members also participates in the events organised by TCFT, exchanged experiences and discussed best practice of working with young people of various background through the arts towards social justice. TCFT has a long history of working with young people, internationally, starting in post-conflict Srebrenica in 2008. Based on our observations during one week in Dorset, including of the issues selected as important by the young UK-participants during this period, we are currently reflecting on the extent to, and ways in, which arts-based interventions with a given set of young people in one specific socio-cultural context and its underpinning conceptualisations (such as of empowerment or vulnerability of, and pressures on, young people) can or cannot be transferred to another, such as that in which young people in Kosovo negotiate their aspirations.
Stephanie Schwandner-Sievers
sssievers@bournemouth.ac.uk
Photo credit below: Robert Golden
Kosovo strand activities begin via a global youth citizenship project
Tags: anthropology Arts and Humanities arts-based research Conflict and Security political culture politics reconciliation sociology transitional justice young people
Two important Chapters on Performative Social Science now available in text books
BU research, PG research, Research news, Uncategorized Kip Jones
Kip Jones, a pioneer in Performative Social Science at Bournemouth University (BU), has two substantial book Chapters now available in texts published by Wiley-Blackwell and Palgrave Macmillan. Both texts move the practice of arts-led research forward substantially and will become valued resources for students and researchers for years to come.
The first Chapter, "Performative Social Science", in J. P. Matthes, C. S. Davis, & R. F. Potter (Eds.), The International Encyclopedia of Communication Research Methods, rehearses the development of Performative Social Science (PSS) as a research approach and method, developed over ten years at Bournemouth University through publication, film, research, workshops, Masterclasses, and PhD studies. Jones explains that PSS is not simply 'art for art's sake' instead of research. PSS is research and dissemination practices based in the philosophy of Relational Aesthetics and has much in common with Social Constructionism. The 'audience' or reader/viewer are key to PSS, as is the wider community.
This 3-volume Encyclopedia is touted as the most current authoritative single-source reference on communication methods. The editors state that they have invited the best scholars from all over the world to accomplish this. Jones' Chapter (draft) is now available at: https://www.academia.edu/22126458/Performative_Social_Science
The second Chapter, "Emotivity and Ephemera Research", in Innovative Research Methodologies in Management: Volume I, edited by L. Moutinho and M. Sokelem provides an in-depth worked example of PSS. The Chapter reports on a two-day experimental workshop in arts-led interviewing technique using ephemera to illicit life stories and then reporting narrative accounts back using creative means of presentation. The workshop took place at Bournemouth and participants were all University faculty members. A key to the process was in replicating what research participants may be feeling and going through when they share very personal stories with researchers. The exercise built a respect for this process by acknowledging that fact through the personal experiences and emotive connectivity of workshop participants.
The Editors of this book on management were keen to include the Chapter, stating that many who are attempting a PhD, particularly using a qualitative approach, spend little or no effort in finding, then learning, an appropriate method for their research question. The felt that the Chapter would contribute substantially in this way to management studies. The Chapter was originally published as "A report on an arts-led, emotive experiment in interviewing and storytelling" in The Qualitative Report, 20(2), 86-92 and is available here: https://www.academia.edu/10835482/A_Report_on_an_Arts-Led_Emotive_Experiment_in_Interviewing_and_Storytelling
It is examples like these that substantiate the work being done not only by Jones, but by other members of the Centre for Qualitative Research (CQR) at Bournemouth University. Membership of CQR comes from across Health and Social Sciences' disciplines at BU as well as from a number of other BU faculties, This attraction attests to the universal appeal of qualitative methods and particularly arts-led ones, including Performative Social Science, which are being developed through CQR.
Tags: arts-based research Centre for Qualitative Research Kip Jones performative social science publications
Handbook of Arts-based Research
Uncategorized Kip Jones
Pleased to announce that a copy of the Handbook of Arts-based Research, Patricia Leavy, Editor, is now available at Bournemouth University's Lansdowne Library, but also available electronically online. The compendium includes a Chapter, "Research as Film, Film as Research" by FMC's Trevor Hearing and FHSS' Kip Jones.
Bringing together interdisciplinary leaders in methodology and arts-based research (ABR), this comprehensive handbook explores the synergies between artistic and research practices and addresses issues in designing, implementing, evaluating, and publishing ABR studies.
This is a welcome addition for faculty and students with an interest in the use of the arts in research and/or dissemination.
Tags: arts-based research film production narrative performative social science
"Using photo-elicitation to generate storytelling"
Join us next Wed for "Using photo-elicitation to generate storytelling" presented by Anne Quinney.
Anne's co-presenter, Maggie Hutchings, is now able to join her for the conversation!
Lots of opportunity for audience participation in listening, making, and sharing. Not lectures, the seminar is 'In Conversation" about a topic or method. No PPT and plenty of time for audience interaction and feedback!
Wednesday, 1 Nov.
Royal London House 208 1 pm
Students and Faculty welcome!
Presented by the Centre for Qualitative Research
Tags: arts-based research Centre for Qualitative Research performative social science seminar series
CQR lunchtime seminars "In Conversation …" continue with "Social Work as Art" this Wednesday!
BU research, PG research, Research news Kip Jones
Following the first very successful (and jam packed!) Centre for Qualitative Research Seminar "In Conversation …" the series continues with
"Social Work as Art"
presented by Lee-Ann Fenge and Anne Quinney
Wed., 5 Oct., Royal London House 201 at 1 pm.
Give these two some arts materials or a dressing-up box, who knows what will transpire! Mark your diaries now and join us for an intriguing conversation!
Because CQR is keen to make information available to students and staff about qualitative METHODS, the seminars are arranged somewhat differently than the typical lunchtime seminar.
We are asking TWO (or more) presenters to agree to present each research method as a CONVERSATION…first, between each other, and then with the audience. We are also asking that no PowerPoint be used in order that it is truly a conversation and NOT a lecture. The conversations will be about a particular research method and its pros and cons, NOT research projects or outcomes.
Many of us then move next door to RLH to Naked Cafe to continue the conversations and network. Faculty and Students invited to attend!
See you Wednesday at Royal London House 201 at 1 pm. ALL are Welcome!!
Tags: arts-based research Centre for Qualitative Research seminar social work
"Flip it!" –Kip Jones' most frequent workshop advice
BU research, Research news Kip Jones
Attendants at the Creative Writing for Academics Workshop at Bournemouth University. Some hold copies of the photograph from which they created a story.
The most frequent advice from Kip Jones to participants was "Flip it!"
"Flip it!" –Kip Jones' most frequent workshop advice.
