Five ways to take back Monday.
Monday. The dreaded day. The start of work and the end of fun.
Honestly, I never really minded Monday. It was just kind of like any other day for me and that was great. How did I come to this mentality, you ask? Two words: retail employee.
I did not have a typical Monday-Friday 9 to 5 schedule. I had a retail schedule that was ever-rotating. One day I came in at 6AM and the next day at 2PM. I worked one weekend, but not the next. And I hated it…but I never hated Mondays.
So, now that school and work are back in full swing, I find myself joining the masses and hating Monday. And that just is not fair to Monday! It isn't Monday's fault that we chose to make that day the start of the workweek.
Join my campaign to Make Monday Great Again.
Make it rewarding. Who doesn't love a reward? As humans we are really condition-able, so train yourself to look forward to Mondays. Maybe Monday is the day that you treat yourself to a morning coffee and pastry. Maybe it means movie night with your S.O. Maybe you try a new happy hour spot out. Maybe you visit the library and check out a new book for the week. The key here is to make it specific to Monday. This is something that you wouldn't do any other day of the week (since I have Cocktail Challenge on Wednesdays, I wouldn't do Happy Hour Monday for instance). I personally like the idea of making Monday be the day you grab coffee or bring in donuts for your coworkers. By doing something in the morning, get your reward at the start of the day.
Make it easy. We have just come off a weekend of staying up too late, eating out, and sleeping in. Make Monday a little easier on yourself by doing a little prep on Sunday. Maybe this means laying your clothing out, pre-packing your lunch, or going to bed at a decent hour. Maybe this means doing laundry and running a load of dishes before bed (nothing makes Monday worse than having to scramble to find clean underwear). I like to have my school stuff (homework and snacks) packed up and ready by the door.
Make it fresh. Framing is key, so train yourself to look at Mondays in a new light. It is a fresh week full of cool opportunities. Inspire yourself to try something new. Maybe you can combine this tip with #1 and try a new bakery each Monday morning or a new lunch spot with a coworkers. Or maybe it is as simple as starting the morning with a new scent in your diffuser or coffee in your machine. Framing Monday as something new, fresh and positive will help you wake up with the right attitude and allow you to carry it through your whole week.
Make it productive. No, you can't call in sick. So if you have to be at work anyways, why not make it a really productive day? Start your morning with a to-do list (or better yet, make one on Friday as you are leaving the office so you don't forget anything over the weekend). Once your list is ready, categorize it with easy, medium, and hard to complete tasks. Complete that first easy task to get that "I'm being productive!" boost and your juices flowing. Then move right into your hardest task. It might take an hour, it might take all day, but at least you will know that you have already accomplished your biggest chore of the week and it is only Monday – score!
Make it easy to get out of bed. I used to live in sunny Southern California and now I live in Oregon. Needless to say, it is much colder, rainy, and gloomier here so it is much more tempting to stay in bed longer. I like to make it easy to get out of bed by having a cozy robe waiting for me in a reachable distance. Maybe you would like to have slippers at the foot of your bed or the promise of a hot shower. Another idea is to put your alarm out of arm's length. That way, if you want to turn off the buzzing, you have to get out of bed – and once you are up, hopefully you stay that way.
I hope these "make it" tips help you make Monday great again!
How do you make Monday great again? Let us know.
Nope, didn't work! But, I very much appreciate your cheerful tips and readily admit that it's my own poor attitude these days that is making me feel mad at poor Monday.
Don't take it out on Monday! But thank you for reading and commenting!


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Buckeyes land commitment from WR Burton
59dTom VanHaaren
Ohio State Buckeyes get commitment from ESPN Junior 300 wide receiver Caleb Burton
Tom VanHaarenESPN Staff Writer
ESPN staff writer
Joined ESPN in 2011
Graduated from Central Michigan
Ohio State added another top Texas recruit to its 2022 class on Monday when ESPN Junior 300 wide receiver Caleb Burton announced his commitment to the Buckeyes.
Burton is a 6-foot, 165-pound receiver out of Del Valle High School in Del Valle, Texas, and he's the No. 42-ranked prospect overall. He had been considering Ohio State, Florida, Texas, Alabama, Oklahoma, LSU, Georgia and a handful of other schools before making the call for the Buckeyes.
"The relationship I have with [wide receivers] coach [Brian] Hartline is the best relationship I have," Burton said. "I'll hit him up, we talk and it doesn't even have to be about football. We crack jokes, make fun of each other, and he plays a big factor in why I'm going there. The success they've had at wide receiver, anybody can see that."
His commitment comes only four days after quarterback Quinn Ewers announced his commitment to Ohio State as well. Ewers is the No. 1-ranked prospect in the 2022 class and also hails from Texas. Ewers said he would put his recruiting hat on for Ohio State and said he had his eye on some top receivers, and Burton was included on that list.
"Quinn and I have been knowing we were going to go there for about a month and a half now," Burton said. "I love the way he plays. I went and saw him play in states last year; he was really good. He can read coverages, can check plays, smart with the ball. He's definitely someone I want throwing me the ball."
Burton is also familiar with current Ohio State receivers Garrett Wilson and Jaxon Smith-Njigba, both also from Texas. Burton said he and Wilson have been in constant contact and the success of those players has made an impact on his decision.
"That was definitely a factor, watching Garrett and his development from freshman to sophomore year, it's unbelievable," Burton said. "You see Jaxon Smith-Njigba and the first game of his freshman season he catches a really good ball and has a good game. I have definitely been watching the development, which is nothing new from coach Hartline."
Ohio State has had a ton of success recruiting in the state of Texas, with Wilson and Smith-Njigba, as well as cornerback Jeff Okudah and linebacker Baron Browning, running back J.K. Dobbins, ESPN 300 offensive lineman Donovan Jackson in the 2021 class, and now with Ewers and Burton.
"Everybody thinks I'm from Texas and I would want to stay in Texas," Burton said. "My dad is from Texas and he went to Syracuse to play ball, so leaving the state was really nothing new; it was actually something I wanted to do."
Burton gives Ohio State eight ESPN Jr. 300 commitments in the 2022 class, which is the most of any program.

redpajama_set_name: RedPajamaCommonCrawl


text:
Rhadinaea sargenti este o specie de șerpi din genul Rhadinaea, familia Colubridae, descrisă de Stephen Troyte Dunn și Bailey 1939.

Este endemică în Panama. Conform Catalogue of Life specia Rhadinaea sargenti nu are subspecii cunoscute.

Referințe

Rhadinaea

redpajama_set_name: RedPajamaWikipedia


Pentagon has said that Mission Shakti became imperative because India has concerns about space threats.
For the second time in a week, Pentagon has come out strongly in support of India's Anti-Satellite (A-SAT) missile test saying that Mission Shakti was imperative considering the threat from space. Pentagon had earlier rubbished the claims of National Aeronautical Space Agency (NASA) of A-SAT test being terrible and disturbing the space order. It was claimed that the test created 400 odd pieces of orbital debris and posed a danger to the International Space Station (ISS).
On March 27, when Prime Minister Narendra Modi had announced the launch of the ground to space missile that destroyed a satellite, the nation had joined the elite group of space powers that include the United States, China and Russia.
US Strategic Command Commander General John E Hyten told members of the powerful Senate Armed Services Committee on Thursday that the key points from India's A-SAT test were that India did the test to defend itself from the threats in space. Gen. Hyten was responding to the US Senator's queries on why India conducted the ASA-T test.
"The first lesson from the Indian ASAT is just the simple question of why did they do that. And the answer should be, I think to all the committee looking at it, is that they did that because they are concerned about threats to their nation from space," he said.
The US Senators raised the alarm after NASA chief Jim Bridenstine said that the test was a "terrible thing" that endangered the ISS and created 40 pieces of orbital debris. The premier space agency claimed that it had tracked nearly 60 orbital debris and that 24 were going above the apogee of ISS.
Pentagon, standing firmly in support of India, said that such incidences had happened in the past as well when China sent 100,000 pieces of debris in 2007 during its anti-satellite test.
In 2009, a satellite collision took place between the US and an old Russian satellite that also resulted in debris in the space.
Gen. Hyten observed that in such challenging times when four countries have acquired A-SAT capabilities, there was a dire need to introduce safe environmental norms in the space. He advocated for the development of some kind of international norms of behaviour in space.
"And where those norms of behaviour should begin, from my opinion, is with debris, because as the combatant commander responsible for space today, I don't want more debris," he added.


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Osborne launches fresh attack on Tobin tax
The UK Chancellor of the Exchequer has rejected claims from the European Union that a financial transactions tax would raise billions in revenues
Giles Turner
Wednesday December 21, 2011 4:25 pm
George Osborne, the Chancellor of the Exchequer, has dismissed claims from the European Union that a tax on financial transactions would raise €57bn per year, estimating that such a levy could in fact raise no additional money for the UK Government.
In a letter today to Andrew Tyrie, chairman of the Treasury Select Committee, Osborne said: "Any gains in direct revenue would be offset by losses in other taxes, including a £3bn per year loss in stamp duty. We would also expect a reduction in corporation tax receipts from the...


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Q: How can I know if one function belongs to .NET or C++? I'm using .NET C++ on Visual Studio at the moment.
I know the differences between .NET and C++: C++ is a programming language and .NET is a framework based on C++, on this case. Correct me if I'm wrong.
But sometimes I ask some question here, on SO, and the users ask me if I'm talking about the .NET function or the C++ function. I supose that some C++'s functions are overrided by .NET, but I've not clear how can I distinguish if one function belongs to C++ or .NET.
Maybe it's a very simple question, but I'm not sure about this.

