S and I had eaten our way through Shoreditch and slowly made it to Borough Market for vegetable samosas he assured were worth the walk. The skies started to darken and it began to look as if it would sprinkle down rain in a matter of minutes. Typical English weather, aye?
Not hungry, but always up for Indian food, we found the vendor and got in line. I let him hold our place while I went to talk to the Colombian Coffee Co. about how they brew their coffee and where they roast their beans, etc.
We ate our food and watched the many people in the market. We began walking around the Globe, snapping photos like I hadn't seen any of it before. Then, it started raining. We took cover in the Tate Modern, a museum for modern art. And I don't know how we didn't get kicked out.
As a general rule, I am not into modern art. It is just not my thing. I experienced this in NYC with Keegan and Tash at the Guggenheim. The Tate Modern was no different. S and I had to stop looking at each other multiple times, because we had the onset of immense laughter and could not keep ourselves together.
Genuinely, I tried to find appreciation for the odd things I saw. But when there is a plain, white canvas hanging on the wall and that's 1) considered art and 2) worth millions of dollars...I can't handle it. Call me uncultured. Call me thick. I wish I understood it, I do. But I simply haven't been gifted with a head for that.
We did find the 10th story deck views of the city below at the Tate to be pretty killer. Soon the rain passed and we left the museum and its art, taking in the the views on a street level.
You really wouldn't have known it poured rain while we were inside looking at the art exhibits. The sky was blue almost exactly until we reached the tube station and heading to Kensington, so that S could show me his favorite spots.
But seriously, guys, as soon as we reached the tube it pissed down. Impeccable timing, London! We'll take it.


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Two new actors were cast as the Duke and Duchess of Sussex.
On Monday, Lifetime announced the forthcoming made-for-television movie Harry & Meghan: The Royal Love Story will premiere on Memorial Day (May 27).
Tiffany Smith (Supernatural and Jane the Virgin) will portray Meghan Markle and Charlie Field (Genius) will play Prince Harry.
This Memorial Day, Lifetime is giving fans of Meghan Markle and Prince Harry a surprise treat. The network which gave us You, UnReal, and a bevy of dramatic made-for-television movies, announced on Monday that it is dropping a sequel to the 2018 film Harry and Meghan: A Royal Romance.
While the original and slightly fictionalized project chronicled Duchess Meghan and Prince Harry's relationship timeline from their first blind date up to their epic wedding, the 2019 version will focus on the first year after their marriage.
According to a press release, the film will dive into the royal couple's new family dynamics and how they are "blending their families and cultures. Harry and Meghan's core values are put to the test as they try to find the balance between honoring royal tradition and staying true to their beliefs."
The film's screenwriter Scarlett Lacey and actress Tiffany Smith (Supernatural and Jane the Virgin), who portrays Markle, spoke with Vanity Fair about the movie's premise and the creative process behind undertaking their respective roles.
She also shared that although the tabloids have alluded to a severe rift between Markle and sister-in-law Kate Middleton, the film will explore the pair's positive relationship.
The project's screenwriter also teased that Maggie Sullivun, the actress set to play Queen Elizabeth II, will play charades with Markle, and a cute puppy will make a cameo. (Duchess Meghan and Prince Harry reportedly have a black Labrador with an undisclosed name).
Smith often referenced a moment in the sit-down where Harry and Meghan seemed a bit more candid because they thought the cameras had stopped rolling. "That, for me, was a really crucial thing to go back to, because a lot of what we're doing in the movie obviously is [happening] behind closed doors, and [is] us reimagining what could be going on when the cameras aren't on them," she told Vanity Fair.
Unfortunately, Markle's two baby showers won't make it to the film, but "there is an Easter-egg moment between Meghan and Kate that references cultural differences between Brits and Americans when it comes to baby showers," Lacey said.
She added that the project was in production when news of Markle's American baby shower at The Mark Hotel in New York City broke. "With so many exciting things happening every day in the royal family, if we tried to update it in real time, we'd have to do a live show," she added.
Harry & Meghan: Becoming Royal airs May 27 on Lifetime.