Recently, 27 academics, some from as far away as upstate New York and Dublin, gathered for the Creative Writing for Academics with Kip Jones at Bournemouth University (BU). Their goal was two days of experimentation with writing techniques to engender more creative outputs in their academic writing.
The conclusion of one participant reflected the sentiments of many: "The Creative Writing for Academics workshop turned out to be a great experience, more than expected!!"
The two-day workshop was organised by BU's Centre for Qualitative Research, and was promoted thusly:
"This unique event isn't a typical writing retreat (with trees to hug and lots of time to ruminate), but a very active experience with exercises, suggestions and supportive feedback on participants' work…"
Instead of taking 30 minutes or more to go round the room and let everyone make an introduction (listing job titles, universities, theses topics, etc. ad infinitum), Jones asked attendees to take 15 minutes and write their life story on a postcard instead. This is an exercise that comes directly from Michael Kimball's work, Michael Kimball Writes Your Life Story (on a postcard). Kimball is an American novelist whose writing Jones admires. A few examples from Kimball's postcard book were shared with the group. Each participant then wrote her/his own life story on a postcard; afterwards, some of the attendants then shared their stories with the group.
Jones then explained tags, log lines and treatments—copywriting techniques used in advertising and filmmaking.
The Workshop as a Logline: Participants were challenged to write their "Life on a postcard", they were introduced to creating tags and log lines; homework was to write a poem based on a dream. Next, they created a story from a photograph. Finally, they shared their stories with others who had used the same photo. (50 words)
Tag: "Artistic types take their time … in an Italian trattoria."
Participants then had a go at creating tags and loglines for academic articles that they brought with them. This was an exercise in using simple sentences, reducing content to its essence and creating copy that could be used in titles and the body of articles, in blogs and on Twitter.
Jones used a relaxed and open-ended process throughout the workshop. Francesca Cavallerio's extended feedback report captures the essence of the responses of many to this approach to the workshop:
I enjoyed the freedom that came from writing creatively, without prescriptions. Having no other goal than the story/poem itself was intimidating initially, but then turned into an amazing experience. I think (the workshop) allowed me to discover a few things about myself and the way I write. Also, by listening to what others wrote, and realizing how many different ways of writing exist, and how much I enjoyed each of them, gave me an increased sense of freedom and possibility.
I was expecting more "directions", tips on "how to use creative writing in academia". But now that we are at the end of the workshop, I think I can see why it was organised in this way. Yesterday, I would have said, "Yes, I wanted to be guided more". Today, I am actually very happy of the structure and everything I learned, felt and experienced here. –Francesca Cavallerio, St. Mary's University, Twickenham.
The last morning of the workshop consisted of reading some of the poems that were written overnight. Attendants then chose from amongst 11 black and white photographs. The brief was to write a story about what the photograph was about. The only instruction was that often a photograph could represent the moment between what led up to the event captured and what might happen next. The group took the rest of the morning to write the photo-based 1,000 word stories. After lunch, they assembled in groups of three (each group having chosen the same photo) and compared stories and outcomes.
"I feel a sense of satisfaction in having written a life-story postcard, a poem and a short story—all very personal." –Anne Quinney, Bournemouth University
The workshop was envisaged as a way to help academics with publishing in the wider world of blogs and online outlets, moving work to mixed media, auto-ethnography, and even fiction, radio and film. Jones gave ideas of the kinds of blogs and even journals that are receptive to creative academic work. He shared experiences with his own outputs and finding like-minded editors with whom to work.
The intellectual exchanges encouraged joint exploration on how academics can engage with principles and tools from the arts in order to expand and extend their possibilities of dissemination of their work. Concepts of creativity itself evolved and were transformed by participants' outlooks and willingness to engage with unfamiliar territory. These processes comprised a 'facilitated learning'—in that knowledge was gained as a secondary goal through a process of developing new relationships. This was achieved through individual and small group problem-solving and self-examination, grounded in personal past experience and knowledge.
Tags: arts-based research creative writing seminar; Performative Social Science; Centre for Qualitative Research; narrative; auto-ethnography
Creative Writing for Academics with Kip Jones
BU research, Research news, Uncategorized Kip Jones
Summary: The Creative Writing workshop will be a unique event in that it will not be a typical 'writing retreat' (with trees to hug and lots of time to ruminate), but rather a very active experience with lots of exercises, suggestions and supportive feedback on participants' work from Kip Jones and other participants. The point is to encourage both students and academics who would like to include more creative writing in their outputs, particularly those whose writing includes reporting on narrative and other qualitative methods of research. It also helps immensely in the move to publishing in the wider world of blogs and online outlets, moving work to media and film, auto-ethnography and even fiction.
Justification: The important point of Creative Writing for Academics is to help academics and students achieve the goal of achieving more of their work read by wider audiences; in other words, impact. By providing an intense two-day experience for participants to engage in developing writing skills, the playing field is levelled and opportunities for facilitated learning developed. By engaging in creative writing, it becomes possible for all to write more clearly, more simply, even more creatively, when writing not only for academic publications, but also for outlets previously unimagined.
Methods: The workshop will present opportunities to work with academic material and expand its means of production and dissemination to new and creative levels through interfaces with techniques from the arts and humanities, including blog and magazine writing, film treatments and scripts, and poetry and fictional exercises. These intellectual exchanges encourage joint exploration of how researchers can engage with principles and tools from the arts in order to expand and extend the possibilities of dissemination of research data. Concepts of creativity itself will evolve and be transformed by participants' outlooks and willingness to engage with unfamiliar territory. These processes comprise a 'facilitated learning'—in that knowledge will be gained as a secondary goal through a process of developing new relationships through small group problem-solving and self examination, grounded in personal past experience and knowledge.
Kip Jones BA MSc PhD is Reader in Performative Social Science and Qualitative Research in the Faculties of Media & Communication and Health & Social Sciences at Bournemouth University. Jones has produced films, videos and audio productions and has written many articles for academic journals and authored Chapters in books on topics such as masculinity, ageing and rurality, and older LGBT citizens. His groundbreaking use of qualitative methods, including biography and auto-ethnography, and the use of tools from the arts in social science research and dissemination, are distinguished internationally.
Workshop Price: £120. for two days. £90. for students/BU staff
Academics and students at all levels welcome!
Register online at:
http://creative-writing-workshop.eventbrite.co.uk
Tags: arts-based research Centre for Qualitative Research narrative research performative social science
AiR – being creative at the Social Research Association conference
BU research anne quinney
Five members of the AiR (Arts in Research) collaborative delivered an experiential workshop at the Social Research Association conference on Creative Research Methods in the Social Sciences on Friday 8th May at the British Library, (Left to right: Anne Quinney, Maggie Hutchings, Caroline Ellis-HIll, Wendy Couchman and Michelle Cannon). The conference brought together researchers from a diverse range of disciplines including human geography, criminal justice, media, and migration studies. By inviting the delegates to create a sculpture in pipe-cleaners of their journey to the conference, the keynote speaker, Professor David Gauntlett from the University of Westminster, set the scene for an interactive and inspirational day in which presenters shared their creative research methods.