A: Read the docs as a first step (and usually the last). In visual studio, at least, you can just hit F1 to bring that up in a browser. That said, if the function takes or returns any managed references (eg. ones with a ^) or if the class must be allocated with gcnew it is .net.
Regarding the specific issue from your last question (it was slightly whether an array<> was managed or unmanaged), the major issue was simply that your question lacked the C++-CLI tag, so the answerers were not immediately aware of the language you were using and assumed C++, as you did have that tag.
The specific issue of array is partially because you can use it in C++-CLI without having to add a using namespace or a cli:: namespace qualification. Thankfully, the cli namespace only contains 4 things and is the only one to be imported implicitly into a C++-CLI project. Everything else in .net is part of a managed namespace (I believe), and it should be obvious which bits of functionality you're pulling in from those.

A:
... and the users ask me if I'm talking about the .NET function or the C++ function.

I guess what the users want to know in this case is whether you are talking about the managed class or the unmanaged class inside your C++/CLI implementation. Actually, you can declare two types of classes in C++/CLI: A managed type, declared as "ref class" (sometimes called a wrapper class, too), or a plain native, unmanaged type, declared simply as "class".
The main difference is that you can use all .NET classes inside a "ref class", while the plain "class" acts like a normal C++ class. Moreover, the "ref class" has a lot of syntactic extensions required for interfacing the .NET framework, which the native "class" lacks.

redpajama_set_name: RedPajamaStackExchange


text:
Browsing DCS - Artículos de Revistas by Title
Departamento de Ciencias Sociales
DCS - Artículos de Revistas
A l'entorn de la qüestió agrària catalana: el contracte de rebassa morta i els canvis en la viticultura, 1890-1929  (article)
Simpson, James ; Carmona, Juan
Recerques : Història, economia i cultura, 1999, nº 38, p. 105-124
Activist Religion, Empire, and the Emergence of Modern Long-Distance Advocacy Networks  (article)
Stamatov, Peter
Stamatov, P. (2010). Activist Religion, Empire, and the Emergence of Modern Long-Distance Advocacy Networks. American Sociological Review, 75(4), pp. 607–628.
Adapting to international Markets : sherry 1820-1900  (article)
Simpson, James
Douro : estudos e documentos, 2002, nº 13, p. 207-222
Adult roles and the gender gap in political knowledge: a comparative study  (article)
Ferrín Pereira, Mónica; Fraile Maldonado, Marta; García Albacete, Gema María
West European politics, 42(7), Pp. 1368-1398
Agricultural Productivity and European Industrialization, 1890-1980  (article)
Prados de la Escosura, Leandro ; O'Brien, Patrick K.
Economic History Review, 1992, v. 45, n. 13, pp. 514-536
Alliance building and eventful protests: comparing Spanish and Portuguese trajectories under the Great Recession  (article)
Carvalho, Tiago; Portos García, Martín
Portos, M., & Carvalho, T. (2022). Alliance building and eventful protests: comparing Spanish and Portuguese trajectories under the Great Recession. Social Movement Studies, 21 (1-2), pp. 42-61).
Allocating campaign effort in Spain: evidence from four general elections  (article)
García Viñuela, Enrique; Jurado Nebreda, Ignacio ; Riera Sagrera, Pedro
García-Viñuela, E., Jurado, I., & Riera, P. (2016). Allocating Campaign Effort in Spain: Evidence from Four General Elections. South European Society and Politics, 21 (2), pp. 243-262.
American divergence: Lost decades and Emancipation collapse in Latin America and the Caribbean 1820-1870  (article)
Federico, Giovanni; Tena Junguito, Antonio
European Review of Economic History, 2018, 22(2), 185–209
An analysis of a large dataset on immigrant integration in Spain. The statistical mechanics perspective on socialaAction  (article)
Sandell, Frank Rickard ; Barra, Adriano; Contucci, Pierluigi; Vernia, Cecilia
Barra, A., Contucci, P., Sandell, R., & Vernia, C. (2014). An analysis of a large dataset on immigrant integration in Spain. The Statistical Mechanics perspective on Social Action. Scientific Reports, 4 (1).
And yet it moves: the effect of election platforms on party policy images  (article)
Fernández Vázquez, Pablo Alberto
Fernandez-Vazquez, P. (2014). And yet it moves: the effect of election platforms on party policy images. Comparative Political Studies, 47 (14), pp. 1919-1944.
Another Brick in the Wall? Young people, Protest and Nonprotest Claims Making in Nine European Countries  (article)
Loukakis, Angelos; Portos García, Martín
Loukakis, A. and Portos, M. American Behavioral Scientist (2020), 64 (5), 669-685
Are Migrants Selected on Motivational Orientations? Selectivity Patterns amongst International Migrants in Europe  (article)
Polavieja, Javier G.; Ramos Martín, María; Fernández Reino, Mariña
Polavieja, J. G., Fernández-Reino, M & Ramos, M. (2018). Are Migrants Selected on Motivational Orientations? Selectivity Patterns amongst International Migrants in Europe. European Sociological Review, 34(5), 570-588
Asymmetric federalism and economic voting  (article)
León, Sandra; Orriols Galve, Lluis
León, S., & Orriols, L. (2016). Asymmetric federalism and economic voting. European Journal of Political Research, 55 (4), pp. 847-865.
Attributing responsibility in devolved contexts. Experimental evidence from the UK  (article)
Orriols Galve, Lluis
León, S., & Orriols, L. (2019). Attributing responsibility in devolved contexts. Experimental evidence from the UK. Electoral Studies, 59, pp. 39-48.
León Alfonso, Sandra ; Orriols Galve, Lluis
Bairoch revisited : tariff structure and growth in the late nineteenth century  (article)
Tena Junguito, Antonio
European Review of Economic History, 2010, v. 14, n. 1, pp. 111-143
Balance sheets for the acquisition, retention and loss of european empires overseas  (article)
Itinerario European Journal of Overseas History, 1999, XXIII, 3-4, p. 25-52
Banqueros alemanes de Felipe IV: Los Fugger jóvenes y Julio César Scazuola (1618-1641)  (article)
Álvarez Nogal, Carlos
Álvarez Nogal, C. (2017). Banqueros alemanes de Felipe IV: los Fugger jóvenes y Julio César Scazuola (1618-1641). Studia Historica: Historia Moderna, 39 (1), pp. 265-299.
Beyond strong and weak: rethinking postdictatorship civil societies  (article)
Riley, Dylan; Fernández González, Juan Jesús
Riley, D., & Fernández, J. J. (2014). Beyond Strong and Weak: Rethinking Postdictatorship Civil Societies. American Journal of Sociology, 20 (2), pp. 432-503.
Bills of exchange as money : sources of monetary supply during the industrialisation of Catalonia, 1844-74  (article)
Cuadras-Morató, Xavier; Rosés, Joan R.
Financial History Review, 1998, vol.5, nº1, p.27-47


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package eetac.upc.eetac.dsa.grouptalk.dao;

import eetac.upc.eetac.dsa.grouptalk.entity.User;

import java.sql.SQLException;

/**
 * Created by pauli on 12/04/2016.
 */
public interface UserDAO {
    public User crear_usuario(String loginid, String password, String email, String fullname) throws SQLException, UserAlreadyExistsException;
    public User obtener_UserById(String id) throws SQLException;
    public User obtener_UserByLoginid(String loginid) throws SQLException;
    public boolean check_Password(String id, String password) throws SQLException;
}