text:
Home Media Featured THE CURSE OF THE MILLION DOLLAR...
THE CURSE OF THE MILLION DOLLAR MUMMY
By Phillip López Jiménez
It comes to life!
When I was assigned to write about the priciest poster ever sold, I immediately looked it up and found that it was Fritz Lang's METROPOLIS, topping in at a whopping $690,000 and rumored to have been sold to none other than Leonardo DiCaprio, but I thought, what could I possibly say about METROPOLIS? I mean it's a brilliant film and all but, I don't know…ya know? Then I saw that in October of 2018 Sotheby's auction house had announced the auction for the one-sheet to Universal Pictures 1932 picture THE MUMMY, and that the starting bid was at set at, pinky finger in lips, one million dollars! Now that seemed like a story that I could wrap myself into, did you get that, wrap myself…? Well, anyway, Sotheby's last sold this exact poster for $453,500 in 1997 and it's one of three known in existence, one of the other ones is owned by Metallica's Kirk Hammett who's a massive horror collector and published the book, Too Much Horror Business in 2012, as well having his collection exhibited.
Aside from the rarity, how can a poster that was made to be a disposable item command such a high price, one may ask? Well, In this article I hope to shed some light on that, starting with the film itself, its place in history, and why it was made; also I'll talk about how the poster was made and who designed it.
It All Began With A Curse…
ARCHEOLOGIST HOWARD CARTER AND THE CURSE OF THE MUMMY'S TOMB.
"Can you see anything?"
"Yes, many wonderful things! -Howard Carter, 1922
On November 4, 1922, after several years of excavating in Egypt's The Valley of The Kings, a young water boy, who was in the employ of Archeologist/Adventurer Howard Carter, stumbled upona stone that looked to be stairs, immediately he informed Mr. Carter of his find. Carter dug it out and discovered that in fact it was a flight of stairs that lead to a concealed door upon which were hieroglyphic writings. Could this be the find he'd been hoping for, for the last several years, the find that could give him fortune and glory? Carter refilled the staircase so that no one would know of its location and wired Lord Carnarvon of his find; one must remember that these were the days when archeology was not a science studied at university, but rather the days of high adventure with exotic locales and perilous thrills and the public ate this stuff up.
What the hell does DOWNTON ABBEY have to do with this?!
George Herbert, 5th Earl of Carnarvon or simply Lord Carnarvon had been sponsoring Carter's excavations, as he was a bit of an amateur Egyptologist himself (fans of TV's DOWNTON ABBEY will be interested to know that Lord Carnarvon's family were the owners of the "Abbey" Highclere Castle and continue to be so. Lord Carnavan was actually born and raised in the castle and at one time it was filled with all kinds of Egyptian artifacts, most of which have been moved downstairs. So, the scenes with Miss Hughes, Carson and the gang in the kitchen, are all shot on sets.) Once Lord Carnarvon arrived at the site in The Valley Of The Kings with his daughter Evelyn (Rachel Weisz's character in 1999's THE MUMMY, Evelyn Carnahan, is named after her in homage.), they opened the door "Can you see anything?" Lord Carnarvon asked. Howard Cart replied "Yes, many wonderful things!". What they found there were treasures beyond their wildest dreams: golden Chariots for the boy king to ride off in the otherworld, Gold furniture and most famous of all the gold death mask; to say that they were awestruck would be an understatement…
Tutankhamen's tomb was found underneath the tomb of Ramses The 6th which had been built many years later, and because of this construction it had sealed King Tut's tomb, keeping it hidden from looters over the centuries and that is why this find was so extraordinary, it was completely intact. It took Carter and his team over three months to catalog all their findings in this antechamber, before knocking down the wall to King Tut's final resting place and his golden sarcophagus. As you can imagine this find stayed in the news and the public's imagination for quite some time as new treasures where found, but then, another part of the story continued up until around 1930…a curse!
"Put it back. Bury it where you found it. You have read the curse. You dare defy it?" – Dr. Muller (Edward Van Sloan) THE MUMMY 1932
Archival Poster Frames
27 x 41″ Poster Frame. Comes with a .040″ thick crystal clear UV blocking acrylic front sheet, a 10 mil crystal clear polyester separator sheet; a Blue-gray B flute archival corrugated back sheet and two polyester hang tabs.
THE CURSE OF THE MUMMY'S TOMB
When Lord Carnavon died of an infected mosquito bite in Cairo on the 5th of April, 1923 it was suggested that perhaps a curse had befallen upon the expedition, and it's not surprising because many pulp novels had been filled with this sort of thing for years. One of the people suggesting a curse was none other than SHERLOCK HOLMES scribe Sir Arthur Conan-Doyle who was infatuated with the supernatural and the occult, he was a true believer in the Cottingley Fairies photographs in the early 1900's, photos taken by two cousins with fairies they had encountered by their home in Cottingly, England, even as far as writing a book on the subject. So, if world famous writer Sir ArthurConan-Doyle believed there was a curse than it must be true! Journalists jumped on this story calling it THE CURSE OF THE PHAROHS, and the public were immensely fascinated as well with this story of an ancient civilization, exotic treasures, globe-trotting adventurers, and diabolical curses, I mean who wouldn't be, right? Curiously, in 1890, 33 years before HowardCarter's find and 7 years prior to creating his iconic detective, Sir Arthur Conan-Doyle wrote a pulp story for The Cornhill Magazine and the name of this pulp…THE RING OF THOTH.
Written in a first person style reminiscent of Edgar Allan Poe's macabre stories, THE RING OF THOTH is about an Egyptology student who goes to the Louvre Museum to study some scrolls. He gets locked inside where he meets an odd man who is performing a ritual on one of the mummies. The man tells him he was born 3500 years ago and that some people call him Tim, or rather Sosra, once a priest for Osiris and who had discovered an elixir to prevent death. He had wanted to use it on his fiancé, Atma, but she passed on before he had the chance to administer it. Despondent because he had used it on himself and cannot die, he dreams to become mortal once more so that he can die and be with his one true love for all eternity and the only way to do this lies within the Ring of Thoth, but his assistant had hidden it.
For 3500 years the mysterious Sosra roamed the earth until his beloved Atma was discovered, along with the ring, and put inside the museum for exhibition. The next morning the student leaves only to read in the newspaper a few days later that a man had been found dead clutched in the arms of a mummy in the museum. What is most interesting about Sir Arthur Conan-Doyle mentioning the curse is that his RING OF THOTH story would eventually serve as inspiration for Universal Picture's 1932 horror picture THE MUMMY.
"It grossed something like 12 million dollars and started a cycleof so-called boy-meets-ghoul horror films."-Boris Karloff on FRANKENSTEIN
THE MUMMY 1932 Universal Pictures
d. Karl Freund
s. Boris Karloff, Zeta Johann, David Manners and Edward Van Sloan
In the early years of cinema each major studio had their signature type picture. At Warner Bros it was Gangster pictures; Paramount, comedies; MGM, musicals and at Universal Pictures it was the horror film. THE PHANTOM OF THE OPERA, FRANKENSTEIN, DRACULA and MURDERS IN THE RUE MORGUE sent shivers down the spines of audiences everywhere and made Universal Pictures the masters of the macabre. In 1931 Universal struck gold with Tod Browning's DRACULA and James Whales' FRANKENSTEIN, which became the biggest grossing film of the year, so it was only logical that they make another one and quick.
As I stated earlier, the world at large was fascinated by Howard Carter's discovery of King Tutankhamen's tomb and the supposed curse that had befallen the dig. Producer Carl Laemmle Jr. dug up a treatment written by Nina Wilcox-Putnam called CAGLIOSTRO and this was later reworked by John L. Balderston, who had written the stage version of Bram Stoker's DRACULA and who adapted it for Universal's film, which may explain the many similarities to his MUMMY screenplay. Laemmle brought DRACULA cinematographer Karl Freund in to make his directorial debut. Freund was a pioneering cinematographer who shot many iconic pictures in his native Germany, films like, DER GOLEM, Murnou's THE LAST LAUGH, and Fritz Lang; METROPOLIS to name a few, before fleeing Hitler's Germany for Hollywood.
Freund was one of the first to really move the camera around and he does so to great effect in THE MUMMY. But the biggest asset to the picture is without a doubt Boris Karloff who, after FRANKENSTEIN, THE OLD DARK HOUSE and MGM's deliciously sinister THE MASK OF FU MANCHU, had become a massive star, so big in fact Universal billed him as KARLOFF THE UNCANNY on their marketing materials and was featured in a total of ten pictures that year including Howard Hawks' SCARFACE!
THE MUMMY is not my favorite of what is now branded as UNIVERSAL'S CLASSIC MONSTERS, that would be perhaps THE WOLFMAN or THE INVISIBLE MAN, but what THE MUMMY does have is one of the most frightening moments in cinema history, personally I'd rank it on my top five scary moments of all time and If you've seen the picture, I'm sure you know the scene I'm talking about, in fact it opens the picture.
The film opens in 1922, the same year as Carter's discovery, inside a tomb are archeologist Sir Joseph Whemple (Arthur Bryon), his assistant Ralph Norton (Bramwell Fletcher) and Dr. Muller (DRACULA's Edward Van Slone), a specialist on the occult, and they have just unearthed an Egyptian mummy. Naturally the young assistant wants to open a box that was found inside the tomb, but Dr. Muller suggests otherwise, because of the curse that was inscribed in the sarcophagus. While the two older gentlemen step outside to discuss the inherent dangers of opening it, The assistant Ralph takes it upon himself to open the box, where he finds the sacred scroll of Thoth and this awakens the mummy, and this is the creepy moment…
Karloff's eyes slowly open as his crossed arms slowly slide down. The young man transcribes the scroll; he turns to see the ancient mummy and laughs himself into madness. You really don't see much of the mummy just his eyes, his hand and a couple of dusty strands of bandages, that's it; No music, just some cool camera moves and editing and Ralph's frightful laughter, but that's all you need to have the chills go up your spine.
The rest of the film takes place ten years later where we meet Miss Grovesner (Zeta Johanne), a patient of Dr. Muller and who catches the eye of Sir. Joseph's son, Frank Whemple (DRACULA'S David Manners), who are all in Cairo celebrating the discovery of another tomb, the tomb of Ahks-En-Ahmen, for The British Museum. The location of this tomb was told to them by the mysterious Egyptian Ardeth Bey (Boris Karloff) who, it's later discovered, has Mrs. Grovesner deep within his thrall, as he knows that she is the reincarnation of his beloved Ahks-En-Ahmon and Ardeth Bey is really…Im-Ho-Tep, her beau from way back and he's lookin' to rekindle his old flame and kill her so that they'll live forever.
POLYESTER (Mylar) Sleeve for 11 x 14″ format.
Polyester (Mylar) Sleeve for 11 x 14″ formats. 11-1/2 x 14-1/4″. 4 mil. NO flap. Use for Lobby Cards, Large Sheet Music, Photos