Drawing on the two day workshop, A past/a present, held at BU in September 2014, the collaborative shared their experiences and invited the audience to learn what it feels like to reveal our often most private self to an unfamiliar person by talking about the significance of a personal artefact that they had with them. The participants found it to be a very powerful process which can occur in a very short space of time.
As well as learning about collage as a research tool in working with offenders, the use of hand drawn timelines in working with returning Afghan migrants, walking as a tool for understanding marginalised young men, and walking to develop understanding the day to day lives of women asylum seekers, the AiR collaboration members made new connections and explored several potential research collaborations.
The ARTS in Research (AiR) collaborative is open to BU students and staff across faculties and disciplines. Please contact the AiR facilitator, Dr Kip Jones, (kipworld@gmail.com) to join.
https://research.bournemouth.ac.uk/2014/01/arts-in-research-air/
Tags: AiR arts-based research British Library Social Research Association
BU research, Featured, Research news Kip Jones
The Bournemouth University ARTS in Research Collaborative (AiR) held a two-day workshop in late summer to experiment with interviewing, narrative and ephemera, and arts-based representations of such approaches (reported here previously). An article available online from today in The Qualitative Report by Kip Jones entitled, "A Report on an Arts-led, Emotive Experiment in Interviewing and Storytelling" details the thinking behind this effort and the mechanisms put in place that contributed to the workshop's success.
The paper reports on the two-day experimental workshop in arts‐led interviewing technique using ephemera to elicit life stories and then reporting narrative accounts back using creative means of presentation.
Academics and students from across Departments at Bournemouth University told each other stories from their pasts based in objects that they presented to each other as gifts. Each partner then reported the shared story to the group using arts‐led presentation methods.
Narrative research and the qualitative interview are discussed. The conclusion is drawn that academics yearn to express the more emotive connections generated by listening to the stories of strangers.
The procedures followed for the two‐day workshop are outlined in order that other academics may also organize their own experiments in eliciting story using personal objects and retelling stories creatively.
Because the group wanted to take the impact of this experience further, AiR applied and was accepted to present the concept at the Social Research Association's workshop 'Creative Research Methods' on 8 May at the British Library in London. The Collaborative is about to meet up to brainstorm ways in which to translate their experiences of the workshop into a more presentational one.
Anyone fro m across Departments, whether lecturer, researcher, student or faculty, is welcome to join the ARTS in Research Collaborative. Please contact Kip Jones if you are interested in joining or just want to know more about the Collaborative.
This just in from Creative Quarter!
Ten 'rules' for being creative in producing research
Tags: arts-based research Centre for Qualitative Research performative social science
Sage Publishes Kip Jones' Ten 'Rules' for Being Creative in Producing Research
BU research, Delicious links, Featured academics, PG research, Publishing Kip Jones
Sage Publications online presence, "Social Science Space" has published BU Kip Jones' "Ten 'Rules' for Being Creative in Producing Research' on its website.
Since the changing of the year seems to be the time for lists, top ten lists, etc., Jones decided to compile his about being creative whist producing cutting‐edge research. Jones warned, "Not for the faint‐hearted!" The list is available here.
Students and Academics with further interest in arts-based research and dissemination are welcome to join the Arts in Research (AiR) Collaborative. More information here.
Tags: arts-based research performative social science publications
RUFUS STONE goes LIVE and FREE on the Internet
BU research, Post-award, Public engagement Kip Jones
Bournemouth University is pleased to announce that the research-based, award-winning short film, RUFUS STONE, goes live and can be viewed for FREE on the Internet from 25th October.
The University has championed the film as 'an outstanding example of public engagement at BU' and as 'inspirational' in the University's Annual Report.
RUFUS STONE is based on three years of a Research Council UK funded study of the lives of older lesbians and gay men in south west England and Wales, a part of the national New Dynamics of Ageing Programme of research.
Winner of two awards at the prestigious Rhode Island International Film Festival in 2012, the film has gone on to be screened at film festivals, other universities in the UK, USA and Canada and by organisations such as Alzheimer's Society UK, LGBT groups, and health, social and ageing support networks.
The film has been reported in the press widely, including in the New York Times, Times Higher Education, The Independent, BBC Radio 4 and local media.
RUFUS STONE was directed by Josh Appignanesi (The Infidel) and produced by Parkville Pictures, London. The film stars William Gaunt and Harry Kershaw, sharing the title role of "Rufus". Niall Buggy and Tom Kane take on the part of Rufus' love interest, "Flip". Tattletale "Abigail", a role shared by Lin Blakley and Martha Myers-Lowe, completes the triangle. The film cleverly interweaves each of the three main characters' younger selves with their older selves. Gaunt commented: "It's a sad and touching story, but also one about age and what it's like to fall in love when you're very young, and how that remains with you."
Award-winning author and educator, Patricia Leavy, describes the plot in her review of the film for The Qualitative Report:
The film tells the story of a young man in rural England who, while developing an attraction to another young man, is viciously outed by small-minded village people. He flees to London and returns home 50 years later and is forced confront the people from his past and larger issues of identity and time.
Leavy sums up: "This film is as good as most Oscar-nominated shorts, and vastly superior to many. In my opinion, it is just about as good as a short film gets."
Author and Executive Producer of RUFUS STONE, Dr, Kip Jones, has written widely in the academic press and elsewhere on the process of collecting the biographic material and subsequently his writing the story for the film. He has presented the film with follow-up Question and Answer sessions at prestigious institutions such as Cambridge, Birkbeck, Durham and Keele Universities in the UK.
Jones explains the process of creating composite characters based in the research and, indeed, in his own experience:
The naïveté of same-sex attraction and young love, too often forbidden and misunderstood love, was a story reported over and over again in our study and. therefore, became central to the plot of the film. By compositing these stories in RUFUS STONE, at last we remember them together, finally gaining strength in each other for something misunderstood and condemned from our isolated youthful experiences.
Jones is available by arrangement for Q&A discussions by Skype following screenings for larger audiences. Contact: Kip Jones mailto:kipworld@gmail.com
Trailer for the film: https://vimeo.com/43395306
Background on the research and making of the film: http://microsites.bournemouth.ac.uk/rufus-stone/
Screenings of the film would be appropriate for a wide variety of audiences, including in undergraduate and graduate teaching, community groups, and LGBT and ageing support organisations. Length: 30 minutes.