redpajama_set_name: RedPajamaGithub


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Vietnam Helicopter Pilots Reunite in Phoenix
On: September 1, 2007
The logo of the Vietnam Helicopter Pilots Association was proudly displayed in Phoenix during the group's 24th annual reunion.
By Bob Shane
Phoenix was the 2007 landing zone for the 24th annual reunion of the Vietnam Helicopter Pilots Association. From July 3-7, it was the place to hear great war stories. More than 1,100 people braved the Arizona summer heat to attend the event.
Founded in 1984 by Larry Clark, VHPA has more than 40,000 names in its database, of which more than 13,000 are members. The first reunion, held in Phoenix in 1984, attracted 66 pilots who flew in Vietnam.
"My goal in starting VHPA was to bring people together," Clark said. "It's very satisfying for me to see friends come together, who haven't seen each other since completing their war service."
While it wasn't a stated objective of the group, over the years, Clark has seen the image of the Vietnam vet evolving into something more positive.
VHPA founder Larry Clark started the organization in 1984.
The one symbol, perhaps more than any other, that epitomizes the Vietnam War is the UH-1 Huey helicopter, not only because of the visual imagery, but also because of the chopper's distinctive sound. Just thinking about that historic conflict conjures up images of a flight of assault Hueys, transiting the sky in V formation, ultimately landing in a rice paddy to unload soldiers going into battle. Whether it's a "Slick" (troop transport) or a "Gunship," hardly a war story was told during the reunion that didn't include the UH-1 helicopter. The Huey was the backbone of U.S. activities in Southeast Asia.
While storytelling can be an art, the stories told at the JW Marriott Desert Ridge Resort & Spa during the "War Story Contest" were more from the heart than an art form.
"I'm not a public speaker," one helicopter pilot asserted. "I'd rather be bitten by a rattlesnake than do this." With that admission out of the way, he shared his personal war experiences with those present.
The majority of the stories were absolute tearjerkers, both for the speakers and for the listeners. The pilots speaking would often choke up with emotion. However, they had lighter moments, like when a chopper driver described flying his helicopter underneath a bridge with only 10-foot clearance above and below his aircraft. Or when a Huey pilot said that he had found a UH-1B operator's manual on eBay.
Professional artist Joe Kline was available during the reunion to paint limited edition prints for any pilot wanting a custom representation of the helicopter he flew in Vietnam.
"I never read one," he added.
One of the more poignant combat stories was that of Chief Warrant Officer Ron Cone of Modesto, Calif. Cone was a participant in "The Battle of Easter Sunday."
It was March 26, 1967, Easter Sunday. For Cone, a helicopter pilot stationed at an airbase in the Mekong Delta, this was supposed to be a down day—a chance to catch up on some sleep. But an alarm sounded, and he found himself in a scramble to get his helicopter airborne. His Huey was part of a flight of 10, transporting an estimated 120 South Vietnamese troops and their American advisors to engage a large enemy force of Viet Cong.
Cone's helicopter was positioned in the "golden two" position, to the right of the lead aircraft. As the choppers started setting down in a rice paddy, all hell broke loose. The air above the landing zone suddenly became alive, saturated with a hailstorm of bullets. While being under fire wasn't unusual, this was the most intense fire Cone had ever experienced. Using a tree line along the edge of the rice paddy for cover, the VC opened up with machine guns, mortars and recoilless rifles.
Event guests had the opportunity to order hand-carved mahogany models of every type helicopter flown during the Vietnam War, personalized with unit insignias and tail numbers. The models are made in Vietnam.
"Outlaw 17," a Huey piloted by Cone's good friend Jon Myhre, was shot down over the LZ. A medevac helicopter sent in to pick up Myhre and his crew was also shot down. The battle lasted 12, with more than 100 jet and prop aircraft involved in the engagement.
Of the 30 helicopters that ultimately participated, three were shot down in the LZ with a fourth downed while returning to its base. The list of casualties included four Americans killed and 12 wounded; 42 South Vietnamese soldiers were killed and 69 were wounded. The VC body count of 142 was little consolation for those who lost good friends that day.
Miraculously, Cone's helicopter didn't take a single hit. On March 26, he wrote in his diary that Jon Myhre "didn't make it." However, the following day, good news was announced; Myhre had been reported dead but was found alive in the LZ and was going to make it. Some say he "rose from the dead on Easter Sunday.
Helicopter pilot Ron Cone took part in the fierce Vietnam War battle that became known as "The Battle of Easter Sunday."
Forty years after that fierce battle in a rice paddy, Cone felt compelled to return to the country he viewed as beautiful; he wanted to experience Vietnam without the distraction of war. The visit would be an opportunity to resolve unanswered questions, honor the memory of fallen comrades and complete an important chapter in his life.
This past spring, Cone and five other Easter battle survivors traveled to Vietnam. Cone didn't know what to expect and didn't even know if they'd be able to find the battle site. And for the experience to be the most meaningful, it was important that they be at the site on the anniversary date.
With the help of the local Vietnamese, the men located the battle site on March 26, in a rural area near the village of Hoa Binh. Much to their amazement, the group discovered a compound surrounded by a seven-foot wall. Inside was a beautiful 35-foot high monument, built by their former enemy, commemorating the Battle of Easter Sunday. Around the monument were pictures in bas-relief, depicting the conflict; three American helicopters were shown falling to the ground in flames, and another showed the Viet Cong transporting their wounded soldiers away in flat-bottomed wooden boats called sampans. A plaque described the battle as a heroic victory for the Viet Cong, with 600 American and allied troops killed.
On March 26, Ron Cone and five comrades returned to Vietnam to visit the site of "The Battle of Easter Sunday." They discovered that the Vietnamese had built a beautiful, 35-foot monument on the site of the battle, which had taken place on that very day,
After the passage of 40 years, Cone harbors no ill will towards his former enemy. During his visit to Vietnam, he says he felt welcome and believes that the Vietnamese enjoy having Americans visit their country.
"I went back in celebration of my life," he said. ""Seeing the monument commemorating the battle was an acknowledgement we were there."
Cone's now ready to close that chapter of his life.
"My Vietnam experience is more complete, and I'm more satisfied with who I am after this experience," he said.
Clearly depicted on the Vietnamese-built monument to commemorate "The Battle of Easter Sunday" were three American helicopters falling to the ground in flames and the Viet Cong soldiers who shot them down.


We love discovering new music. Our July Women of Gravitas Cathleen Murphy & Angela Barkan share their summer playlists with us and the music that inspires them. Enjoy!
This is my current "inspiration" playlist, which is teaming with powerful female vocals and perspectives!
This is my "Hooray for Summer" playlist.
This month, Woman of Gravitas Emily West answers your questions about work, music, friends, romance – anything!
2. Follow @ProjectGravitas on social media. Look out for a special video from Emily answering your questions in the next few weeks.


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BEATPORT: Michael Jackson's "Love Never Felt So Good" (Fedde Le Grand Remix) DJ Version Out Today, May 19
Posted on May 19, 2014 by Charlotte Horton
FR: ALEXANDRA GREENBERG/MSO PR
TAPPED AS AN EXCLUSIVE PARTNER FOR
THE RELEASE OF THE DJ VERSION OF
MICHAEL JACKSON'S "LOVE NEVER FELT SO GOOD" (FEDDE LE GRAND REMIX)
REMIX AVAILABLE TODAY (MAY 19)
BEATPORT, an SFX Entertainment Inc. company and the principal online destination for electronic music culture, today announced it is an exclusive partner with Epic Records/Sony Music Entertainment for the release of the extended DJ version of Fedde Le Grand's remix of Michael Jackson's "Love Never Felt So Good." The exclusive remix by the Dutch house legend Le Grand is available to Beatport users today, May 19 here: http://www.beatport.com/release/love-never-felt-so-good/1306386.
"Love Never Felt So Good" is the lead single from Michael Jackson's posthumously released album XSCAPE (out now). For the track that made its debut May 10 on BBC Radio 1's "Dance Anthems with Danny Howard" show, Beatport is the first outlet to receive an exclusive remix from the album from the late King of Pop.
"Being asked to remix this single has been the most honorable and at the same time scary and exciting thing that's ever happened to me," says Fedde Le Grand. "For me the most amazing thing would be if via this remix I can contribute – if only a little bit – in bridging the gap between the 1980's and 2014. There is so much really good music from the past that would still have its relevance today and Michael just simply is the King of all stuff that was ever out there."
"Beatport is committed to constantly surprising our customers with new exclusives unavailable anywhere else. We are honored to be given the opportunity to deliver this new track from a true music legend to our loyal users," adds Clark Warner Executive Creative Director, Beatport, "…and look forward to DJs breaking it to their millions of fans on the dancefloor and beyond."
Beatport, an SFX Entertainment Inc., company, is the world's leading online provider of music, tools and resources customized for the unique needs and demands of DJs. Available in more than 230 countries, our flagship digital music service features high-definition dance tracks—from the latest exclusives to deep catalogue cuts—by the world's top and emerging artists. As a result, our sales charts serve as the industry barometer for what tracks are currently jumping in the clubs before crossing over into the mainstream. The Beatport platform also offers tools to help DJs manage their careers, promote their productions and performances, and connect with the largest community of qualified fans on the planet. Founded in 2004, Beatport is based in Denver, CO, with offices in Los Angeles, Berlin and Tokyo. In March 2013, Beatport became part of the SFX network of companies focused on Electronic Music Culture.
For more information on BEATPORT, check out:
www.facebook.com/beatport
http://www.twitter.com/beatport
For more information on BEATPORT, contact:
MSO PR 818 380 0400
Alexandra Greenberg x223, agreenberg@msopr.com
This entry was posted in BEATPORT, Press Releases. Bookmark the permalink.