THE MUMMY isn't the greatest of UNIVERSAL'S monster films, aside from the opening and a flashback, it really is not the least bit frightening, but as a gothic romance it works quite well, though I much prefer William Wyler's WUTHERING HIGHTS and Robert Stevenson's JANE EYRE in the gothic romance genre, THE MUMMY fits right in with those films in a way. THE MUMMY is a fun slice of entertainment with exotic set and lavish costuming and Jack Pierce's brilliant make-up that would go on to inspire many a make-up artist and model makers everywhere.
THE MUMMY was star Boris Karloff's tenth and last picture in 1932, his first picture that year was BEHIND THE MASK written by Jo Swerling -I used to work with his granddaughter Tanya Swirling who was a producer on FRINGE and an editor on WESTWORLD- The film had actually been made before FRANKENSTIEN by Columbia but was held up a year to cash in on Karloff's success and his face features predominately on the poster.
In this period Karloff made five standout and iconic films in a row with him as the star, THE OLD DARK HOUSE, THE MASK OF FU MANCHU, THE MUMMY, and 1933's THE GHOUL (made for Gaumont-British Picture Corporation in his native England after Universal refused to up his pay after THE MUMMY'S success) and John Ford's excellent desert picture THE LOST PATROL. Karloff was really able to maintain and even elevate his career more so than fellow Universal Monster Bela Lugosi and not all because of bad choices, in the late 30's there was a ban on horror pictures in England, a large territory, so Universal started making fewer of them and moved Lugosi to their 'B'department. There he did stage work as well before his declining heath and addiction to Demerol, -Demerol was prescribed to help with pain he had after being wounded in WW I, it was believed that Demerol was a non-addictive answer to morphine, but that was later proved to be highly inaccurate- but Lugosi always remained very popular and today it's hard to tell who's more popular in the world of memorabilia. It's hard to imagine Karloff without Lugosi and vise-versa. I often picture them as ghosts at conventions betting with each other as to who will sell more stuff!
Director Karl Freund would do on to direct seven more films, his last directorial effort is one of my favorites from this era MGM's MAD LOVE with Peter Lorre, an expressionistic masterpiece in my opinion. He would continue shooting pictures like THE GOOD EARTH, for which he won an Oscar, the amazingly shot BALALAIKA, A GUY NAMED JOE, KEY LARGO and many more. Freund would also revolutionize television with I LOVE LUCY, by shooting on film with a three camera set-up
THE MUMMY was released Thursday December 22, 1932 to great reviews and big box office, ranking in at number 16 grossing 3 million dollars (that's about 122 million today). That may not seem great compared to the previous year's FRANKENSTEIN that took the number one spot with 12 million, I believe that's a little over 1 billion today, but competition was fierce in 1932 with pictures like GRAND HOTEL, HORSE FEATHERS, TARZAN THE APE MAN, DR. JEKYLL AND MR. HYDE, A FARWELL TO ARMS with SHANGHAI EXPRESS taking the number one spot, so THE MUMMY did pretty good.
THE MUMMY spawned five "sequels", none of which starred Karloff. My father, who moved back to Mexico during WW II as a kid, could recite the trailer for THE MUMMY'S TOMB as he was the only on in his town who was bilingual and would often translate the films playing in his little town in Michocan. I can still hear him say something about Turhan Bey. I'm thinking maybe Universal promoted Turhan Bey in Mexico because of his exotic looks, even though he was just a tan Austrian!
THE MUMMY sequels had nothing to do with the original and it's in these films where the lumbering Mummy comes from, Lon Chaney Jr. starred in most of these which was a waste of his talent for sure. Universal wrapped up the mummy for the final time with the comedy ABBOTT AND COSTELLO MEET THE MUMMY.
Universal Pictures Art Department was headed by Karly Grosz who was responsible for handling the poster art. I'm not quite sure who actually painted the illustration for the poster, having worked in marketing as a promo editor and being involved in launching TV shows and movies, I can tell you the lead person gets the credit while the people doing the actual work often get nothing but a check, but hey, I'm not bitter…much. So, whether Grosz did the work or not the illustration was put to stone at Morgan Litho Co. in Cleveland Ohio, who more than likely hired the artist for the poster and followed Karly Grosz direction. Possibly Grosz sent them these photos and with feet on desk and cigar in hand and phone on shoulder said "Make it look pretty, boys." And it does at that!
THE MUMMY'S STONE
In the early years of cinema the studios needed to draw attention to their pictures and the best way to do this was the movie poster, or "one-sheet". To entice patrons to their local bijou's, the images on the posters had to be big, bold and larger than life. So, if cowboy hero Hoot Gibson plays a rodeo star, he and his gregarious steed must look like they are coming out of a sandy malevolent maelstrom, as in Universal's THE CALGARY STAMPEDE or perhaps the lovely Mack Senett bathing beauty Myrtle Lind opening up a can of whoop ass in the serial WINNERS OF THE WEST, also from Universal. It wasn't just action that needed to be showcased, but sex appeal as well.
Unlike today's digital artists with their photo-shopped collages of heads, yesterday's artisans had to rely on their hands with more traditional skills to achieve stunning results; seriously, what would you rather have hanging in your dining room, one of today's garish superhero movie posters or ALL QUIET ON THE WESTERN FRONT featuring a somber Lew Ayers?Or, for you ladies, what would be more fitting for the head, er…bathroom, an obnoxious Amy Schumer posteror1921'sPLAYING WITH FIRE, with a beautiful rendition of actress Gladys Walton. The posters I've mentioned all have a few things in common; they were made by Universal Pictures, they were all made at the printing house Morgan Lithograph Co. and they were all made using the stone lithograph process. I've written a companion piece on the history and importance of lithography. You can read it here.
Archival Storage Box for One Sheet Posters
Museum Grade One Sheet Posters Storage Box. 27-7/8 x 41-13/16″ (inside); 28-1/4 x 42-1/4″ (outside) 2″ deep. Drop-front on one short edge.
The Universal Monsters and Their Legacy
Another factor to the high value of this poster is the legacy of the UNIVERSAL MONSTERS. Universal Studios was wise to brand their legacy, the Monsters have saved them during tough times, bringing them out with re-releases in the 50's, then Shock Theater on television, and licensing their characters to Aurora Models. Between the models and Shock Theater a monster boom was created in the 60s and monsters were everywhere.
The merchandising of toys, records, and what-have-yous keep the characters alive, hell, even Hasbro's G.I. Joe got into the action with G.I. JOE AND THE SECRET OF THE MUMMY'S TOMB. In fact, I had this as a kid. I remember getting my hand stuck in the buggy and having to call my dad home from work, I stuck it under the facet with hot water and finally having it slip out, I thought the old man would be pissed when got home, but he said that was a good idea and thanked me for giving him the rest of the day off. This collaboration insured that the next generation of fans embraced the films, and continues to do so today. Today's kids may not be familiar with the original monster films but I assure you that they can recognize the characters, thus making this poster iconic.
As I write this January 31, 2019 King Tutankhamen's Tomb is still making headlines. His tomb has just been beautifully restored and scientists have also mentioned that some of the deaths associated with Carter's excavation may have been from exposure to mold and fungus, who knows, maybe that's how the curse was planned. Like King Tutankhamen's mummy and his tomb have continued to live on after thousands of years perhaps, so too, will Universal Pictures and Boris Karloff's mummy will live for thousands of years. THE MUMMY, without any literature background like his pals Dracula, Frankenstein, The Invisible Man, and Dr. Jekyll and Mr. Hyde, can rightfully stand proud next to his monstrous brethren.
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Home » Music Industry Insiders, Uncategorized
NEAL & MICHAELE SCHON Hold Celebration of Life for ROSEMARY HOLT with Stunning Tribute
Flower Arrangements Donated to MARINE CORPS BALL and Local Philanthropic Organization
November 11, 2019 – In tribute to a life lived in service and philanthropy, NEAL and MICHAELE SCHON celebrated her mother, ROSEMARY HOLT, with a stunning service at New York's legendary St. Patrick's Cathedral.
The massive floral collection, including a spectacular wall of ivory roses, were donated to the Marine Corps. Ball and Petals For Goodness Sake. The latter organization used the flowers to create around small arrangements that were distributed to area hospice patients, the VA hospital, and various assisted living facilities.
Commemoration to Rosemary Holt:
Rosemary Ann O'Malley Holt (Age 91) of Reston, Virginia, passed away in Fairfax County on Saturday, October 5, 2019. She was born in Scranton, Pennsylvania, to the late John Joseph O'Malley and Mary Alice O' Malley on October 8, 1927, and was only three days from her 92nd birthday at the time she entered Heaven's gates.
Rosemary was a loving, kind, caring, devoted, and dedicated mother, first and foremost. She treasured her children, exuded love, happiness, warmth and compassion.
Rosemary embraced every moment with those she loved dearly. She was extremely intelligent, witty, loving, kind, articulate, and was blessed with a bubbly personality that always made people around her smile. Rosemary made friends everywhere she went and was beloved for her kindness and compassion. She was a living example of the Bible verse, Ephesians 4:32 – "And be kind and compassionate to one another, forgiving one another, just as God also forgave you in Christ."
Her compassion for others was not only felt amongst her family and those close to Rosemary, but by so many people loved and supported by her work as The North East President Chapter with the National Alliance for Mental Health (NAMI). Her important work while working in Pennsylvania, Washington, DC, Virginia for NAMI, helped the nation's largest grassroots mental health organization continue to build better lives for the many millions of Americans affected by mental illness.
Rosemary is predeceased by her late husband Howard A. Holt, Jr. and, survived by her daughter Michaele Ann Schon and her husband, Neal Joseph Schon, her son, Glen W. Holt, son, Howard A. Holt, III and her daughter Mary D. Holt. Together with them and her grandchildren and her nephews and nieces,
The family wishes to thank all of those who cared for Rosemary and made her life as happy, comfortable and meaningful with dignity, during her fruitful journey with us.
Rosemary's life will be celebrated in a Mass to be held at the Cathedral of St. Peter, 315 Wyoming Avenue, Scranton, PA 18503, on Friday, November 8, 2019, at 9:30 a.m. Inurnment will be private at the Cathedral Cemetery in the O'Malley Family Plot.
Celebration of Rosemary's Life Memorial at Radisson Lackawanna Station Scranton, 700 Lackawanna Ave., Scranton, PA 18503 immediately following Mass
Flowers, donations are respectfully directed to The Cathedral of Saint Peter, and or NAMI, National Alliance for Mental Health.
Rosemary's Spirit lives on in all of Us.