View RUFUS STONE here:
LIVE and FREE from 25 October!
Tags: Ageing ARTS in Research (AiR) arts-based research biography LGBT media narrative research performative social science research-based film Reserch Councils UK rural
Sage Publications' Social Science Space features article by Kip Jones
Research news Kip Jones
Sage Publications disseminates important research across the social science disciplines around the world. For the second time, Sage's on line presence, Social Science Space, features an article by Bournemouth University's Kip Jones.
"(The Grand Theory of) Neo Emotivism" is Jones' take on the current state of mind of many researchers globally wishing to connect to their research "subjects" as well as to their own emotions. The article first appeared on Jones' blog, KIPWORLD, where it has been viewed nearly 900 times in less than a month. The article went live today as the lead article on Social Science Space.
"'Neo-emotivism' is a concept Kip Jones describes as intentionally using emotional responses for academic ends in large part by drawing from non-traditional sources like art and literature for inspiration and even vocabulary". Fashioned in a tongue-in-cheek way after 19th and 20th Century art manifestos, the article makes it's case by highlighting examples from a range of resources, including singer Jeff Buckley, composer Max Richter, artist Kazimir Malevich and architect Zada Hadid.
Thoughts for the article initially emerged from Jones' interactions with fellow BU academics at a recent ARTS in Research (AiR) two-day workshop at Bournemouth University. Jones was surprised and encouraged by faculty and students, not only from Health & Social Care, but also from Media, Design, Engineering and Computing and Tourism with a similar ache to connect emotionally with their subjects and to acknowledge the "first person" in their dialogues. His concept of the "Pre-REFaelites" materialised from that encounter.
The ARTS in Research (AiR) cross-Schools collaborative will hold an additional two days of workshops at the Lighthouse in Poole led by artist-in-residence, Hazel Evans, on 20th and 21st November. Faculty and students from across schools and from outside of the University are encouraged to join us for the two days of creative engagement. More info
Tags: ARTS in Research (AiR) arts-based research performative social science
ARTS in Research (AiR) Collaborative: Two days of creative scholarship
BU research, Featured, Fusion, PG research, Research news, Training Kip Jones
Shared objects/stories of a past (click on photo to enlarge)
"I can't remember ever attending such an inspiring 'in house' event ".
The newly formed ARTS in Research Collaborative recently held two days of exploration of biography and ways and means of expressing the stories of others creatively and ethically. The workshop was entitled, "A Past/A Present" ARTS in Research (AiR) Workshop.
Using shared objects representing a time or event in each participant's life, a 'partner' then created a five minute presentation of and from the storied materials. Participants in the two-days of exploration came from HSC, the Media School and DEC. Both faculty and postgrad students took part.
The brief was kept simple and instruction to a minimum. Organiser Kip Jones shared examples from his own work of finding ways and means of responding creatively to detailed data as well as time and material constraints. Other than that, participants engaged in a learning process through participation itself and the sharing of their experiences. The group has agreed to write up the encounter for a journal article.
"Thank you all for the incredible willingness to be inventive, creative and think/be outside 'the box'".
"An illuminating two days of deep sharing. I was honoured to be there and look forward to more creative adventures together".
"Inspiring. An artful and generative suspension of 'normal' activity".
The ARTS in Research Collaborative's next workshop is planned for November at The Lighthouse in Poole. Details to follow. It will be open to a wider audience and there will be a charge to attend, but BU faculty and students are encouraged to apply for training and/or development funding within their Schools.
ARTS in Research (AiR) still accepting new members!
AiR Workshop: telling stories (click on photo to enlarge)
Tags: arts-based research biography Centre for Qualitative Research performative social science
ARTS in Research (AiR) collaborative still accepting members
BU research, Featured, PG research, Public engagement, Research news, Training Kip Jones
We are still accepting participants interested in joining the new Arts in Research (AiR) Collaborative that met for the first time recently.
At our first gatherings, there was great interest in the 'next step' or working with professionals from the arts to develop our arts-based academic work. One of the first projects that we are developing is a series of workshops over a year for academics who are interested in pursuing creative means of carrying out research and/or disseminating it, whether that be via lectures, presentations, publications or other means of diffusion to reach a wider public.
One possibility, for example, is Creative Writing for Academics, an away day in a quiet place with an expert guide.
Another is a day spent in TV production studios, particularly learning ways to edit video shot on still cameras, phones, ipads, etc.
A third possibility being explored is a day at The Lighthouse, taking advantage of Lighthouse professionals to explore the use of drama, performance poetry, music, etc in academic work.
Read more about the principles behind AiR
The AiR Collaborative is based at HSC in the Centre for Qualitative Research, but is a cross-Schools cluster and is open to academics and post-grad students across both campuses.
The only requirement to join is to express your interest and send a 'selfie' to Kip Jones!
"Kip on the Beach"
Posted by jonesk
Tags: ARTS in Research (AiR) arts-based research Centre for Qualitative Research cross-Schools cluster performative social science research dissemination
ARTS in RESEARCH (AiR) Group Forming
BU research, Featured, Fusion, Public engagement Kip Jones
We are pleased to announce the formation of the Arts in Research (AiR) Group. This effort grows out of the experience of HSC's ReThink process and previous work at HSC in using tools from the Arts in carrying out research, disseminating findings and sharing them with students, colleagues and communities beyond the University. The Group is open to members of any School with an interest or even curiosity in how they might infuse their interest in the arts within more routine research and/or presentation practices.
The interest in Arts-based Research is international and growing. Areas such as video, film, photography, dance, drama, poetry, radio production, creative writing—even clowning—are becoming more mainstream. Conferences, for example, no longer routinely consist of hour-after-hour packed with 20-minute PowerPoint presentations. Young students balk at PPT and expect more creativity from lecturers in their learning experiences. Reaching wider audiences (including 'service-users' and the public) is now routinely demanded by funding bodies. Tools from the Arts can greatly enhance all of these efforts.
Using Arts-based approaches in research requires thinking about Method from novel viewpoints. Involving research participants in producing outputs frequently enlivens projects, for one example. Finding the right arts-based method for the research questions or findings is key to their use. Finding the right collaborator for your project can be central to its success.
The ARTS in RESEARCH (AiR) Group will begin meeting in January (watch for announcement by email, Facebook and Twitter). We will begin by exploring what interests group members have and what resources are already available. We will also explore the possibility of collaborations with working artists, so no need to feel that great personal skill is required, just enthusiasm.
Please contact Kip Jones (kipworld@gmail.com) if you are interested in joining the group.
Tags: arts-based research creativity dissemination performative social science


text:
November 26, 2021 affluent blacks / Black Dallas / Black Entrepreneur / black millionaire / Business / Dallas Black Business / Politics / Real Estate / Uncategorized
-Are You thankful for black businesses?