text:
2013 | 2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2006 | 2005 | CONTACT
POETRY CALENDARS 2013
(ENGLISH, DEUTSCH)
Alhambra's stand-up desk calendars for 2013 contain 365 classical and contemporary poems by more than 300 poets each. Poetry from different eras and poetry movements is included, with a particular emphasis on contemporary poetry. The calendars are bound in a spiral so there is no need to tear off pages and they can be used later as a reference book.
DEUTSCH DEUTSCH (für junge Leser)
ENGLISH ENGLISH (for young Readers)
Praise for the Poetry Calendar
"What fascinates and pleases about this calendar is the way time is kept track of (it IS after all a calendar) but also shaken up, stirred, and still clarified. We might read Keats one day and Billy Collins the next, and that seems exactly as it
should be." – Robert Wrigley
"The surprise and delight of poetry is enhanced by the free-standing format of the international Poetry Calendar edited each year with great care and wisdom by Shafiq Naz. The poem assigned to each day stands alone, like the day itself, singular and arresting, inviting your full attention and delivering in return so many unexpected pleasures."
Brigit Pageen Kelly
"I read it straight through right away and found happy surprises – deft and touching poems I didn't know both by poets I knew and poets I didn't. For the poets I didn't, it led me to looking up more of their work
– Michael Ryan
"Really, there is only one tense in poetry: the present. So here we have a calendar, the days passing unstoppably, and poems from several centuries, poets living and dead, answering back in the present tense." – David Constantine
"The Poetry Calendar provides 365 moments of calm contemplation for anyone rushing through a too-busy year. The selection of poems is deep, rich, surprising, and inspiring for readers and writers alike."
– Elizabeth Spires
"The magic metronome of The Poetry Calendar both keeps the time, and surprises us every day with a new voice, a fresh possibility we might not have discovered except that it appears before us at the flip of a page." – Molly Peacock
"With its ever-changing array of strong poems and ingenious design, the Poetry Calendar gives any poetry reader 365 reasons to get up in the morning." – Susan Stewart
What I admire most about the Poetry Calendar is the elegance of the idea and the product. It is exquisitely made and offers us range, surprise and excellence—a timely reminder of how poetry is founded in the everyday. – Tim Liardet
"It's hard to find good poetry anymore, but Shafiq Naz is up to the task, discovering and rediscovering poems as diverse as the sensibilities that created them, arranging his choices so that a single year assumes an unpredictable emotional rhythm we poetry lovers just flat-out love to dance to. The Poetry Calendar, along with apple fritters and cheap black coffee, has given me yet another reason to get up in the morning." – Peter Johnson
"The Poetry Calendar is rich in surprises, non sequiturs, occult associations across centuries. Most of all, it is guided by an eclectic but uncompromising sense of excellence. It is a pleasure to turn each page and to see what the next day brings in the paced contemplative exercise of the new poem." – Rosanna Warren
"The works in the Poetry Calendar – as diverse and distinctive a gathering of voices as can be imagined – offer a way to begin each day newly awakened, newly convinced that words are not the end of thought, they are where it begins."
– Jane Hirshfield
"Not only is the Poetry Calendar a wonderful compendium of contemporary writing (and writing through the ages) - it's also beautifully put together. Using it, its design emerges more and more as VERY practical – but so (speaking as an editor) does the sly, witty juxtaposition of poems. It's a triumph!" – Fiona Sampson
"It's really a wonderful way to organize what is really a poetry anthology but with a completely unpredictable order of events, which seems like the very best kind." C.K. Williams
"The Poetry Calendar is meticulously and interestingly ordered. Shafiq Naz's editing reminds me of the self-effacing efforts of the best DJs as they seamlessly segue from track to track." – John Hennessy
"The thing that continues to amaze me is that this is a major anthology and Shafiq Naz plans to put one of these together each year. Most people would relax, exhausted, after just the one! When I say 'a major anthology,' I mean in flipping the pages day after day, one meets with beautiful, challenging work day in, day out. No clunkers." – James Cummins
"The Poetry Calendar is a beautiful production - the perfect enticement to read a poem a day." – Robert Minhinnick
"A wonderful, simple, eloquent way of adding poetry to dailyness." – Eavan Boland
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Join the 677 happy customers who used Fixter in Cardiff for their car service!
Regularly servicing your motor yields plentiful perks, from better fuel efficiency to improved braking and handling, while your engine will also run more smoothly. Reliability will also be enhanced, and you could save yourself a small fortune in repair bills further down the line.
Although frequency of servicing depends on mileage and the age and type of your motor, your car should be serviced at least annually, or every 10,000 to 12,000 miles. While a full service is always best, a more basic or interim affair will keep things ticking over in between times. It's also useful as a pre-MOT check.
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Our three types of car service all include an oil change, and your oil filter will be replaced. Choose one according to your mileage, how old your motor is and its make and model – your final service bill will depend on these things too.
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Lucas, Amanda; Midwives; 2012
Hitting performance targets.
Citation: Midwives, Jan 2012, vol. 15, no. 6, p. 44-45, 1479-2915 (2012)
Author(s): Lucas, Amanda
Source: BNI
Full Text: Available from ProQuest in Midwives (Athens details required)
Available from EBSCOhost in Midwives
Marketing in maternity.
Full Text: Available from ProQuest in Midwives
April 7, 2014 East Cheshire NHS Library	marketing, maternity, midwives, performance_targets, staff_publication	Leave a comment
One Liners – Issue 97
One Liners issue 97 – June 2013
The MHRA receives reports of harm and near misses involving medical devices used by midwives. This edition describes some of these and provides advice on preventing further incidents.
June 19, 2013 East Cheshire NHS Library	medical_devices, midwives, one_liners	Leave a comment
Leadership course for frontline nurses and midwives
A new eight-day leadership course is helping front-line staff become better role models for their colleagues and provide excellent patient care across primary, community and secondary healthcare settings.
Around 1,200 nurses and midwives should complete the course, developed and delivered by the NHS Leadership Academy, by March 2014.
The programme focuses on the approach and behaviours of frontline nurses and midwives with leadership responsibilities, such as team leaders, ward sisters and supervisors, and the environment they create for their colleagues and patients. It was developed with input from nursing and midwifery leaders from across the country.
In October 2012, the Government pledged £46m toward NHE leadership development in the name of better patient care.
April 10, 2013 East Cheshire NHS Library	leadership, midwives, National_Health_executive, nurses, Training	1 Comment
News from Nursing and Midwifery Council (NMC)
The code: standards of conduct, performance and ethics for nurses and midwives
This code sets out a foundation for good nursing and midwifery practice, and will act as a key tool in safeguarding the health and wellbeing of the public.
NMC – publications
January 14, 2013 East Cheshire NHS Library	KingsFund, midwives, NMC, nurses, standards	Leave a comment
Care in local communities: a new vision and model for district nursing
This vision and service model builds on 'Compassion in practice', the national vision for nurses, midwives and care staff. It was developed by a strategic partnership of the Department of Health, NHS Commissioning Board Authority, The Queen's Nursing Institute, alongside district nurse leaders and practitioners. It sets out the foundations of district nursing services, the developments and innovations that ensure services can meet current and future needs, and the district nurse-led team contribution to providing care and support in the community, including peoples' homes. It aims to be a resource for those designing and providing local community health services, including nurse leaders, health and wellbeing boards, clinical commissioning groups, and others with an interest in developing integrated care for older people.
Compassion in practice
Department of Health – news
January 14, 2013 East Cheshire NHS Library	community, district_nurses, DoH, guidance, midwives, nurses, older_people	Leave a comment
RCM: New report backs innovation for midwives
Originally posted by Rob Dabrowski
We should empower frontline staff to innovate and improve their services, according to a new study. It says it is possible to deliver high-quality, safe and effective care when midwives are engaged and lead on innovation.
The study has been launched by the RCM and the Involvement and participation Association (IPA).It features examples of innovative practice from across England, including a pioneering apprenticeship programme for maternity support workers at Basildon and Thurrock University Hospitals NHS Foundation Trust.
It also covers a programme aimed at empowering midwives to redesign work within the maternity unit at Nottingham University Hospitals NHS Trust, a scheme in NHS South Central region which harnessed the power of networks to drive change, and the role of team leaders in modernising and improving midwifery services at East Cheshire NHS Trust.
For the full story please click here
August 21, 2012 East Cheshire NHS Library	innovation, midwives, RCM	Leave a comment
Statistics from The Kings Fund: 15 November
Student midwives employment survey
A survey of 803 students and newly qualified midwives by the RCM found that more than a half (52%) of students "strongly agreed" that they were finding it difficult to get a job as a midwife. Nearly three-quarters (74%) said that there were not enough vacancies for the number of midwives seeking jobs and 64% said that they were finding it difficult to get a job in the location that they wanted. Of the respondents, 32% who have started looking for jobs had not secured a midwifery post. Sixty-two percent of students who had not secured a post said they were not optimistic about finding a job as a midwife. More than a third (38%) said they strongly disagreed that there were enough midwifery vacancies for the number of midwives seeking employment.
Extract from The Royal College of Midwives
November 21, 2011 East Cheshire NHS Library	KingsFund, midwives, survey	Leave a comment


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Assembly Republican leaders say public funding for new Bucks stadium could be tough sell
MILWAUKEE – Republican leaders in the state Assembly say it won't be easy to find the public money that the Milwaukee Bucks are seeking to help build a new arena.
The NBA team wants to replace the aging BMO Harris Bradley Center with a new downtown arena that could cost up to $500 million.
Assembly Speaker Robin Vos, a Republican from Rochester, said Bucks co-owner Marc Lasry made a mistake by greeting President Barack Obama at the airport last month, the Milwaukee Journal Sentinel (http://bit.ly/116mMe7 ) reported Friday. Lasry's appearance "did not make my job easier" as far as persuading the GOP-run Legislature to support a financial plan for the proposed area, Vos said.
"This is not going to be easy because the timeline is fairly quick, the ask is probably going to be fairly big, and the economic impact is unknown," Vos said.
Republican Assembly Majority Leader Jim Steineke echoed those comments Friday, saying it will be hard to convince people who don't live in Milwaukee that taxpayers statewide should help pay for a new arena.
"I don't know how we sell it outstate," Steineke said.
The Bucks need to present a detailed plan that convinces lawmakers the new arena would boost the local economy, Vos said.
The Bucks have already come up with $300 million to fund the project, including $100 million from Lasry and fellow co-owner Wes Edens, $100 million from former U.S. Sen. Herb Kohl and $100 million from a private investment. But Lasry, Edens and the Metropolitan Milwaukee Association of Commerce have said some public funding would still be required.
Although the public funding proposal has yet to be established, one possibility would be to capture income taxes paid by professional athletes and employees at the stadium. Gov. Scott Walker has said the idea is interesting and he would like to keep the Bucks around, but he has yet to publicly back a plan for the stadium.
"Gov. Walker has said that we first need to hear details of a plan from elected officials, Bucks officials and civic leaders in Milwaukee," Walker spokeswoman Laurel Patrick told the newspaper. "Then we will review and evaluate any role that might involve the state government."
A memo released Friday from the nonpartisan Legislative Fiscal Bureau says $150 million in general obligation bonds to help build the arena could be supported by the $12.7 million in Wisconsin personal income taxes paid every year by NBA players and other league employees. That assumes a 20-year repayment structure for the bonds.
The memo was written on Sept. 30 but not released publicly until Friday by Vos.
Information from: Milwaukee Journal Sentinel, http://www.jsonline.com