text:
"""Default Hyperparameter configuration."""

import ml_collections

def get_config():
  """Gets the default hyperparameter configuration."""

  config = ml_collections.ConfigDict()
  # Exp info
  config.dataset_path = "/path/to/publaynet"
  config.dataset = "PubLayNet"
  config.vocab_size = 137
  config.experiment = "transformer"
  config.model_class = "transformer"
  config.image_size = 256

  # Training info
  config.seed = 0
  config.log_every_steps = 100
  config.eval_num_steps = 1000
  config.max_length = 128
  config.batch_size = 64
  config.train_shuffle = True
  config.eval_pad_last_batch = False
  config.eval_batch_size = 64
  config.num_train_steps = 100_000
  config.checkpoint_every_steps = 5000
  config.eval_every_steps = 5000
  config.num_eval_steps = 100

  # Model info
  config.layout_dim = 2
  config.dtype = "float32"
  config.shuffle_buffer_size = 10
  config.use_vae = False
  config.autoregressive = True
  config.share_embeddings = True
  config.num_layers = 4
  config.qkv_dim = 512
  config.emb_dim = 512
  config.mlp_dim = 2048
  config.num_heads = 8
  config.dropout_rate = 0.3
  config.attention_dropout_rate = 0.1
  config.restore_checkpoints = True
  config.label_smoothing = 0.
  config.sampling_method = "top-p"
  config.use_vertical_info = False

  # Optimizer info
  config.optimizer = ml_collections.ConfigDict()
  config.optimizer.type = "adam"
  config.optimizer.warmup_steps = 4000
  config.optimizer.lr = 5e-3
  config.optimizer.beta1 = 0.9
  config.optimizer.beta2 = 0.98
  config.optimizer.weight_decay = 0.01
  config.beta_rate = 1 / 20_000

  return config


Some time after the end of the tests of the newest SAU, the design office received an order from the high command: to create a new infantry fighting vehicle that would be protected from 40 + mm projectiles, to have non-30 mm automatic weapons for armament. , but 37 mm and at least 4 ATGM. In the course of the work, old drawings of the old berserk BMP PRT-15 were found, which had a 30-mm cannon and 4 anti-tank guided missiles, but was not adopted. It was decided to dorobotat this concept, replace the combat module, add elements of ceramics and composite armor, which increased survivability, and installed a new ATM-91 Killer ATGM whose characteristics were classified. So, the test sample appeared on the well-known PRT platform. The name of which - Berserk PRT-20.
It has a high speed of 105 km / h, which allows you to quickly move around the battlefield, along the road and not only.
Explosion protection up to 8 kg of explosives.
Airborne compartment for 8 fully armed soldiers.
37 mm cannon for the destruction of enemy light armored vehicles.
-7.62-mm machine gun to destroy enemy manpower.
-Two containers with 4 ATGM "ATM-91 Killer" from the system "Shoot and forget", which have the function of hitting the roof of the tank, for heavy enemy armored vehicles.
The presence of 14 launcher grenade launchers to protect against ATGM, V / Z missiles and for retreat.
10/10 Build, night vision is perfect the tanks wheels don't break after falling with the parachute and it's easy to aim, one of the best builds in this site.
I am in absolute disbelief at the fact that the night vision actually works spectacularly, even at 23:00 during stormy weather— fantastic work!


text:
Disability won't shatter her spirit
Randi Bjornstad
Susan Sygall, who became paraplegic at age 18 in an automobile accident and went on to found Mobility International USA to advocate for others with disabilities, ended up self-publishing her book, �No Ordinary Days,� for a very peculiar reason.
She was at a gathering of MacArthur Fellows � Sygall was one of the winners of the prestigious and lucrative, no-strings-attached award in 2000 � �and one of the guys said he was writing a book and had an agent,� she recalls.
When she told him she was thinking about writing her memoir, now on the shelves and subtitled �A Journey of Activism, Globe-trotting and Unexpected Pleasures,� he urged her to contact his agent.
�I wrote one sample of what might be in the memoir and sent it to her, and she immediately sent me back a contract,� Sygall said. �She was really great � she said she was sure we would find a publisher for my book in no time.�
But that didn�t happen. When the agent shopped Sygall�s book proposal around, �She didn�t get any takers,� Sygall said. �She said she was completely shocked.�
When she followed up on the rejections, �The main thing people told her was that I was too happy � that people didn�t see an �arc� from suicidal to miraculous recovery,� Sygall said. �They told her, �No one can be that happy and be disabled,� that I must not be telling the whole story.�
So Sygall, being Sygall (pronounced SEE gle), went ahead on her own, sandwiching writing time in between speaking engagements, frequent flights of international travel, disability-related conferences and planning more of the same.
Along the way, she picked up awards bestowed by the likes of President Bill Clinton and rubbed shoulders as recently as a couple of weeks ago with first lady Michelle Obama in Washington, D.C., and dignitaries at the United Nations, where she was invited to participate in the U.S. delegation to the Fifth World Conference on Women.
With all that going on, finishing her memoir took about 10 years and collaboration with an Australian writer she had met when she attended the University of Queensland for a year on a Rotary International scholarship.
Tempted to abandon her project after its rejection by the big-name publishing houses, she instead went online and searched out Ken Spillman, embarking on an email author-editor relationship that culminated in publication of �No Ordinary Days� last November.
She accomplished it the way she has most things � finding her way around obstacles � since the accident on Aug. 29, 1971.
No feeling at all
Even before the accident, Sygall had been heading toward a career that combined a personal craving for strenuous physical activity and a concern for those who for one reason or another couldn�t exercise it.
After growing up in New York City, the only child of overwhelmingly loving Jewish parents who both had survived the Holocaust and lavished their resulting sense of gratitude and possibility on their daughter, Sygall headed for college at the University of Colorado in Boulder.
She loved the clear blue sky and hiking the rugged mountains, carried by strong legs and feet shod in sturdy hiking boots.
The book starts with her last day with the use of those limbs: a wild game of Frisbee with her roommate, Elaine; a recreational therapy class in which she perhaps flippantly told the instructor she wouldn�t be interested in trying out wheelchair basketball because she�d been athletic all her life and couldn�t imagine it; and a drive up into the mountains with Faisal � an attractive Kuwaiti but �forbidden fruit� for a Jewish girl because of his Muslim faith � in his Ford Mustang.
She didn�t want to be gone too long because the next day there was a tryout for the university�s women�s basketball team. She never made it to the tryout.
On the way back down the mountain, Faisal, who apparently had been drinking at an early-afternoon party and was annoyed because she was eager to get back to campus instead of spending a romantic interlude on the mountain, drove too fast despite her repeated pleas to slow down.
The car skidded on a sharp turn and slammed into a wall of rock on the passenger side at about 50 mph.
�Everything switched to slow motion,� Sygall writes. �I saw things clearly, heard things acutely. Feelings registered slowly. A tingling sensation started somewhere above my hips and trickled into my legs like pins and needles. Then nothing � there was no feeling below my waist. Nothing. I couldn�t move. At all.�
In the emergency room after a swift ambulance ride � she never lost consciousness during or after the accident � Sygall asked a young doctor if she would walk again.
�I don�t know,� he told her. �Expect the worst, hope for the best.�
Faisal visited her in the hospital once, not to apologize but to declare the accident wasn�t his fault and he didn�t want to lose his college scholarship.
�He never came to see me again,� Sygall writes. �He tried to sue me for the damage to his car.�
Not disabled enough?
Sygall relocated back to New York City for rehabilitation, and after a year, equipped with crutches and a wheelchair for transportation and ready to hit the books again, she enrolled at New York University and quickly developed a crush on a cute, cool film student in her dorm named Andy.
He decided he wanted to make a short documentary of Sygall and her new lifestyle for one of his classes, and he followed her around for days, filming her day-to-day activities.
When it came time to show his film to the class, unbeknownst to the rest of the students, Sygall came into the hall and watched from the back row.
At the end of the film, the students unanimously panned it, for a surprising reason.
Sygall, they said, was �a terrible actress.�
�?�She obviously isn�t disabled, even though you try to make her look that way with her wheelchair and crutches,�?� Sygall writes of her memory of that session.
�?�She�s too happy. It is not believable. You should have used a real disabled person, or a better actress.�?�
In essence, that�s the story � and the triumph � of Sygall�s life.
After college in the mid-1970s, she wanted something far away and completely different, and she found it in Berkeley, Calif., which she describes as �disability wonderland� with its unimaginable number of wheelchair-friendly curb cuts and a large number of disabled students who ran their own disabled students program.
There wasn�t a therapeutic recreation master�s degree, so Sygall designed her own program.
She got a small grant from the Berkeley City Council to allow disabled children and their teachers in a local school to build their own working garden. She became politically active, participating in sit-ins to bring equality of opportunity to people with disabilities. She cofounded the Berkeley Outreach Recreation Program.
On the personal side, she developed romantic relationships with people disabled or otherwise and learned from other people with disabilities how not to be embarrassed by problems common to paraplegic people such as the logistics of controlling urination without accidents in disability-unfriendly locations.
Most of all, starting with a one-year fellowship through Rotary International, during which she spent a year in Australia, Sygall learned that regardless of disability and with a good deal of ingenuity to overcome obstacles, it�s possible to travel anywhere in the world.
She and a Canadian friend traveled back from Australia by way of buses through Indonesia, Malaysia and Thailand, cheap flights to Bali and Singapore, then on to London before heading back to North America, where Sygall began her next adventure: moving to Eugene.
That�s where she heard about the London-based Mobility International, which was operating in Europe and the Middle East, as Sygall says in her memoir, �getting folks in wheelchairs camping in the Bahraini deserts and enabling blind youth from France to go to Ireland.�
Her own love of adventure and determination to travel coalesced into the mission of advocating for the rights of people with disabilities to have the same options and the same confidence.
She and a friend, Barbara Williams, decided to incorporate a nonprofit organization called Mobility International USA � MIUSA � and then drive Sygall�s old van from Eugene to Toronto to a Mobility International conference to seek designation as the official chapter in the United States.
They did it � Sygall even won election to the international group�s board of directors � and the two women got back in the van and drove back to Oregon to get MIUSA rolling.
They came up with a motto for the U.S. chapter: �Challenge yourself and change the world.�
Satisfactions and sorrows
MIUSA became a huge success and Sygall�s international travel on behalf of the rights of people with disabilities continued, taking her to Spain, South Africa, Russia, Austria and Bosnia.
She spent the 25th anniversary of the accident that made her paraplegic � Aug. 29, 1995, and then 42 years old � in Beijing, China, attending the United Nations Conference and Non Government Organization Forum on Women and addressing the symposium on the subject of women with disabilities.
Life, of course, had its challenges as well as its triumphs.
Sygall�s aging parents had moved to Oregon to be closer to her, and she experienced the sorrow of their deaths. Her father, Michael Sygall, died in 1995 after a severe stroke, six months before she traveled to Washington, D.C., to accept the Disabled American of the Year award from President Clinton.
Her mother, Lissy Koenig Sygall, died in 2008 of Alzheimer�s disease, two years after Susan Sygall underwent surgery and radiation treatment for breast cancer and the day after Sygall finished her memoir.
The doctor, a friend of the family, wrote as the cause of death, genug syndrome, a Yiddish term that translates to �enough already.�
Oddly enough, as recounted in her book, the fear of facing cancer seemed to bother Sygall, now in her early 60s, more than being paraplegic for what so far is about two-thirds of her life.
�It was a mental hell,� she writes. �Being diagnosed with breast cancer left me shocked and depressed ... I faced a myriad of decisions that could save or end my life.�
The two weeks she spent researching her choices for surgery and followup treatment, she said, �were the worst weeks of my life.�
Maybe that�s because she had less control over the disease process than she does in the way she uses the nerve-and-muscle capabilities of her body.
�My take is that I don�t believe things happen for a reason � I don�t think I was meant to have a car accident,� Sygall said.
�I�m not going to say it was not a big deal. But to me, it�s what you do with life � and my decision was to continue to do what I knew I wanted to do.�
Follow Randi on Twitter @BjornstadRandi . Email randi.bjornstad@registerguard.com .