-Dallas Business Journal recently interviewed brotha mayor Eric Johnson about the prosperous future of Dallas
-Billionaire Jeff Bezos pledged $100 million to The Obama Foundation in honor of late Georgia congressman and Civil Rights legend John Lewis
-Legendary rapper Nas puts up $3.5 million for a phat house in the semi-secluded outskirts of Calabasas, California
Hey, my business people. In today's Affluent Blacks news report:
Thanksgiving can also be a time to be thankful for black businesses. BlackBusiness.com is featuring several black businesses you may want to consider when you shop for Black Friday and Cyber Monday. Check out their link below. One of these businesses is Africa On My Back, "a social enterprise that funds study abroad opportunities for African American males while simultaneously supporting small businesses in Ghana through the sale of handcrafted, African-print backpacks."
Another company is Darlyng & Co. "This Black-owned lifestyle brand for children lets parents keep their sanity. Their new innovative Teether – The Yummy Mitt® Teething Mitten makes your baby less crabby and happier! Plus a variety of other cool products."
Here in the Dallas area, the Dallas Business Journal recently interviewed brotha mayor Eric Johnson about the prosperous future of Dallas and its role in serving residents and businesses. Having grown up in West Dallas, Mayor Johnson was asked about the challenges he faced as he entered the office with the pandemic right on his radar, plus how Dallas balances its image and how the prosperous suburbs benefit from that (although one could argue that some Dallas area suburbs are more autonomous than suburbs of other major cities), and his roadmap for the years ahead. He invites private businesses to collaborate to ensure that there's a win-win opportunity for Dallas and private businesses to invest together in making Dallas even better. Click the link below for the full interview.
From blackenterprise.com comes this report about how billionaire Jeff Bezos pledged $100 million to The Obama Foundation in honor of late Georgia congressman and Civil Rights legend John Lewis. Originally reported in USA Today, it says "the contribution is the largest single donation given to the Foundation in it's seven year history. Along with his gift, Bezos has requested that the plaza of the Obama Presidential Center, set to be built on the South Side of Chicago, be name the John Lewis Plaza."
Finally, from celebrity mansion news site Dirt.com comes this report that legendary rapper Nas put up $3.5 million for a phat house in the semi-secluded outskirts of Calabasas, California. "Originally listed for $2.5 million, the rich people's pad is a venerable mix of Mediterranean and Southwestern architectural-style mashup. It was custom built in 2007, and includes four bedrooms and 5.5 bathrooms sprawled all over a whopping 6,500+ square feet of living space, complete with "soaring ceilings, arched doorways and limestone floors." Sitting pretty on over 10 acres of rich people problems, this estate eventually attracted an intense bidding war. Now those are the kinds of rich people problems you need to be motivated to have, so don't procrastinate, execute your business plan today! Until the next video, stay up and take care.
Support These 25 Black-Owned Businesses on Black Friday and Cyber Monday (blackbusiness.com)
https://www.blackbusiness.com/2018/11/support-25-black-owned-businesses-black-friday-cyber-monday.html
Dallas Mayor Eric Johnson sits down to discuss development, direction and more – Dallas Business Journal (bizjournals.com)
https://www.bizjournals.com/dallas/news/2021/11/10/mayor-eric-johnson.html
Eric Johnson, Dallas' New Mayor, on Data, Crime, and Why Dallas Needs to Get Selfish (texasmonthly.com)
https://www.texasmonthly.com/news-politics/dallass-new-mayor-on-data-crime-and-why-dallas-needs-to-get-selfish/
Jeff Bezos Honors John Lewis With $100M Obama Foundation Gift (blackenterprise.com)
https://www.blackenterprise.com/jeff-bezos-honors-john-lewis-with-100-million-donation-to-obama-foundation/?utm_source=Newsletter&utm_medium=email&utm_campaign=Newsletter%2011/23/2021_11/23/2021
Nas Bough https://www.dirt.com/gallery/entertainers/musicians/nas-house-calabasas-1203438221/t a Sprawling Calabasas House – DIRT
Affluent BlacksAffluent Blacks DallasAffluent Blacks of DallasBlack BusinessBlack Business in DallasBlack DallasBlack EntrepreneurDallaswealthy blacks


Mary Beth Johnson is a wife and mum to four schooners, as she's dubbed her children. On a normal afternoon, you would find her in moccasins, skinny jeans and a comfortable tee, camera in hand. Recently moving to the suburbs of Atlanta, Mary Beth spends her days homeschooling, sneaking away to the book store, trying to act the part of a southerner, and sifting through recipes in The Vegetarian Times. Food is her love language.
I know there are all sorts of ways to prepare green beans for Thanksgiving. When my husband and I were dating and celebrating our first big holiday together, he introduced me to green bean casserole - the canned version with cream of mushroom soup and crunchy onions sprinkled on top. I'm from the north. My mom used to make her green beans steamed with a bit of water and a dash of salt. On very special occasions she would add almonds toasted in butter. Half the fun of marriage and children (I think) is creating your own traditions, discovering what you want to pass on and what you want to do differently. And then sometimes, the two blend and cross paths in a church service, a bedtime lullaby, or a holiday dish.
When searching for a side dish to bring to my parent's house this year, I came across this one from The New York Times. It's a little bit northern and a little bit southern, all blended into one. The perfect marriage of softly minced shallots and coarsely chopped almonds, charred with a smokey flavoring. May you enjoy!
Bring a large pot of water to a rolling boil and add salt (a teaspoon or so, or to taste). Fill a large bowl with ice and water. Add the green beans to the boiling water and cook until bright green but still firm, about 2 minutes. Drain and transfer to the ice water. When cool, drain again. Pat dry with paper towels until completely dry.
Meanwhile, in a small saucepan, combine the almonds and the oil, adding more oil if needed to just cover the almonds. Cook over medium heat until the almonds are golden, about 6 minutes. Remove from the heat and stir in the shallot. It will cook in the residual heat.
Coat a large skillet with oil. Heat over medium-high heat until very hot but not smoking. Add the beans and season with salt. Cook, tossing frequently, until charred dark brown in spots and tender-crisp, about 7 minutes.
Top with the almond mixture, then the parsley. Grate the zest from a quarter of the lemon directly over the beans, then cut the lemon into wedges for serving. Season with pepper and serve.
Source: The New York Times All photography is my own.


text:
oneHOWTO
Sentimental relationships
Sex & kisses
Having better sex
Having better sex, you will find practical information written by experts about having better sex in text, video and images. You will also be able to ask your questions or comments in each article so that our community can help you.