The Crystal Fires Gem Open Fronted Inset Gas Fire features an elegant inset design that is compatible with most contemporary fireplace suites, with a 4.2kW output making this one of the warmest open gas fires on the market right now!
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Sedona is one of the most spectacularly beautiful places in America. Part of Coconino national forest, it hosts numerous breathtaking hikes. Living in Sedona 20 years has made us privy to many lesser known trails that you might want to check out to avoid tourists and see amazing views.
This is a smaller, barely marked, neighborhood trail. To get here you drive down Verde Valley School Road about 2 miles until you see a sign on the right that says CR Ranch. This is where the trailhead is. You can park either right in front or across the road in a pullout parking area. This trail has a few directions once you enter, but the primary hike is to the right. When you enter stay on the path to the right (at one point it splits -stay right). Eventually you will come to an open space – take a sharp right on a small, narrow, path (there is a fallen tree next to the path). This takes you up the the ridge. When you get to the ridge you can either go right or left. The right path leads you to the Mayan Maiden. which is a relatively short hike. The path to the left is much longer and takes you up and around the ridge. This hike has spectacular views and you can see the backside of Cathedral Rock, Castle Rock, and many smaller rocks.
This hike is located by a well trafficked hiking area, but not as many people choose this hike. To get here park at Courthouse Vista off 179. Take the Phone trail to the left. Follow it around for about 1 to 2 miles. You can go one of two ways to hike Baby Bell. If you want to go up on top of Baby Bell the best way is to take a sharp right when you get to the rock. This trail goes alongside Baby Bell. For a while you will feel like you are hiking away from the rock, but when you come to a big opening take a sharp left. This is unmarked and almost doesn't look like a trail – it heads directly back to Baby Bell. This will take you around and up the rock. Near the top it is steep and rocky so wear good shoes. To hike the longer trail that goes back into the general area, pass by Baby Bell and come to the back of it. Here you will see a sign that says Baby Bell – take a right. (You can also cut up to the top of the rock on this hike – just cut left when you see the clear path). This hike winds around behind Baby Bell and offers beautiful views, is less traveled and takes you deep into the valley of rocks. It also hooks up to the Llama trail so you can loop back to the parking lot by meeting up with Bell Rock Pathway. The Llama trail lets you out right where the opening is for hiking up to the top of Baby Bell.
This is another trail off of Bell Rock Pathway. If park at Court House Vista (you will need a red rock pass) follow the phone trail and make a sharp left when you see Baby Bell. Follow this around until you come to big opening. You will see the trailhead for Llama trail on the left. This trail winds around behind courthouse and hooks up with many other trails. Eventually it will cross the phone trail again and you can take it back to the parking lot by taking a right.
This is a great trail that has amazing views and is on the more difficult side. To get here go to the end of Jack's Canyon road. This is an unmarked trail and that what makes it fun. You need to forge your own way up to the top. Near the top it gets steep and rocky, but is quite exhilarating.
To get to this hike take 179 and turn onto Sombart Lane. Go up the street and park in the designated parking lot (you need a red rock pass). You will see a trailhead through a gate. The beginning of the trail is steep and then it levels off. To get to snoopy (which is less traveled) when you come to the first sign trail marker go straight. This will take you on long windy trail. It is not marked clearly, but enough so you can make your way. Once you get close to Snoopy it get steep and rocky, so wear good shoes.
Take Jack's Canyon road off 179 about mile or so on the right you will see a trailhead and big parking lot this is the trailhead. This trail goes up and through the saddle. Stay left to get to the top of wild horse mesa. There are Indian ruins at the top, but hard to find.
To get to this hike drive up Schnebly Hill road about 3.5 miles until you see a parking area on your right. This road starts out paved, but turns into a dirt road so a 4 wheel drive or sturdy car is advised. This is a beautiful trail, not marked well, but allows for lots of exploration.
This trail starts off Little Horse Thief trail. You can get there one of two ways – from the vista off 179 or back behind the chapel. I recommend the entry behind the chapel. This is a beautiful hike that takes you through broken arrow area without having to encounter lots of jeeps and hikers.
This hike is off of dry creek road and is an easy, nice, loop hike with pretty views. To get here take dry creek road off of 89A. Turn right on Coffee Pot Drive and to Sanborn. Turn left on Sanborn (which turns into Thunder Mountain Road) and for about a mile and look for the sign for the trailhead on your right. You can start this trail in either direction. On the backside are beautiful canyon views.
To get to this trail pull in off of 179 west side just across from Bell Rock. This trail lead up on castle rock with nice views. Very untraveled trail.
Tagged Great Hikes, Red Rock Hikes, Sedona Hikes, Vortex Hikes. Bookmark the permalink.