Sri Lanka Online Video Marketing Guide. Sri Lankan digital strategies and online video promotion for Sri Lanka and Asian business brands, Sri Lankan products promotions and Sri Lanka corporate services. Everywhere you look in the global marketing industry today people are talking of the importance of online video for marketing and promotion, but for busy Colombo small business and Sri Lanka SME company marketers the very thought can be overwhelming.
Sri Lankan Online Video Marketing. Most Sri Lanka people, when thinking about video marketing online, will of course first think about price, product and professionalism. How do we get started, how much does it cost, how much time do we need to spend, how do we make a great Google search SERPs and best SEO performance video? Our Sri Lankan video marketing guide show you how to professionally use the opportunities from video marketing whether you are a large Sri Lanka company looking to integrate video marketing more into your product campaigns or a small Sri Lankan business SME looking to improve your video marketing services.
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text:
//
//  IMDialViewController.m
//  EsVerta LLC
//
//  Created by Andrew Sowers on 6/4/14.
//  Copyright (c) 2014 Andrew Sowers. All rights reserved.
//

#import "IMDialViewController.h"
#import "DEMOMenuViewController.h"
#import "DEMOHomeViewController.h"
#import "DEMOSecondViewController.h"
#import "UIViewController+REFrostedViewController.h"
#import "DEMONavigationController.h"
#import "IMDetailViewController.h"
#import "IMMeniorManager.h"
@interface IMDialViewController ()
@property (strong, nonatomic) IBOutlet UITextView *dialText;

@end

@implementation IMDialViewController
@synthesize dialText;
- (id)initWithNibName:(NSString *)nibNameOrNil bundle:(NSBundle *)nibBundleOrNil
{
    self = [super initWithNibName:nibNameOrNil bundle:nibBundleOrNil];
    if (self) {
        // Custom initialization
    }
    return self;
}
- (IBAction)GO:(id)sender {
    IMMeniorManager *data = [[IMMeniorManager alloc] init];
    [data openDatabase];

    // todo see if object exitsts and fire notification if not
    NSString * index = dialText.text;
    NSString * object = [NSString stringWithFormat:@"Object%@",index];

    if ([data checkForObject:index]){
        [data setPhotoReturn:@"yes"];
        [data setSelectionIndex:object];
        NSLog(@"SELECT INDEX: %@",[data getSelectionIndex]);
        [data closeDatabase];
        [self.navigationController popViewControllerAnimated:NO];
    }else{
        UIAlertView * alert = [[UIAlertView alloc]initWithTitle:@"Sorry" message:@"Object not found, please try again." delegate:self cancelButtonTitle:@"Okay" otherButtonTitles:nil, nil];
        [alert show];
        [dialText becomeFirstResponder];
        [data closeDatabase];
    }
}

- (void)viewDidLoad
{
    [super viewDidLoad];
    // Do any additional setup after loading the view.
    dialText.text = @"0000";
    dialText.textColor = [UIColor grayColor];
    dialText.delegate = self;
    self.navigationController.navigationBar.tintColor = [UIColor colorWithRed:116.0/255.0 green:191.0/255.0 blue:185.0/255.0 alpha:1.0];
    [dialText becomeFirstResponder];
}

- (void)didReceiveMemoryWarning
{
    [super didReceiveMemoryWarning];
    // Dispose of any resources that can be recreated.
}

-(BOOL)textViewShouldBeginEditing:(UITextView *)textView
{
    dialText.text = @"";
    dialText.textColor = [UIColor blackColor];
    return 1;
}

-(void)textViewDidChange:(UITextView *)textView
{
    if (dialText.text.length == 0) {
        dialText.textColor = [UIColor grayColor];
        dialText.text = @"0000";
        [dialText resignFirstResponder];
    }
}

/*
#pragma mark - Navigation

// In a storyboard-based application, you will often want to do a little preparation before navigation
- (void)prepareForSegue:(UIStoryboardSegue *)segue sender:(id)sender
{
    // Get the new view controller using [segue destinationViewController].
    // Pass the selected object to the new view controller.
}
*/