Step-by-step 39
Low 36
Sentimental relationships 74
Sex & kisses 74
Having better sex 74
Sex & relationships 65
Learning to make love 33
Ideas for sex 30
Seducing 25
Tools for sex 15
Kissing techniques 9
The first time 7
Spice up your sex life 6
Types of kisses 6
Myths about sex 5
Positions in bed 5
Being good at sex 4
Precautions when having sex 4
Talking about sex 4
Being good in bed 3
Condoms 3
Having Sex in strange places 2
Having sex with your lover 2
Reaching an orgasm 1
Sexo gay 1
Sexual Relations With Your Spouse 1
What men want in bed 1
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Many men are tormented by the size of their penis, especially when confronted with the eternal dilemma of whether it's as important or not for women. The truth is that sometimes just a few centimeters can make all the difference to a man's self-esteem and often means more to men than to women. But when...
How to give oral sex to a woman
In the world of sex, feelings and the senses prevail and all stimuli are valid. Oral sex is definitely one of the best, for both men and women. Stimulation that is unmatched by any other, but that should be practiced with a soft and gentle technique since the mouth will have direct contact with important...
Hygienic Measures for Anal Sex
Anal sex is one of the most common sexual practices, and another way of experiencing and achieving pleasure. When it's well practiced it can be highly enjoyable, but to fully enjoy it, it's necessary to take into account the proper hygiene for anal sex so that you're both safe and clean. At oneHOWTO...
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It's Time to Plant Shade Trees!
Posted by Amanda Griffin 20PP on August 14, 2017
Warren Buffet said "Someone is sitting in the shade today because someone planted a tree a long time ago." A Greek proverb says "A society grows great when old men plant trees whose shade they know they shall never sit in." And B.C. Forbes, the founder of Forbes Magazine, said "It is only the farmer who faithfully plants seeds in the Spring, who reaps a harvest in the Autumn." These references are not exclusive to agriculture and gardening. They also relate to children and the fact that they are the future leaders of our world.
Our community and school district are in the proverbial "Spring" of a continuing trend of explosive growth. School District 27J, which covers Brighton, parts of Thornton and Commerce City, as well as a tiny sliver of Weld County, is one of the fastest growing in the state, and shows no signs of slowing down any time soon. More people means more kids, which means the need for more schools, and schools require teachers and supplies. With the passage of the bond in 2015, we have been able to build the new schools and increase seats and/or perform much needed maintenance and building updates to existing facilities. But bond funding only covers physical structures—in essence empty buildings.
Public schools are funded with tax money. Per pupil funding from the state has been cut several times over the last nine years. According to Colorado Legislative Staff, Colorado ranks 40th nationally in per pupil spending overall, spending an average $2,053 less per student annually than the national average for K-12 schools. In 1993, Colorado ranked 23rd in state funding putting us in the 54th percentile. Today, Colorado is ranked 43rd, dropping us to the 14th percentile.
The money that comes from the state, per pupil is the same amount statewide. The difference is in local funding based on property values (mills). School District 27J ranks 172nd out of 178 districts in the state in local funding. And as compared to the school districts in our immediate Denver Metro area, we are solidly 15th out of 15 with a combined state and local funding amount per pupil of $1,379 less than the Metro Denver average! How can we, as a community, realistically expect our schools to compare favorably to other school districts when our district is receiving so much less in funding. If we, as a community, don't invest in our own school system, to the benefit of the whole community, who will?
As reported recently in the news, Colorado is suffering from a severe shortage of qualified teachers. That means the task of hiring and retaining qualified teachers is made much more difficult if our district can not offer comparable salaries. Elementary grade teachers spend nearly as much awake time with kids as their parents do on average. That means teachers play a huge role in helping to guide the growth and development of our community's youth. Doesn't it stand to reason that we want to ensure our district is able to hire and retain the best possible educational staff to fill that role, to help guide our kids?
School District 27J has some amazing teachers—caring and dedicated professionals who have chosen to be here, and stay here… to guide and help grow our community youth. To ask them to continue to do so for lower than average wages "out of the goodness of their hearts," when they can very easily transfer to a district that is able to pay better wages, is unrealistic and unsustainable for our community. If the tables were turned, would you stay in a community that didn't care enough to recognize or support you?
As the quotes above state, we need to plant the seeds now to grow the shade trees of the future. That means passing the mill levy this November to increase our per pupil funding to a level that is at least comparable to surrounding districts. It's time to step up and show that our kids, and our community, are worth it—worth funding to get us on a level playing field when it comes to building the educational foundation required to prepare our kids to succeed in the 21st Century.
Pledging to vote by August 22nd is the first step. It's as easy as clicking this link and saying Yes! If you want to take it a step farther, join the Iam27j Team and help us pack the room at the August 22nd Board of Education meeting! RSVP here. Want to REALLY show your support, support the effort with a campaign contribution and/or sign up to volunteer to write postcards, walk neighborhoods, etc. There's lots to do, and plenty of opportunities for you to take part!


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Q: How does google chrome determine where auto saved passwords should be inserted on web pages? Running into a strange problem on google chrome.  The short version is that my site will allow google chrome to save a password if the user chooses.  On another page, there is the option to change some settings as well as change the password.  The password change is actually a jquery light box form and not showed, however there are hidden feilds as placeholders for the password if the light box is used.  Somehow, google chrome is inserting that password in the hidden field automatically and it's causing the form to fail authentication as a confirmation password is not entered for the new password.
How is google chrome deciding which inputs to autofill passwords in?

A: It checks input types and names. Add autocomplete="off" as attribute to avoid Google Chrome filling in a password.

redpajama_set_name: RedPajamaStackExchange


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My Clandestine Affair with "Shakespeare in Love"
I intended to write a proper review of "Shakespeare in Love," which won the Oscar for Best Picture in 1999, as a way of celebrating this Academy Award week.
But then a funny thing happened. I watched it again. And I found myself falling in love with "Shakespeare in Love" all over again, to the point where I was dreading writing about it, because I didn't want to share it. I just wanted to luxuriate in this affair for awhile, private and secret and special, and keep the rest of the world outside.
So I'm not going to write a proper review. I'm going to luxuriate instead.
On paper, "Shakespeare in Love" was perfect for me from the beginning. It's got Shakespeare, of course, which definitely pulls me in, and even better, he's shown as a young, impetuous, passionate playwright, spilling over with words even as he's blocked. He's also shown, you know, writing his own plays, so that's a bonus.
Plus Tom Stoppard, another brilliant writer, worked on the script. Stoppard and Marc Norman, the guy who had the idea in the first place, have never said who wrote what, but I choose to believe that everything I love the most in this clever, giddy, achingly romantic movie is Stoppard's work. So sue me. When you're in love, you get to be crazy like that.