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Humpback Whale Swim
Sunset Humpback Whale Watching Cruise
Whale Sharks 101: The Gentle Giants of the Sea
Free Call:1800 411 860
Whaleshark Interaction Tour
Indigenous Culture
Rates & Bookings
Meet the biggest fish in the sea—the whale shark! Whale sharks (or Rhincodon Typus) are actually sharks, not whales. But don't let the size of these gentle giants scare you. Whale sharks are actually one of the most docile marine species, and pose no threat to humans.
Measuring up to 20 metres long, the whale shark holds the title of the king of the sea, as the biggest fish and shark in the ocean. Fortunately for most marine life (and us humans), however, this gentle species of shark enjoys eating tiny plankton.
Their appetite for plankton and preference for warm waters make Western Australia's Ningaloo Reef the perfect place to migrate to in the spring. These friendly creatures can be spotted swimming alongside boats or playfully interacting with scuba divers.
To help you get acquainted with these sociable sharks, we've created a guide to whale sharks 101 with everything you'd want to know about this majestic species.
Whale Shark Behaviour
One of the most common questions our marine biologists get is 'are whale sharks dangerous?' Fortunately for anyone visiting Ningaloo Reef in the spring, the answer is a resounding no! Whale Sharks are actually considered one of the most docile species of fish, making them perfect swimming companions in Exmouth's pristine waters. Experts agree that these gentle giants pose no significant danger to humans as their diet consists of plankton and tiny fish.
Whale sharks are usually solitary creatures, although they are known to gather in large schools as they migrate to areas with an abundance of plankton and warm waters—like Ningaloo Reef. They are known for their friendly behaviour as they will often swim alongside boats.
Whale Shark Appearance and Characteristics
If there's one thing you'll notice about the whale shark right off the bat, it is its massive size. On average, whale sharks measure between 9 and 12 metres long, although there have been accounts of whale sharks as large as 20 metres. They can also weigh over 12,500 kilograms, allowing them to secure the title of biggest fish (and shark) in the sea.
To match their large bodies, the whale shark also has an exceptionally large mouth—measuring around 1.5 metres wide. Inside their mouths, are anywhere between 300 and 350 rows of teeth—which they rarely use because they are filter feeders.
Similar to baleen whales, whale sharks passively filter their food through a system called cross-flow filtration. Their heads are rather flat, allowing them to open their mouth very wide to scoop up tiny fish and plankton. Their food is then filtered through their gills.
Each whale shark has a unique spotty pattern on its body. Its thick skin is rough to the touch, protecting this gentle beast from scratches and other harm. It also features a pair of dorsal fins, a pair of pectoral fins, and a caudal fin.
Whale sharks love warm tropical waters. Every spring, this docile species migrates to Western Australia's Ningaloo Reef, giving visitors the chance to swim alongside these gentle giants. They love coastal areas, which is why the coral spawning of Ningaloo Reef's continental shelf is the perfect habitat. Whale sharks also enjoy plankton, krill, and tiny fish as their main diet, which is why they often congregate in areas where these species are abundant.
Outside of Western Australia, whale sharks can also be found in other tropical waters where temperatures range from 21-30° C. Most of the waters they inhabit fall between the 30° north and 35° south latitudes, in countries like the Philippines, South Africa, Mexico, Belize, and Ecuador although Western Australia is considered the best viewing areas in the world.
Best Time of the Year to See Whale Sharks
In Western Australia, the best time of the year to see whale sharks is in the spring months between March and August. Every year during this time, whale sharks migrate to the World Heritage site of Ningaloo Reef, off the coast of Exmouth. This is considered one of the best sites in the world for whale shark snorkelling as the warm coastal waters attract countless whale sharks to the region. Visitors here can have an unforgettable encounter with these amazing creatures, coming face to face with these friendly sharks in WA's pristine waters.
Threats to Whale Sharks and Conservation Efforts
Whale sharks are listed by the IUNC as an endangered species due to their declining population. Like many other marine species, the biggest threat to whale sharks is, unfortunately, humans. These gentle giants are hunted in certain countries for their meat, oils, and fins, which are considered valuable on the international market. In addition to being hunted, whale sharks often get injured and sometimes die accidentally due to boating accidents or by falling victims to bycatch (accidentally getting trapped in fishing gear).
Because of the threats already facing these beautiful creatures, it's essential to take maximum care to prevent accidentally disturbing this endangered species. If you're planning to go swimming with whale sharks, it's important to only visit them in the company of licensed Exmouth operators, like our team at Ningaloo Whaleshark 'N' Dive.
We have a marine biologist on board each of our tours, who understands whale shark behaviour and who can answer any questions you may have about these gentle giants. This ensures an up-close encounter that is unforgettable, educational, and harmless to the whales.
Swimming with Whale Sharks in Exmouth
If you're ready for an unforgettable experience of a lifetime, we invite you to get up close and personal with the gentle giants of the sea—whale sharks. Not only will you be able to say you swam with actual sharks in Western Australia's pristine waters, but you'll have the chance to speak with one of our passionate marine biologists to learn everything you want to know about the biggest fish of the sea.
Our Ningaloo Whaleshark 'N' Dive tours depart daily, allowing swimmers of all ages to snorkel alongside these beautiful giants.
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5 Unforgettable Moments from the 2022 US Dressage Finals presented by Adequan®
Jesse Woodhead celebrates aboard Waldor, a horse she purchased for just $1. Photo by Amber Wiseman
By Chelsey Burris
The US Dressage Finals presented by Adequan® gets its moniker, the Centerline of Champions, for good reason. Competitors from across the United States converge each fall to compete head-to-head for honors from Training Level to Grand Prix, featuring adult amateur, open, and junior/young rider divisions. Each edition of the show features new and spellbinding performances as the top riders and horses in the nation dance their way down centerline. Here are 5 moments from the 2022 Finals that we are sure to be talking about for years to come.
Who Says a Dollar Doesn't Buy Much Anymore?
Heather Mason and RTF Lincoln winning the Grand Prix Open Championship. Photo by SusanJStckle
When horse hunting for a top dressage prospect, what budget range comes to mind? Low to mid four figures? Five figures? More? Well, the 2022 US Dressage Finals proved a good horse doesn't have to demand a huge budget. Multiple horses purchased for only $1 each at some point in their careers were at the Finals, ready to add their names to the storied history of the show.
Lincoln RTF with rider/owner Heather Mason entered three classes at Finals and came away with three first place rides – in the Intermediate II Open, Grand Prix Open, and Grand Prix Freestyle Open. Heather, a rider and trainer based out of New Jersey, brought four horses to the show, along with a strong contingent of her students and clients, but it was certainly her $1 horse that had everyone talking, as they were awarded the Top Hat Perpetual Trophy, the Jazzman Perpetual Trophy, and the Veronica Holt Perpetual Trophy.
In the Fourth Level Freestyle Open, Bridget Bursey and Forty Creek couldn't be stopped, locking up the division with a 72.989%. Forty Creek, a mare who Bridget calls a "wild child" was also acquired for just one dollar.
Meanwhile, Jesse Woodhead was also at the Finals, aboard a Hanoverian/Appendix cross that she purchased for $1. The pair competed in the Intermediate I Open and the Intermediate I Freestyle Open. Earlier this year, Jesse shared her remarkable story in the exclusive story The Best $1 Purchase Ever on YourDressage.
Anartz Chanca and Dazzle in the Intermediate II Adult Amateur division. Photo by Susan J. Stickle
As horse people, it's always wonderful when one of our loved ones shares our passion for horses. This joy was multiplied for the husband-and-wife duo Anartz Chanca and Marta Renilla, who both went home with championship titles from the 2022 Finals. In an interesting twist of fate, each of them was riding a horse that had originally been intended for the other to ride. Anartz topped the division in four classes: the Grand Prix Adult Amateur and Intermediate II Adult Amateur aboard Dazzle, and the Second Level Adult Amateur and First Level Adult Amateur with Dante Rubin M.R. Meanwhile, Marta claimed top honors in the Third Level Open Championship aboard Zalando M.R.
"Being here is such a pleasure and a gift," Anartz, who took home the 2022 George W. Wagner Jr. Perpetual Trophy, shared. "We love this show; ever since we became US citizens in 2018, we haven't missed it."
Fan Favorite Adiah HP Delivers a Sparkling Performance
For those who follow dressage, Adiah HP is an easily recognizable star with her flashy, unique coat. The 15-year-old Friesian/Dutch Warmblood cross has won the hearts of many through the years for her scintillating performances at the US Dressage Finals. She has become so famous that Breyer even created a model horse in her likeness!
As has come to be expected from this fan favorite, Adiah brought her A-game to the 2022 Finals with her rider/owner Ashley Maul. The pair came away with a victory in the Grand Prix Freestyle Adult Amateur and a runner-up effort in the Grand Prix Adult Amateur, missing out on first place honors by just 0.833%. In the process, the pair took home the Calaveras County Perpetual Trophy.
"It's intimidating because people recognize her everywhere I go, and I'm just the amateur riding her," Ashley shared. However, Adiah's previous owner Jim Koford, who also serves as Ashley's trainer, has been a huge supporter of this duo. "Jim is the best cheerleader and gets you feeling like you can do it even though you've never done it before."
Junior and Young Riders Strut Their Stuff
Rain couldn't dampen the spirits of Ella Fruchterman and Holts Le'mans' as they claimed victory in the Third Level Jr YR division. Photo by Susan J. Stickle
Last year, the US Dressage Finals introduced classes for junior and young riders for the first time ever. The addition was met with huge interest in their inaugural year, with even more excitement building for 2022 as the fresh young faces that are the future of our sport enjoyed their time in the spotlight.
Among the most memorable performances at the Finals was Ella Fruchterman aboard Holts Le'mans, splashing through a torrential downpour without turning a hair. The teenage sensation and the 11-year-old Danish gelding have had a fantastic year so far, earning three gold medals at the 2022 North American Youth Championships (NAYC) and being named FEI Jr/YR Champion at the US Dressage Festival of Champions. They capped off their year with a win in the US Dressage Finals Jr/YR Third Level Championship. Additionally, Ella earned third place in the Jr/YR Fourth Level Championship, this time aboard Hannah Montana W. You can read more about Ella's outstanding year in our YourDressage NAYC recap from this summer.
Back In the Saddle and Inspiring Us All
Laurie Saldana-Rich's triumphant return to dressage aboard Straight Horse De Milla. Photo by Susan J. Stickle
Much as we love horses, sometimes life gets in the way of the time we'd want to devote to riding and showing. This was the case for Laurie Saldana-Rich, who took a 27-year break from riding competitively while she focused on raising young Thoroughbreds and Quarter Horses. Getting back into riding dressage just 18 months ago, the very idea of attending the Finals was a pipe dream for Laurie.
She traveled from Indiana to the Finals with her trainer, Jennifer Conour, saying, "I just hoped that I would show and do okay and not make a fool out of myself."
With her dance partner, Straight Horse De Milla, not only did Laurie succeed in not making a fool of herself – she came away with a coveted first-place ribbon! In the Third Level Freestyle Adult Amateur class, the duo danced their way to a 70.244%. They also finished 5th in the Third Level Adult Amateur Championship. Laurie was thrilled and surprised by her win, proving that it's never too late to get back to what you love!
Did you miss any of the 2022 US Dressage Finals? You can find our daily recaps, photo galleries, perpetual trophy winners, Regions Cup winners, and much more in our official Event Recap.
These were just a few of the moments that made the 2022 edition of the US Dressage Finals so memorable, but there were many, many other amazing riders, inspiring stories, unique horses, and unforgettable rides at the show. What was your favorite moment from the 2022 Finals? Let us know in the comments below.
Adequan/USDF FEI-Level Trainers Conference
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Looking back at the 2017 Adequan®/USDF FEI-Level Trainers Conference
Why is Dressage so hard?
5 Pet Peeves of a Dressage Judge
yourdressage - March 16, 2020 0
2017 Adequan®/USDF FEI-Level Trainers Conference: Alex du Celliee Muller
yourdressage - February 15, 2021 0


This might, or might not, actually answer a question attracting and retaining recent grads in Windsor, but either way, it should be interesting viewing. Given the people set to speak, it's quite possible that there's going to be a lot more of the same noise (well except for Vincent Georgie, there are a lot of good things coming from his efforts at Odette), but here's hoping there's a chance for the conversation to open to the floor where some more expansive ideas can start to be generated. My fingers are crossed that this doesn't turn (exclusively) into a propaganda + complaint session, but instead actually becomes a productive forum for conversation.
CBC Windsor has been asking what it is the young, tech-savvy children of the Baby Boomers are looking for in a city – and whether Windsor has what it takes to attract and keep Generation Y.
On Tuesday, November 29, we'll be bringing those young voices together for a special town hall hosted by CBC News Windsor at 6 anchor Susan Pedler and online host Greg Layson.
Joining in the conversation are Windsor Mayor Eddie Francis, City Councillor Al Maghnieh, Vincent Georgie from the Odette School of Business, Dave Bussière from Admissions and Recruitment at the University of Windsor and Michael Lomonaco from Open Systems Technology in Grand Rapids, MI.
Our audience will be encouraged to use their mobile devices during the event to chat with Greg, tweet (#cbcwdr), respond to others' tweets, update their Facebook status or follow CBC at www.facebook.com/cbcwindsor.
The event will be a mix of taped stories, chat, and special guest panelists.
It all happens Tuesday, November 29th at 8:00 p.m. at the Capitol Theatre.
Good on CBC Windsor for pulling this together. I'd love to see this happen on a more regular occasion (well, this being a range of off-site and issue-driven programming). I've asked students from my class to go, and hopefully some other BCLers will join Sara (I think she said she was going). Unfortunately I won't be able to make it, I'm giving a workshop on grant writing at the ACWR (tonight at 7pm).


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The conference seeks to explore the past and current status of gender identity around the world, to examine the ways in which society is shaped by gender and to situate gender in relation to the full scope of human affairs.
The conference is addressed to academics, researchers and professionals with a particular interest related to the conference topic. We invite proposals from various disciplines including history, sociology, political studies, anthropology, culture studies, literature, etc.
Proposals up to 250 words and a brief biographical note should be sent by 30 April 2019 to: genderstudies@lcir.co.uk. Download Paper proposal form.