@end


My last blog posting ("The New Story about the Humanities") expressed great admiration for new quantitative studies of what is happening in this area. From them we can see that it's not a story of steady decline or imminent collapse, as many have suggested, but of fluctuations tied, at least in part, to shifts in social, economic and cultural attitudes.
Good! No more narratives of decline. There is, however, a problem in the statistics. It seems a small one, but it has some big implications. Decline–and-Fall folks live off the percentage of student majoring in various fields. For example, Mark Bauerlein recently cited a summary of one set of such figures: "For English majors, Silver counts a proportion of 7.6 percent 40 years ago, 4.7 percent 20 years ago, 4.1 percent 10 years ago, and 3.1 percent in 2011.". At that rate there will be no English majors at all in a few decades!
But it's not just the Decline-and-Fall folks who rely on the percentage of majors in various fields as their single indicator of the overall health of the humanities. Ben Schmidt and other skeptics about narratives of decline also rely on these figures, sometimes representing them as "enrollments." They are not course enrollments totals; they are the number of graduates who end up in one major or another. In some fields, such as mine, enrollment figures and the number of majors may be radically different. , Classics departments often show strong enrollment numbers from courses taught in English translation, such as Mythology, Great Books, Western Civilization, Etymology, etc. At the same time the number of majors (who need to have some mastery of the ancient languages) can be pitifully small. Something similar, I suspect, may be the case in other humanistic fields such as modern languages, philosophy, music, maybe even English.
So "majors" don't necessarily correlate with "enrollments." Tracking changes in the percentage of majors in various fields, moreover, is meaningless unless one knows how many majors are being offered at various points in time. If, for example, an institution offered majors in 25 fields forty years ago, and 50 such majors today, you'd expect the average department's share of majors to drop from 4% to 2%, simply because there were more majors around for students to choose from.
How likely is that scenario? The last half century has been a time of vast increase in human knowledge, some of it in the humanities but more spectacularly in science, medicine and technology. New knowledge has led to new majors, plenty of them. In addition the creative arts have increasingly found a congenial setting in colleges and universities – with majors now commonly offered in Dance, Studio Arts, Creative Writing, Theater and Performing Arts, among others.
I found my alma mater provided a good case study of these shifts. The Hamilton College web site (http://www.hamilton.edu/catalogue) lists 52 fields in which one can now major, of which more than half, if memory serves, were not offered when I was a student over fifty years ago. Most of the added fields are in the creative arts, ethnic or identity studies, and the natural sciences. Some are in the social sciences, but only a few in the humanities. So, in a purely statistical sense, one has to expect that the percentage of degrees in the humanities would decline.
At the national level we have seen in addition the proliferation of majors in in fields that should lead to careers immediately after the bachelor's degree, not just old stand-bys such as business, K-12 education, health related professions, but newer fields such as Homeland security, law enforcement and firefighting, Parks and recreation and Transportation and materials moving.  Eve Mortuary Science is now a bachelor's level major at 19 American colleges and universities. Whatever the intellectual quality of these majors, statistically speaking, their introduction means that older fields would almost inevitably experience a percentage decline in majors.
Relying on the percentage of majors in a field is, then, a flawed metric for determining the health of the humanities. What would be a better metric? How about total course enrollments- are they going up or down? Or, better, total course enrollments as as a percentage of all students in college? It turns out that extracting such enrollment figures is not easy. The only humanistic fields for which I have found such data are the foreign languages, where the Modern Language Association has for some years tracked enrollment trends, language by language and overall. The MLA's most recent figures show a 6.6% increase in foreign language enrollments from 2006 to 2009, though with dramatic differences among the individual languages. (The biggest gains were in Chinese and Korean; the biggest decline was in Modern Hebrew.) The percentage of students studying foreign languages, moreover, does not match the "decline and fall" scenarios. True, that percentage dropped precipitously after the boom in the 1960s, reaching a low of 7.3 per 100 college students around 1980. But since then enrollments per hundred students have slowly but steadily increased to 8.6 in 2009.
Comparable figures for enrollments in other fields are badly needed but the foreign language figures are enough to make one cautious about relying on the number of majors as the sole indicator of the health of the humanities. In such situations the metric often determines the narrative and the response. Rely solely on majors and you may well end up with a demoralizing narrative of decline. Even worse, departments and others will be tempted to misdirect their efforts at improvement, focusing exclusively on attracting more majors rather than reaching out to students in other fields.
Here's a thought experiment that will clarify what I mean. Imagine a student who decides to major in Economics, but supplements courses in that field with ones in the Chinese language, Comparative Literature, Asian history, and Eastern religions. She will not show up in the count of majors in humanistic field. But do we wish to dismiss her as a loss to the humanities? Or consider a student I taught some years ago, who decided (despite my advising) to major in Public Policy, but still kept talking courses in Classics and ancient history. I suspect that J.P. Sarbanes is a better Congressman today because of the breadth of his course selections back then.
A reliable statistical picture of the health of the humanities has to find a way to pay attention to such students. In the meantime, we'd be well advised not to rely solely on the percentage of majors.
 For example, Schmidt is loose in his phrasing when he refers in his very valuable "Crisis in the Humanities, or Just Women in the Workplace?" to " … the long-term collapse in humanities enrollment [Italics mine] has to do with the increasing choice of women …'. (http://sappingattention.blogspot.com/2013/06/crisis-in-humanities-or-just-women-in.html#more )The context makes clear that he means the decline in the percentage of students majoring in humanistic fields, not enrollments.
http://chronicle.com/article/The-Humanities-in-Dubious/140047/ I am indebted to him for many insights into the situation of the humanities.
It's important to get the numbers right, and this piece makes a big contribution. Ultimately though we need to come to grips with the question of how many people studying, teaching, and researching in the humanities do we need, and what do we need them for? I don't think it is likely that plausible answers to those questions could be expressed in percentage terms. If for example the aggregate number of people doing research across all fields rose by 50%, it's not at all obvious that the aggregate number of people doing research in the humanities needs to rise by that same percentage. The only way to answer such a question is by articulating what it is that humanities scholars are studying and what contributions their studies make.
Thanks to Mike McPherson for this comment, especially since he has been sch an astute observer of higher education both as president of a small liberal arts college and as president of the Spencer Foundation. His comments puts it on the line-- what do we need the humanities for, and then what do these disciplines need to do the job well?
you're exactly right. It's a big relief to get rid of the "decline and fall" story and have it replaced with a story of ups and downs. More so, you're right that the concentration on majors draws attention from the far more telling indicator of students' interests and exposure than majors. And beyond that, demand for faculty members is more closely tied to enrollments than it is to the number of students majoring in one field or another. Physics (like your own field) is a relevant case to cite because it has had precious few majors for a long time but more substantial enrollments in spite of that (at least I think so – I have not done the work of looking recently; I do know it used to be the case) .
Beyond this, though, you've made a really important contribution to the discussion by bringing up changes in the number of majors students could select. I don't know what the data would show in detail, but my guess is that there has been an increase as you say (mortuary science included!) and that this must be taken into account when longitudinal data are being examined. I do know that colleges and university boast of the number of majors prospective students might select – which may well drive up the number of majors offered and thus drive down the share of majors each might attract. In any event, if the proliferation of majors is a significant development, it should be that a number of other fields have been undergoing reductions in the number of majors they attract due to the larger and larger menu of majors available.
I note you do not mention that increasing number of students are selecting double majors or even triple majors, partly because students have multiple interests and don't like to be fenced in by the bureaucratic rules and partly because some are intent on making themselves attractive in the job market by multiplying their credentials. I don't think such numbers are large enough to make much or indeed any dent in the national data but they also present problems of comparability – how are they counted in the first place and do such students enroll in more courses overall than others? Another argument for enrollments data rather than majors data.
Thank you for this valuable reframing. It is essential to look beyond majors if we are to make a full accounting of student engagement with the humanities at the postsecondary level.
Debra Nails' (Michigan State) remarks at an American Philosophical Association meeting last year come to mind: "Most of what we [philosophy faculty] do is for others." The desire to more accurately gauge the "value added" by the academic humanities has certainly shaped the survey that the American Academy of Arts and Sciences is currently conducting. As part of the second round of the Humanities Departmental Survey (see http://humanitiesindicators.org/resources/survey.aspx for the findings of Round I) departments are being asked not only about enrollments in their own courses but also courses their faculty may have been recruited to teach in professional schools (business or medical ethics, "Conversational Chinese for Business", etc.).
It is important to consider enrollments, but there is another type of evidence of available: the painstaking college transcript studies conducted by the U.S. Department of Education's National Center for Education Statistics (NCES) that allow us to examine students' complete coursework portfolios and determine what share of their credits have been taken in humanities and other areas. And when such transcript collections are done as part of longitudinal studies—such as the 1993 round of NCES's Baccalaureate & Beyond, which followed students for 10 years after graduation--more sophisticated sociometric methods can be used to estimate the effect of humanities coursework on students' later employment and civic engagement. The Academy is working to incorporate the wealth of insight yielded by these studies into its Humanities Indicators (humanitiesindicators.org).
Developing a nuanced understanding of the condition and contribution of the academic humanities requires that humanities stakeholders convey to Federal statistical agencies, other public entities, and private organizations the value of enrollment and transcript studies. Neither type of study, if it is really to tell us something about the humanities, is cheap or easy. Close collaboration is imperative. Data collectors need to pool methodological insights and other resources. Issues of data comparability must also be addressed. Standardization of methods and definitions will allow for revealing trend analyses and interdisciplinary comparisons.


JAMES BARTOL–2009: I am living in New York City studying at New York University's Tisch School of Arts. I am taking classes in arts and humanities working to graduate with a degree in film production in 2013. I am also working a part-time paid internship at Marketing and Creative Services at Carnegie Hall. Living in downtown Manhattan is an enjoyable experience. I have seen many Broadway shows, visited museums, historic sites, and experienced different world cultures. I owe my happiness and success in college to my education at Brewer High and to the staff there who gave me the skills and guidance to help me follow my dreams and pursue my interests on a college level.
LAUREN HOLT–2009: I am studying at Eastern Maine Community College in Bangor. I started out as a Liberal Studies major but have switched to Business Management: Health Care Secretary. My goal is to finish this program and go on to pursue a career as a psychiatrist or a counselor. I found that the transition from high school to college was not so bad. I enjoy the freedom college offers. It is nice to be able to leave campus whenever I want. I finished my first semester with a 3.4174 grade point average.
MARIA LIBERATORE–2009: Take your classes seriously and not just memorize the information. Take AP classes.
DAELYNE BELL–2009: High school went by so fast. It is amazing that it is already over, and I am in college. College is fun. Living in a city is new and exciting, and I am glad I ended up where I am.
KAITLIN NOYES–2009: High school classes help with preparation for college work.
ANNA BROWN–2009: Brewer High prepared me for college. It was an experience that I needed to further myself as an individual.
ABIGAIL LEBLANC–2009: AP courses will help you in college so take advantage of that!
MELISSA DUNN–2009: Brewer prepared me for college. I enjoy college and the difference in atmosphere. The work load is difficult but not more than I can handle. It has been an eye-opening experience being out on my own and figuring out who I am as an individual as well as a student.
Please share with us your plans for class reunions and feel free to call us with any questions at 989-4140.