And then there's Joseph Fiennes, who is pretty clever and achingly romantic himself. I hope Will Shakespeare was really like Joseph Fiennes. Wouldn't that be lovely? Millions of people have fallen in love with Shakespeare's words, as his characters came alive on the page or on the stage. But Joseph Fiennes and his ink-stained fingers bring it to a whole different level. Okay, fine. It's down a few levels, away from lofty ideas and right down to the earthy, the real, the sexual. I don't care. It works for me. Joseph Fiennes works for me.
I'm not a big fan of Gwyneth Paltrow in general, but she looks beautiful (her hair alone deserved the Oscar) and she has good chemistry with Mr. Fiennes. (Plus, you know, she's way better than Julia Roberts, who was apparently the go-to girl when the script first surfaced ten years earlier. Let us take a moment to give thanks that Julia Roberts and Daniel Day Lewis didn't work out. Because that would've broken my heart.)
And there are tons of other lovely actors to enjoy as they breeze by, with Geoffrey Rush, Tom Wilkinson, Simon Callow, Martin Clunes, Antony Sher, Rupert Everett and even Ben Affleck, of all people, each playing a pivotal role. One of my favorite performances comes from an actor named Mark Williams, who plays a stuttering tailor who wants his turn on the stage, showing us (as does Tom Wilkinson) just how each of the players is smitten by the magic and mystery of the theater.
Don't forget Colin Firth as the wrong man, practically twirling his mustache. Or Imelda Staunton and her real-life husband, Jim Clark, playing the real and stage versions of Juliet's nurse. (Clever touch, that one.) And, of course, Dame Judi Dench as what may be the best Queen Elizabeth ever.
So here I am, wishing once again I could time travel. This time I'd choose Shakespeare's world, just for a few hours. Long enough to see "Hamlet," maybe. Or the "Twelfth Night" we see Will starting to write at the end of the movie. I suspect the real one wouldn't be as much like Joseph Fiennes as I'd hoped. So it's probably better to watch the movie again, instead. It's just so hard to leave that world when the movie ends. Can't I stay awhile longer?
Labels: Ben Affleck, Colin Firth, Gwyneth Paltrow, Joseph Fiennes, Judi Dench, Marc Norman, Mark Williams, Romeo and Juliet, Shakespeare, Shakespeare in Love, Tom Stoppard, Tom Wilkinson
Kathleen March 4, 2010 at 5:01 PM
I am in love with this movie, too. I own it, and watch it whenever I need some oomph. I love the tooth-brushing scene! The casting is indeed excellent. The humor, ah!
JulieK March 4, 2010 at 5:48 PM
Just looking at the poster makes me feel swoony.
In terms of the humor, I love the tiny touches, like the "A Present from Stratford-upon-Avon" mug and the psychiatrist with a huge hourglass to tell him when time is up. And the line about the billing vs. the bill. It pleases me that the humor is right there, but the heart is, too. That's my favorite combo.
JAC March 4, 2010 at 6:41 PM
Julie knows how I love this too. If you were to select everything I most love in movies and put it together, tied with a bow and addressed to me with love, it would be Shakespeare in Love. I am telling the plain truth when I say that the release of this on DVD was the reason I bought a DVD player for the first time. I wanted (no, needed) to be able to watch it, and hear all the commentary, and see all the extras.
All the English people I know single out Gwyneth Paltrow here as their go-to example of an American actor doing a perfect English accent. (Their worst? Dick Van Dyke in Mary Poppins. Universally and without prompting.)
msb March 17, 2010 at 3:19 PM
Jim Carter.
not Clark :)
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According to an article from the PBS website titled "Fallen Hero: Lindbergh in the Forties," after the Lindberghs moved to Europe in 1935, Charles Lindbergh was found to hold some "quite controversial views on the nature of man." In an interview he shared his opinion that not all men were created equally ("Fallen Hero"). To some people, these ideas seemed to be very close to the beliefs of the Nazi party in Germany at the time ("Fallen Hero").
In 1936, Lindbergh was asked "to report on the state of Germany's military aviation program" ("Fallen Hero"). He continued to visit Germany over the next few years and in 1938 was planning to move his family to Berlin ("Fallen Hero"). In October 1938, Lindbergh received the Service Cross of the German Eagle "for his contributions to aviation" ("Fallen Hero"). Even though Lindbergh only saw it as just another medal, many people saw an acceptance of the ideals of the Nazi party ("Fallen Hero"). About a month later, after the Nazi's "brutal assault on Jews that came to be known as Kristallnacht" occurred, the Lindberghs cancelled the move to Berlin and returned to the United States in April of 1939 ("Fallen Hero").
Upon his return to the United States, Lindbergh, convinced a Germany victory would be certain in a war, supported the isolationist views that many people had at the time and encouraged the American people to stay neutral ("Fallen Hero"). According to an article on Time's website, written by Charles Lindbergh's son, Reeve Lindbergh, "[a]t odds with President Roosevelt and the interventionists, my father was branded a traitor, a Copperhead and even a Nazi." In a speech in Des Moines, Iowa, Lindbergh gave a speech naming the groups he thought were trying to push America into the war as "the British, the Jewish and the Roosevelt Administration" ("Fallen Hero"). This speech "fully knocked him off his pedestal" ("Fallen Hero").
After the Japanese attack on Pearl Harbor in 1941, Lindbergh work as a consultant to Henry Ford, who was "manufacturing B-24 bombers in a Michigan Plant", after Roosevelt refused to allow him to "fight for his country" ("Fallen Hero"). In 1943, Lindbergh was sent to the Pacific by United Aircraft as an observer ("Fallen Hero"). While there he flew over 50 combat missions ("Fallen Hero").
Even after the war ended in 1945, Lindbergh "refused to admit he was wrong in his assessment of the Nazis" ("Fallen Hero"). However he did say that he had hoped that "Hitler and Russian leader, Joseph Stalin, would destroy each other and leave the world safe for the 'preservers of Western civilization'" ("Fallen Hero").


How to correctly mount double-lock grips?
I have a pair of PRO double lock-on grips (id est two lock rings per grip). In a recent crash, following an immensely helpful tip from a fellow rider, I clung to one end of the handlebars, turning the other end towards the ground. The handlebar absorbed much of the impact and only a month later I was able to ride my bike again without any pain.
My question is: have I mounted the grips correctly? As is visible, the white plastic part protrudes from the handlebar. And that is exactly where the metal lockring sits. Should the white part be pushed further inboard? It seems to have smaller inside diameter than the rest of the grip and was not sliding in easy - that's why I mounted it as I did.