As Charles Reich's The Greening of America is to corporate America, Isaac's and Keller's book The Inner Parent is to American parenthood. It's a turning away from the superficial and the material and the expert. It's the invalidation of the establishment experts. It's the shifting of the balance from reason to intuition, material to spiritual, outer to inner, and heroic individualism to community and intimate connectivity. All the books that turned away from the establishment's superficialities and experts and engaged in what the authors call "the deep revolution" were signs of the time, when establishment types were they and the rest of us baby boomers—trying to use Herman Hesse books or other books to get out from "Beneath the Wheel"—were the we.
Unfortunately for those times (the late 60s and the 70s) in general and this book in particular, the rebellious spirit and high octane idealism were not then nor are they now sufficient to guide anyone with very much clarity or precision. Reading this book in 1979 when it came out, one would see that it had trend-appropriate New-Age sentiments and spouted all the right anti-materialistic cliches to qualify it as a liberal we book rather than an establishment they book. But one would get a strange mixture of good and bad advice—the type that was so omnipresent in books of the genre. The books were fairly good at indicating what we were to run from, but were lacking when it came to proclaiming what we were to run to. And this book in particular fell on its face several times in both the run-to and run-from areas.
By overgeneralizing that the experts had "all" let us down, the authors put the advice of Benjamin Spock (some was right, some was wrong) and Thomas Gordon (none was wrong, all was right) in the same basket. It's obvious that had these authors actually tried using each of these books as parenting guides for a year of their lives, they'd have found that Spock was pushing some obsolete, nonworkable ideas, whereas they'd have found that Gordon's guidance was invaluable in helping them not only parent but in helping all the relationships in their lives work much better.
Without clear parenting information to go on, people inevitably regress to one of two methods: doing what their parents did—including all the errors, or rebelling against what their parents did—which invariably means going authoritarian if their parents were permissive or going permissive if their parents were authoritarian.
Without clear parenting information to go on, people end up confused, frustrated, angry, disappointed and unhappy in their parenting roles.
Without clear parenting information to go on, people parent in ways that almost never create self-actualized, autonomous, thriving, and well-matured beings; instead, they get irresponsible, confused, alienated, angry, fearful, dependent, insecure beings. It is a scientific fact, and has been since the 1972-1980 period in which it was learned and confirmed, that the authoritative style works well and the authoritarian and permissive styles do not, and parents operating on "intuition" rarely evolve authoritative styles if left to their own devices. They end up pushing emotion-laden agendas, consciously or unconsciously, left over from their childhoods. They end up with neurotic struggles, pushing their needs onto their kids, living through kids, and overwhelming them rather than giving them space to grow. This is what normally happens rather than the enlightened engendering of free spirits which they had in mind when they had kids in the first place.


text:
A conversation with award-winning cinematographer Andrew Wheeler and his AFI mentor, Stephen Lighthill, ASC
Youssef Alsheikh as "young Mehdi" in Thief / Courtesy of Andrew Wheeler
Cinematographer Andrew Wheeler shot his thesis film, Thief, while earning a Master of Fine Arts at the American Film Institute. The 24-minute short, which has racked up more than a dozen international awards, focuses on two periods in the life of Saddam Hussein, and is told in the Iraqi Arabic language with English subtitles.
The opening sequence takes place in 1959, when Hussein is a young man. The setting is a dirt-poor family farm made up of a father, mother and their teenage son. When a disheveled looking Hussein crawls out of the river nearby, he is befriended my Mehdi (Youssef Alsheikh), who brings him back to his dirt-poor family farm. After some conversation, Mehdi's father (Ayman Samman) invites the stranger into the house, where he cleans and wraps a makeshift bandage around his wounded leg. They share a meal, and the father offers to drive Hussein to town. He repays the family's hospitality by stealing their cherished truck. More than 40 years later, Hussein, now on the run from American soldiers, returns to the farm, where he is reunited with Mehdi, who has become a goat herder (Maz Siam).
Few thesis films have enjoyed as much notoriety as Thief: so far it has earned a Narrative Gold Medal at the 2011 Student Academy Awards and First Place Drama and Best Director at the College Television Awards, along with double top honors in the Cinematography and Student Film competitions at the 2011 Big Bear International Film Festival.
I talked with Wheeler and his mentor, Stephen Lighthill, ASC (Cinematographer in Residence at AFI), who brings a broad range of experience to his teaching duties. Lighthill began his eclectic career in San Francisco as a news cameraman for CBS-TV and 60 Minutes before segueing to network television (Nash Bridges, She Spies) and independent narratives and documentaries that include Always Been a Rambler, Surfing for Life, and Berkeley in the Sixties.
(R) Maz Siam as "Mehdi" and (L) Muneer Katchi as Saddam Hussein / Courtesy of Andrew Wheeler
ICG: Andrew, where were you born and raised? Were you a movie fan or photo hobbyist as a kid?
Andrew Wheeler: I was born in Washington, D.C. and grew up in Pittsburgh. When I was five years old The Natural was released, and it [and still is] my favorite movie. It convinced me to be a baseball player. It was also the same year my parents won a video camera in a raffle, and I soon became obsessed with that camera. Later on in high school, I took a video production class where my teacher, Dr. Judith Hulick, instilled confidence in me to pursue my passion. During my junior and senior years, I was allowed to attend cinematography classes at the University of Pittsburgh every Friday.
ICG: What other experiences influenced you as a filmmaker?
Wheeler: The biggest influence was playing guitar in a hardcore punk band. I spent five years touring in more than 40 countries. It was our mission to play where Western bands never went, including Borneo, Sumatra, Indonesia, Singapore, Cambodia, Vietnam, Malaysia, Australia, Finland, Macedonia, Serbia, and Croatia. I saw the sun set differently in so many places, and recognized that human emotion is universal. I also learned to deal with challenging situations and people in a diplomatic way. Sometimes I feel like my cinematography career got started late, but I wouldn't trade the experience of meeting people around the world.
ICG: How did Thief become your thesis project?
Wheeler: I befriended [director] Julian Higgins during my first year at AFI. We teamed up with [editor] Justin Laforge before we had the script that Julian wrote in collaboration with Matthew Wieland. Julian and I walked around the Silver Lake Reservoir many times discussing the story and life in general. We must have walked 100 miles.
(F) Youssef Alsheikh and (R) Sana Etoile as Mehdi's mother/ Courtesy of Andrew Wheeler
ICG: Tell us more about Thief. It's been wildly successful for a student thesis project.
Wheeler: It's a coming-of-age story about the moment in your life when you realize the world is a dangerous place and everyone isn't well intentioned. Most of the film takes place at the same house. It was a nice family home in 1959, but over 40 years later, it has become a dilapidated, squat looking house.
Stephen Lighthill: Did you choose to shoot in an actual house or a set?
Wheeler: Erika Walters (production designer) and her team did a fantastic job building the house on a movie ranch in Acton, California.
Lighthill: The actors speak in the Iraqi dialect with subtitles. How did Julian find actors who spoke the language?
Wheeler: The cast is a mix of experienced actors and first-timers. Julian went to plays, film festivals, mosques and other places to find Arab actors. We were lucky to find the boy, as he was one of only a few young, Arabic-speaking actors in Los Angeles. The two actors who play young and old Saddam Hussein are both Iraqi. The actors playing the young and old version of the boy he meets are Egyptian and Palestinian. The mother is from Morocco, and the father is from Egypt. The actors were thrilled to be playing humanistic Arab characters just as much as we were to be making a hopeful film about humanity.
Courtesy of Elizabeth Kitchens
ICG: Tell us more about your collaboration with your director.
AFI emphasizes collaboration on all levels. I have an immense amount of respect for Julian (Higgins). He enabled everyone to bring their best to the table and he respected their craft. Julian bounced ideas off of me. He trusted me to interpret them.
Lighthill: What films did you use for visual reference?
Wheeler: I was mostly influenced by the cinematography in There Will Be Blood, shot by Robert Elswit, and Hud, shot by James Wong Howe. It's funny because they are both anamorphic films and Thief is 1.85:1. It was just the tone of those films that I really liked.
ICG: Why did you choose to shoot in 1.85:1?
Wheeler: We tested 2.40:1 and 1.85:1 at our location. After long discussions, Julian and I agreed to shoot on 3-perf super 35 mm negative composed in 1.85:1 aspect ratio, because it emphasizes the steepness and secluded nature of our location. We used a Panavision G-2 camera with Ultra Speed Mark II lenses that AFI has on loan from Panavision. Kodak donated most of the film, and we received a grant from Technicolor to do processing, DI postproduction and prints.
ICG: Stephen, what were your impressions of Andrew's work on Thief?
Lighthill: One of the things that I love about the movie is how they created two distinct period looks. They used nuanced images, much like words in the script. There is a scene that takes place by the Tigris River, which they shot at the Salton Sea. Other than that, the story evolves outside of and inside the house. Probably, because of my documentary background, I like narrative films that reflect the world around the characters.
Courtesy of Reid Chavis
ICG: Andrew, how did you make the two eras look and feel different?
Wheeler: I learned an important lesson from my first film at AFI. Especially in a short film, you need to be careful not to make things look too dissimilar, or else the scenes seem like different films. Everything has a little more color and life in the 1959 scenes. The production design was a big part of that look. For the 1959 scenes in the house, I exposed for the interior, so you don't see quite as much outside the windows. They are slightly blown out and it feels like you are watching memories. We wanted the 2003 segment to feel like the world was imposing on our main character. I kept the exposure on the windows, so it was darker inside. The 2003 segments have a partial bleach bypass look. We shot tests with Erika, using different film stocks, wardrobe and background colors to find the right look. After testing, Kodak Vision 2 5260 500T, color negative film was the clear choice. I also tested different types of color correction and decided on using a Tiffen Decamired (DMR12) filter during the 1959 scenes and a half Decamired (DMR6) filter for half correction in the 2003 segments. There was a difference in skin tones between the Decamireds and an 85 filter.
ICG: Tell us about the pivotal scene where Saddam steals the truck.
Wheeler: Early in the film, the father arrives with a truck he's bought for the family, so they can take things to market. Later, Saddam convinces the boy to help him steal the truck. It's the only scene that is all handheld, which heightens the drama. Julian likes to direct near the camera and is always focused on the task at hand. I have complete trust in him. If something isn't right, all the way down to a tiny prop, he takes responsibility.
ICG: Share some memories about the scene you filmed at the Salton Sea, when Hussein comes out of the river and meets the boy.
Wheeler: The sunset was beautiful. The biggest challenge was that the boy was a minor. Children can only work five out of nine hours in a day, including travel time. We only had a few hours to film the scene. We used bounce cards and reflectors to light.
Courtesy of Andrew Wheeler
ICG: Tell us about the DI.
Wheeler: We did a 2K DI with the wonderful (colorist) Adrian Seery. We took most the colors out of the foliage in the 2003 scenes, because we wanted a dead environment. One of Adrian's suggestions was a saturation fade during a 20 to 25-second transition into a 1959 flashback. I don't think the audience notices it on a conscious level, but they feel it.
Lighthill: You told me that Thief isn't really a story about Saddam Hussein, the dictator.
Wheeler: We were originally fascinated with the idea about someone who had everything and lost it all. That idea helped inform how we would portray Saddam. However, Saddam isn't the main character, and the movie works whether you know it's him or not.
Lighthill: For me, he has a dictator's presumption of being welcomed wherever he goes. When he returns to the farm, Hussein helps himself to the family's meager supply of milk, yoghurt and crackers. Then, he says to the main character, "have a seat." It's an implied threat, because he's carrying an AK-47 gun. He's a guy on the run that is willing to kill to stay alive.
ICG: Stephen, what is approval process at AFI for shooting thesis films?
Lighthill: During their first year, we let them shoot their films with relatively little input. We critique the films afterwards. During the second year, they show us the script and we discuss their plans. There is a mentor for every person on the team.
ICG: What do you take away from AFI and your time there with Stephen?
Wheeler: I didn't realize it while it was happening, but looking back, my first year at AFI was the most influential. It was a really brutal year. We were going non-stop seven days a week, 12 to 14 hours a day. Your film is projected in a theater with the whole school watching one week after you have finished shooting. An amazing part of the experience was that almost half of the students were foreigners. During the interview process at AFI, I don't know if Stephen remembers this moment, he asked me what I wanted out of AFI and I said that I wanted criticism of my work. During my time at AFI his way of communicating with me was effective in that he told me things I needed to hear and often without telling me directly. He had a way of giving advice that required me to look within myself to fully realize what he was trying to say to me.
I would also add that while I obviously learned a lot and had tremendous guidance from faculty members like Stephen, in some ways, for me, the best part was hanging out with my fellow students. We all had different experiences, perspectives and ways of working.
ICG: Stephen, what were your impressions instructing and working with Andrew?
He came into the program with a great deal of professional set experience, mainly in the electric department, but limited photographic/cinematographic experience and knowledge. To address this, Andrew kept a notebook of still photographs, and carried a still camera everywhere. And, he was diligent in our first year technical lectures, questioning us when he was unsure of something. Definitely his saving grace as someone wanting to become a cinematographer was a desire for criticism and feedback. He was never afraid to ask questions about his own cinematography. Each narrative short he shot was better than the previous one. Even during Thief, when the die was cast, production was done and he didn't need to hear my opinions, we still had conversations about his approach to the piece. I think his two years at AFI were successful.
ICG: Andrew, what lessons did you learn while shooting Thief?
Wheeler: I think the most important lesson I learned was to trust my instincts. You have to prepare as much as possible, but ultimately you have to decide in the moment if what's happening is right for the film. I knew Thief had the potential to be a very good film, but it was a wonderful surprise when we started getting calls saying we were winning awards.
Lighthill: For us here at the Institute, it's so very gratifying to have our fellows receive this recognition. I really believe the AFI curriculum is infinitely richer because of the diversity of nationalities, genders and backgrounds in our classes.
By Bob Fisher
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There were 3 theaters that I went to on the weekend in the late 1940''s. 48-49The Time: Saturday early matinee- 9 cents for 2 and somtimes 3, older B movies , 1 short subject (3 Stooges), 1 serial and several cartoons. (Sunday 12 cents) The Lakewood: Saturday late matinee -15 cents for 2, older B movies ,1 short subjectie; Joe Mc Dokes- Behind the Eight Ball and several cartoons. (Sunday 20 cents)The Cinderella: Sunday matinee-25 cents for 1 first run movie , ie; Sands of Iwo Jima , 1 older B movie , 1 short subject and several cartoons. Simple math= 49 to 57 cents for a weekends worth of entertainment We made our money by hauling groceries in our wagons from the A & P for older folks.
A standard tip was 10-15 cents per trip. We had to line up like cab drivers and wait your turn. Hope this stirs a lot of good memories.
The lakewood theatre was where the van is sitting outside the building on the right hand side of the picture and to the left was Fromm`s hardware and to the left of that was a Cunnungham`s drug store just in front of the entrance of the Vanity Ballroom. The Lakewood theatre was replaced with a Sunoco gas station when it was torn down about 1960. I lived at 1196 Newport. What a beautiful neighborhood it was.
The picture purporting to show the location of the Lakewood Theatre shows the wrong corner. It was where the white building with the white van parked next to it. The building boxed was The Vanity Dance Hall on Newport. I lived on Lakewood ''59-''64, just down the block from the theatre.
The Lakewood Theater was a main staple of entertainment in my youth, across the street, somewhat, from the dime store and Sanderes Bakery (and ice cream). Saw many a classics there. Down Laredo Way (Rex Allen) , Road Agent (Tim Holt) , The Lost Continent (Cesar Romero), Abbott & Costello Go To Mars , Blackbeard The Pirate (Robert Newton), and.
Mandrake The Magician !! Plus the great Serials on Saturday. ( ''King Of The Konga with Buster Crabbe!!). I miss it so much!.
April 1959 Issue - The Lakewood Theatre on the east side got into the Easter spirit by giving Easter candies to the kiddies at pre-Easter weekend matinees.
1960? - Stanley Fisher of Grosse Pointe, former MGM salesman, said that the Lakewood Theatre, closed by Affilliated Theatres a few years ago, is to be demolished.
June 1959 - Ray Cloud, 25-year Columbia salesman, reported two Detroit houses closing, the downtown Times Square operated by Ted Rose and the Lakewood, operated by Leonard and Bernard Brooks of the Affilliated circuit.