At Dental Solutions here in Warsaw, we are pleased to provide patients with the best in general, cosmetic, and restorative dentistry treatments that improve dental health and make smiles more beautiful. This means aesthetic and wellness need to go hand in hand, and the fundamentals of treatment are often a key part of optimal dental care.
One common treatment for ensuring lasting dental health is root planing and scaling. These are dental treatments that involve the removal of plaque and tartar deposits down at the gumline. The process is also known as deep cleaning. Let's go into the basics of this treatment right now.
Many think that root planing and root scaling are the same thing, but they are actually two separate acts performed as part of the deep cleaning process.
Root planing and root scaling are performed in order to treat or prevent tooth decay at the gumline and gum disease. Even if you brush and floss regularly, this will not necessarily be able to remove all of the tartar and plaque that's built up at the gumline area. Only professional care will be able to effectively remove this unwanted matter around your teeth and gums.
Some people think that deep cleanings are the same thing as the traditional polishings you undergo during a routine checkup. This is certainly not the case. Regular dental cleanings are rather thorough for what they are, but they are not as focused as deep cleanings. During a deep cleaning procedure, special scraping tools are used in order to remove the plaque and tartar and make sure your teeth are totally clean.
During a root planing and scaling procedure, patients will only have one-quarter to one-half of their mouth treated. This done for two reasons.
For one, the deep cleaning process will require local anesthetic. If local anesthetic were used on the whole mouth for treatment, this would make eating, speaking, and other activities during the rest of the day very difficult. Performing deep cleaning on just part of the mouth is more convenient and more sensible.
Another reason for breaking up treatment is time. A root planing and scaling treatment can take an hour or two to perform. A full treatment of the entire mouth could take considerable time to perform, making it inconvenient and impractical for the patient and the dentist.
During root planing and scaling treatment, patients can expect to sit back as the dentist and the dental hygienist carefully scrape at the teeth. If the patient has any anxieties about treatment, sedation methods can be used in order to keep the patient in a calm and relaxed mental state.
After the root planing and scaling procedure, patients will notice some tenderness and sensitivity of their gums. The anesthetic will wear off over the next few hours. Avoid eating hot or cold beverages in order to prevent undue sensitivity, and be sure to brush and floss gently at night to prevent discomfort.
If you would like to learn more about root planing and scaling and why it may be an ideal option for you and your needs, be sure to contact our cosmetic and restorative dentistry center today. The entire team here at Dental Solutions looks forward to meeting you in person and helping you achieve a healthy, beautiful smile.


Have I made this person greater than me?
Who in your life right now are you doing your best to help, support, love, care for, work hard for, or contribute to? Do you get the results you know are possible? Or are you saddened, disheartened, disappointed, puzzled, upset, frustrated, annoyed, or even angered by how little impact you seem to be having? Are they treating you like rubbish? Who do you make wrong? Them, or you? Do you re-double your efforts and go out of your way to do whatever you think is required, to no effect? Do you feel like rubbish? If you'd like to create a different possibility, ask "Have I made this person greater than me?" Then acknowledge how great YOU are, regardless of what others would have you believe. What if no one were greater? What if everyone were just different (including that some simply won't choose change, no matter how great you can see it could be)? Would you be willing to be the greatest you are first? And then invite others to play?


Experience the ultimate rally driving thrill as you master this tricky yet thrilling art! Take command of a Ford Focus Rally car and whiz around the special track performing slides and turns!
Get a feel for fast and furious driving in a rally car with this awesome rally driving experience in Fife, Scotland, and see how far YOU come! With expert tuition from your professional driver instructor, you can discover the secrets of rally driving, from controlling a skid, the art of handbrake turns, and performing power slides on the special stage. It's a real adrenaline rush keeping control of the awesome Ford Rally Car through a mile-long purpose built rally stage - the car has rear wheel drive capabilities which gives you strong control as you race around obstacles and chicanes. The fantastic experience is your chance to really push this superb rally car to its limits and test your own nerves as you put your foot down to the floor! Hugely enjoyable and utterly unmissable!
The day will begin with a welcome brief outlining the safety in the car as well as on the rally stage, then the experience kicks off with five special stage runs. The instructor is by your side the entire time offering advice and guidance throughout, so you can gradually build confidence and increase the pace of the driving. After a short break it's back behind the wheel for four more stage runs, in reverse direction! The final stage is assessed by the instructor who will award points for efficiency and technique, helping towards that highly coveted Driver Of The Day trophy. The day comes to a close with a high speed passenger lap - just make sure you hold on tight!
This experience is available on selected weekdays throughout the year.
All participants must hold a full driving licence.
Participants: The Rally Driving Experience - Scotland is for 1 participant.
This experience will go ahead in most conditions apart from snow. If you are unsure please contact the centre.


All Unicorn SPiT Products now 25% off.
Use "25%OFF" in the discount box. Back space to add more products to your cart.
We're so excited to share our new adventure with you!
Vibrant Artwork Made Easy provides premier workshops using Unicorn SPiT. What is Unicorn SPiT, you ask, and why are we so excited about it???
Unicorn SPiT is a new product on the market that is a water-based, gel, stain, and glaze in one. It has the most vibrant colors we've seen. Even when it is diluted it becomes more transparent, but does not dim the color. It can be applied to almost any surface – wood, glass, metal, fabric, pottery, wicker, concrete and laminate. Ideal for creating new - or - refinishing thousands of projects.
We look forward to sharing our product experiences with you.


Industrial land for sale on Janesville's south side. Property is zoned M-1. Located just over 3 miles from I-39/90 via limited-access 4-lane highway WI-11. Property is ideal for general services businesses that require outside storage and large yard space.


Megan is a legal apprentice in the Personal Injury team in our Oxford office.
Before joining Royds Withy King, Megan completed a Level 3 Diploma in Performing Arts at Banbury and Bicester College whilst working part time in retail. Megan is now currently working as a legal apprentice with the Personal Injury team at Royds Withy King.
Outside of work, Megan enjoys travelling, reading and going to the theatre in London. She also loves going camping and the quietness of the countryside.
I support our solicitors in the progression of cases in terms of the administration needed. I enjoy working with so many different people within the Personal Injury team and seeing such a broad range of cases.