Almost certainly the entire grip should be on the handlebar.
Then the 2 pieces of steel pushed in by the screws will tighten against the handlebar giving much better security.
The steel pieces should go in the cutouts on the hard plastic inner of the grip.
I'm not sure how well the grips will work now that they are missing some of their structure, but it's worth a try.
FYI, the reason that the hard part is more difficult to get on is that the multi part grips can get away with a looser tolerance under the rest of the grip, but not where they are actually attached to the handlebar.
Grips are cheap - buy some new ones. If you really want to save these, turn them over so what was inboard is now on the outside. Or swap left for right.
The clamp should be onto the solid metal of your bars, not floating loose in the air.
In addition there should be bar plugs into the end - these are glorified rubber or plastic corks which help prevent O-shaped holes in other people, in the event of an accident. Often events require you to have bar plugs fitted.
Not the answer you're looking for? Browse other questions tagged mountain-bike handlebars new-bicycle-assembly or ask your own question.
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We enhance experiences to bring brands closer to their customers. An integral part of this is embedding social media within the experiences we are creating.
We know social media platforms are integral to brands and having worked with a range of clients, so we understand how to integrate and maximise the channels from concept to execution.
Creativity is central to everything we do. So, whether it is using digital amplification, embracing new technology or wanting advice on how to simply do things differently, we have the know-how.
We have the ability to monitor the effect of social media campaigns through various tools that track elements such as brand mentions.
With all our projects, we produce post event evaluation and guest feedback. As part of this, we can include social media tracking using analytics. This is an essential element for our clients when analysing ROI.
We can integrate social media as part of the projects we create, to ensure our clients are amplifying experiences and gaining maximum exposure for their brand.


The United States is aging, but New Jersey is aging faster than most of the country. According to the Brookings Institution, a national think-tank, the population of those under the age of 45 dropped 4 percent between 2000 and 2010, ranking New Jersey 37th among states with a young population. The average age of the country as a whole is 37.2, a marked difference from the 32.6 average age in 1990.
The Brookings analysis credited "aging in place" for much of the reason New Jersey and other older suburban areas are facing a maturing population. Many younger families are eschewing the Northeast suburbs and choosing to live in cities in the South and West.


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Southern grace , 1930's home with space to raise a family or quietly rest.Has charm and beauty. This home was constructed in an era when builders were true craftsmen. Spacious corner lot . 5 bed rooms 3.5 baths . A must see and own.


Clara Black Nickel by Serene.
This Clara black nickel headboard is a statement piece that will inject glitz and glamour to the bedroom. Black nickel finish, which accentuates the elegant crystal-effect finials on top of the headboard posts.


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Wolf People talk uncool influences and recording boot camp
By Matt Parker 2013-11-22T15:00:00.325Z Guitars
Iommi tones and Fairport Convention chords are go
"We've picked all the really uncool trad-folk and the first wave of British hard rock that no-one really likes..."
Meld fat Iommi tones with Fairport Convention-esque chord progressions, and you get Wolf People´s miniature prog epics.
It´s almost like someone rolled the 70s up into a gigantic doobie- spliff thing and lit the end with
a valve amp. "A lot of people pick all the cool bands as their influences," says guitarist Joe Hollick. "Whereas we´ve picked all the really uncool trad-folk and the first wave of British hard rock that no-one really likes..."
Having met in London and formed around the nucleus of frontman Jack Sharp´s songwriting, the band signed to US indie label Jagjaguwar before releasing first album, Steeple. Now they live all over the UK, which meant that follow-up, Fain, required a "recording boot camp" - in Joe´s house.
"It´s an old gatehouse, by a river in the Yorkshire Dales," he reveals. "It was really good for everyone else because it was an escape to the country, whereas I was just getting progressively madder because the floor was getting dirty."
Still, at least he got a bed. The rest of the band camped outside to store the gear inside - a move we heartily endorse, given that said gear includes Joe´s ´67 Gibson Firebird, Jack´s ´64 Hagstrom Viking, plus 1961 Fender Concert and 70s 'silverface´ amps.
Still, guitars and amps aside, the secret to Wolf People´s unique sound is style. The blend of Jack´s Peter Green-isms and Joe´s "muddy" pick-less playing is passed through a musical kaleidoscope forged from years of record collecting.
"There´ll always be CDs being passed about, and on every track you´ll be like, 'Holy s**t. This is amazing. I want to nick that!´" explains Joe. "You have all these grand ideas, but as soon as you start playing, you´re not good enough to rip it off, so it ends up coming across like us, anyway!"
For more information, visit the official Wolf People website. Connect with the band on Twitter and Facebook.
Summer NAMM 2019: Martin debuts 13 new acoustic guitars, including some… unusual one-offs
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WHD 2017 theme is Know Your Numbers,2016 theme is "know your numbers", 2015 theme is "Know Your Numbers " and 2014 theme is "Know your Blood Pressure"
Every year May 17th is observed as the World Hypertension Day (WHD) as an initiative of the World Hypertension League (WHL), which is an affiliated body of the International Society of Hypertension (ISH).
The decision to observe the WHD was based on global data, which suggested that barely 50% of high blood pressure patients were aware of their ailment and only a negligible number of populations had an awareness rate of over 75%.
Moreover, the awareness rate in some underprivileged nations was less than 10%. There are two crucial components to raise awareness of hypertension diagnosis- (A) create high-powered community screening programs for those at risk with hypertension and (B) have all medical practitioners routinely assess hypertension at all healthcare facilities. The WHL aspires to coordinate with member societies and associates to execute these policies across the world.
The inaugural WHD campaign in 2014 promoted members and associates of WHL to screen and submit blood pressure (BP) readings of more than 100,000 patients. Remarkably, the goal was not only attained but went beyond the target with more than 300,000 BP patients being screen in over 30 countries. Buoyed by this unexpected success and learning, the WHL has increased its target for the current year to screen more than one million patients on WHD 2015 in association with the enhanced awareness of non-communicable disease (NCD) and to undertake plans to increase the target in 2016.
The World Hypertension League has urged hypertension organizations and other healthcare bodies to submit reports on BP screenings recorded between April 17 and May 17 2015. Finally an official report will be issued by the WHL on May 17, 2015, which will highlight key indicators and contributors.
"I lost 90 pounds and my blood pressure went down to a normal level and the salt in my urine disappeared. And that was when I had to make the transition from fat character actor to thin character actor."
"I have an irregular heartbeat, so that means a fair amount of medication - and I have blood pressure pills, too, but no vitamins or supplements."
"I have friends in Utah who care about me as a person, not for what I am. They'll call to see how my heart is, how my blood pressure is. That's important to me."