The unofficial "screenwriters den" for film and TV screenwriters known as theOffice has reopened its doors in Santa Monica after relocating from its original home in Brentwood.
Not to be confused with the NBC comedy by the same name (although it would be cool if it had the same set up), theOffice is a communal workspace for writers who are working on the next big film screenplay or TV series — and they have a roster of alumni to back it up which include J.J. Abrams, Chris Weitz, as well as Agents of S.H.I.E.L.D. star Clark Gregg who wrote What Lies Beneath and Choke. Other alums include Stepmom writer Gigi Levangie, Finding Dory's Victoria Strouse, All the Money in the World's David Scarpa, and Noah Oppenheim, screenwriter of Jackie and The Maze Runner.
Brooke Shields wrote the first words of her book on postpartum depression at the workspace. Charter members include her husband, Chris Henchy, The Avengers and Buffy the Vampire Slayer Godfather Joss Whedon as well as The Bourne Identity screenwriter Blake Herron and Fight Club's Jim Uhls.
Their brand new digs is a larger space than their original Brentwood location with 30 workstations that have ergonomic Herman Miller chairs, free-floating desks, lounge seating, a communal table, standing desks and bartop seating.


This is quite the Bee-tale....my parents were far too conservative to ever own or let me buy or drive a muscle car. Mostly cause they had seven kids so things were tight and I drove the old family wagon - a 1963 Pontiac Bonneville Station Wagon which we would take the air cleaner off of when we were a block from the house and the old wagon would get up and move. It came with a towing package so it was pretty powerful.
The town I grew up in here in Idaho was pretty small so most of my muscle exposure was to Vettes and Mustangs. I did know a kid who dropped out of school to work on and race cars and he had a sweet GTX and a Roadrunner. In 1995 a good friend (and my boss at the time) announced that he was ready to buy the car of his dreams (the white Challenger from Vanishing Point like the one that is in the Audioslave video) and why didn't I buy one too? I realized at that time that it is EXACTLY what I had always wanted and my younger brother mentioned that his friend had a SuperBee and maybe he would sell it. My friend and I immediately drove out to his house in the country to see it and he wasn't home. We went out in the barn anyway (in Idaho you can do stuff like that - people are a little more casual) and there it sat with about 2 inches of dust on it and I had no idea what shape it was really in. My buddy and I spent 15 minutes figuring out how the hood popped up and when we got it open, I was pretty excited. I had to start it so I got in and the keys were in it. I drove allot of old cars in my day and so I pumped it about 20 times and it fired right up and I was immediately in love! The Mopar rumble is infectious! I called the guy later that night and we made a deal. Come to find out, he and his brother had spent 2 years on it and loved it but wanted new snowmachines even more so they sold it to me for a fair price - DONE!! The dust washed right off and the body was straight as an arrow (no bondo period!) and the paint and decals were immaculate!
My buddy was pretty pumped up when I found the Bee so he looked even harder for his Mopar. In the process, he found a 1970 Olds 442 W30 with a screaming 454 that he bought and then found his white 71 Challenger 440 R/T so he ended up with two. We both ended up very successful in our Mopar hunting. Good luck to you in yours!
I still walk out into the garage every day and fall in love all over again. It never goes out in the winter but we take it to local shows and enjoy it all summer long. When I first met my wife Carrie, rock and roll was our immediate connection but right after that was Mopar - she drove a Barracuda for several years and loved them all and still can't believe that we have one that is so cherry! My kids all love it - I only wish there was a good way to divide it into 4 parts so that they could all have some of it. Maybe they will have to take turns and each have it for a year at a time!
It is a numbers matching 1971 Dodge Charger SuperBee 383 Magnum. It is red with black decals and has been restored to original showroom condition. It is an automatic with a bench seat. This Bee has won several awards in various shows around the region and provides a high level of satisfaction and enjoyment for the whole family. It is usually accompanied at most car shows by another friend's jet black 1968� Mustang Shelby Cobra GT500 KR so as you can imagine, it keeps great company!