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Embassy of Japan in the Independent State of Samoa
在サモア日本国大使館
Home | About Us | Bilateral Relations | Visa to Japan | Culture & Education
Outbreak of Measles in the Independent State of Samoa: Dispatch of the Japan Disaster Relief Infection Diseases Response Team
Handover Ceremony for the Project for Reconstruction of Auala Primary School (November 22, 2019)
Signing Ceremony of the Grant Contract for the Project for the Expansion of Classroom Building and Renovation of Hall for Leififi College (October 23, 2019)
Handover Ceremony for the Project for the Reconstruction of Lepa Primary School (October 19, 2019)
Signing Ceremony of the Grant Contract for the Project for the Reconstruction of Safotu Primary School (September 24, 2019)
Signing Ceremony of the Grant Contract for the Project for the Expansion and Upgrade of Afega Primary School (September 23, 2019)
Signing Ceremony of the Grant Contract for the Project for the Reconstruction of Fagalii Primary School (September 18, 2019)
Signing Ceremony of the Grant Contract for the Project for the Reconstruction of Sili Primary School (September 13, 2019)
Signing Ceremony of the Grant Contract for the Project for the Reconstruction of Safotulafai Primary School (September 10, 2019)
Handover Ceremony for the Project for the Expansion of Itu Asau College (September 6, 2019)
Handover Ceremony for the Project for the Reconstruction of Papa Sataua Primary School (September 5, 2019)
Reception for Manu Samoa to Rugby World Cup 2019 (September 3, 2019)
Opening of Ambassador's Residence (August 22, 2019)
Handover Ceremony for the Project for Providing Fire Engine of Faleolo Fire Station (August 9, 2019)
Annoucement of Closing Day
Handover Ceremony for the Project for the Repair and Renovation of Taelefaga Primary School (April 26, 2019)
Announcement of Opening of Congratulatory Book on His Majesty the Emperor's Accession to the Throne
Handover Ceremony for the Project for the Reconstruction of Aufaga Primary School (April 16, 2019)
Handover Ceremony for the Project for the Reconstruction of Satuimalufilufi Primary School (March 18, 2019)
Signing Ceremony of the Grant Contract for the Project for the Construction of Hall for Faleata College (March 15, 2019)
Signing Ceremony of the Grant Contract for the Project for the Reconstruction of Auala Primary School (March 11, 2019)
Handover Ceremony for the Project for the Repair and Reconstruction of Faleatiu Primary School (March 8, 2019)
Signing Ceremony of the Grant Contract for the Project for the Reconstruction of Papa Sataua Primary School (March 6, 2019)
Signing Ceremony of the Grant Contract for the Project for the Reconstruction of Palauli District Primary School (March 4, 2019)
Signing Ceremony of the Grant Contract for the Project for the Reconstruction of Leauvaa Primary School (March 1, 2019)
Japan and FAO Partner to Support Pacific Coastal Fisheries (February 25, 2019)
Handover Ceremony for the Project for the Reconstruction of Faleapuna Primary School (January 25, 2019)
Signing Ceremony of the Grant Contract for the Project for the Reconstruction of Lepa Primary School (January 22, 2019)
Handover Ceremony for the Project for the Reconstruction of Sagone Primary School (January 4, 2019)
Signing Ceremony of the Grant Contract for the Project for the Reconstruction of Manono-uta Primary School (December 12, 2018)
Signing Ceremonies of the Grant Contracts for the Project for the Repair and Renovation of Taelefaga Primary School and the Project for the Reconstruction of Lona Primary School (December 6, 2018)
Handover Ceremony for the Project for Reconstruction and Extension of Solosolo Primary School (November 16, 2018)
go to list
Handover Ceremony of Dental Clinic Vehicle to National Health Services (October 11, 2018)
Amendments to the Exchange of Notes concerning the Dispatch of Japan Overseas Cooperation Volunteers (August 22, 2018)
Signing Ceremony of Notes on Grant for Economic and Social Development (Medical Equipment) (August 16, 2018)
Handover Ceremony for the Project for Reconstruction of Satupaitea District Hospital (August 3, 2018)
Prime Minister and Minister of Foreign Affairs and Trade of Samoa to Visit Japan (May 13 to 16, 2018)
Handover Ceremony for the Project for Reconstruction of Laumoliafi Primary School (April 6, 2018)
Genichi TERASAWA
Greetings from Ambassador
Embassy of Japan in Samoa
Level 2, B-Building, SNPF Plaza
Savalalo, Apia, Samoa
Mondays to Fridays except for the designated holidays
For the designated holidays, please refer to the above.
8:30 am to noon and 1:00 pm to 5:15 pm
For consular and visa operation hours, please refer to the above.
Apia, Samoa
Phone: +685-21187
Fax: +685-21196
Mail: japanese.embassy@ap.mofa.go.jp
Legal Matters / About Accessibility / Privacy Policy
Copyright(C):Embassy of Japan in the Independent State of Samoa


Discover the secrets inside the Butterfly Wing! Don't miss your chance for a personal tour of the hottest place in Ames by Curator and Entomologist Nathan Brockman.
Meet the CCE staff and learn more about what they offer and how they can help you improve your communication skills. Snacks, demos, activities and information tables will be available.
Looking for more ways to excite, activate, and engage students? Needing a solution to transform frustrated students into successful, passionate learners? Award-winning lecturer Dorothy Masinde, Global Resource Systems, Horticulture, has thirty years of experience inspiring learners of all ages and cultural backgrounds.
Amanda DeGraff, senior analyst and assistant director of institutional research at Iowa State, is one of five finalists named in the search.
Led by Lesya Hassall from CELT and Karla Embleton, the session will focus on the best use case scenarios for Canvas Peer Review, a generic peer review Google form and a peer review Qualtrics process to accommodate peer review of student work and behavior.
Amie Shao, principal with MASS Design Group in Boston, will present a series of the firm's projects that expand the architectural practice model by focusing on what architecture does to identify local needs and opportunities, advance the well-being of individuals and communities, amplify regional investment and capture the value of design and its effect on people's lives. The 2019 Curt F. Dale Guest Lecture in Architecture.
Get your hands dirty and make beautiful things! Start with centering clay and pulling cylinders, the building blocks to throwing on the wheel. Move on to forming bowls, mugs, vases and plates, and learn handle-pulling, glazing and finishing techniques. Open to beginners as well as those with experience who would like to improve their skills.


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Me & My... Canon Océ VarioPrint i300
Following a review, it became clear to Latcham Direct that inkjet was a game-changer, providing high quality and productivity at reduced costs.
Hughes: "The i300 hits the sweet spot for us"
Normally PrintWeek rounds off its Me & My Machine case studies with the question "would you buy it again?" Latcham Direct pre-empted us by installing a second Canon Océ VarioPrint i300 inkjet press in January this year, about six months after its first. The sheer productivity of these inkjet presses has allowed Latcham to handle colour work in-house that had previously been outsourced to litho printers for fixed content, then personalised on digital toner presses.
Set up in 2010 by Mike Hughes, who is MD, Latcham Direct provides marketing and document fulfilment services to the financial services, membership, local authority, health and utilities sectors. It has grown steadily both through sales efforts and the acquisitions of two other companies – CompuStat in 2018, then on-demand digital print and creative specialist Accent in November 2019. Its turnover is currently about £15m.
In these unusual and difficult recent weeks, it's been kept very busy supplying vital communications for the NHS, local authorities and other essential services. It's particularly promoting the hybrid mail service it launched last year, combining several documents from separate sources (or even customers) in the same envelope/enclosure. "It's early days yet, but as remote working becomes more common, we envision more organisations outsourcing their printing to our centre, where we manage it for them and they don't have to touch it," says Hughes.
Latcham's 8,360sqm production site in Bristol operates a range of digital print solutions including high-speed continuous inkjet web, as well as high-quality sheetfed inkjet and toner-based devices. Last September, it installed a Duplo iSaddle Pro saddle stitcher, bringing total investment in 2019 to £1m including equipment and the Accent takeover. Latcham also has offices in Crawley.
Hughes says: "Our customers demand a high level of service quality and compliance. Having replaced one Xerox iGen printer with our first i300 last year, we decided to replace all of our cut-sheet colour digital printers with Canon equipment, including a second i300 and two toner C850/910 machines. These now sit alongside our Ricoh InfoPrint 5000 continuous inkjet and four Xerox mono printers."
Why choose the Canon i300?
The existing Xerox iGen and DocuColor sheet-fed toner presses were coming to the end of their contract periods. "Colin Mattinson, Latcham's operations director, carried out a detailed review of all equipment available and it became clear that inkjet was a game-changer, providing high quality and productivity with reduced cost per page," says Hughes.
As well as transferring work from the old machines, the greater quality and efficiency of the inkjet press allowed Latcham to transfer litho pre-print work back in-house. Hughes says: "The i300 has been a game-changer, enabling us to provide highly-quality, just-in-time digital colour. Our customers just can't tell the difference between high-quality inkjet and litho.
"Much of the mono work has also been moved onto the i300, which would not have been cost-effective under the previous model where we had both colour and mono toner devices.
Latcham decided to purchase its second i300 to boost capacity and provide back-up contingency as its customers require strict service levels.
Was anything else considered?
"Latcham had already invested in the Ricoh IP5000 colour inkjet web press in 2017 to replace our continuous toner devices and to deliver colour letters and forms," says Hughes. "We did look at other web presses and there are some impressive machines in the market, but they were either too expensive, too big or didn't provide the flexibility we need to service shorter run transactional and direct marketing work."
What's a VarioPrint i300?
When Canon introduced the B3 format VarioPrint i300 in 2015, it was one of the first relatively low-cost but high-performance sheetfed inkjet presses – previously sheetfed inkjets had been mostly B2 format, which were relatively slow and much more expensive. It was introduced under the Océ brand name, recently renamed Canon Production Print. It was followed by the slower, lower cost i200 to make what Canon calls the i-Series.
At Drupa 2016, Canon added ColorGrip, which prints priming liquid underneath every colour drop, to print on uncoated offset papers, or with higher quality on inkjet coated grades.
Direct mail and transactional printers moving from SRA3 dry toner presses were the main target from the start, with Canon claiming that the i300 was the most productive digital press in its class. Today it says that the 250 machines installed worldwide have an average uptime of 94%.
Although an i300 costs more than high-end toner Kodak NexPresses and Xerox iGens, it is twice as fast with speeds up to 300 A4 ppm, while ink costs are lower than toner click rates.
With experience under the Latcham operators' belts, Hughes says that the costings are now apparent. He says: "The cost per page varies depending on the ink coverage, so you have to be careful that this is taken into account when estimating. The capital cost of the equipment is higher, but the cost per page is lower on average. What really stands out though is the sheer efficiency of these machines – with very little downtime and constant output, they are real workhorses."
In April this year, Canon announced two new sheetfed inkjet presses, originally due for launch at Drupa: the iX-3200, with an increased speed of 320 A4 ppm; and iX-2100, for 210 A4 ppm. Both use new 1,200dpi print heads (double that of the i300) and new pigment inks that are said to give image quality that exceeds dry or liquid toners (the latter being HP Indigo). Canon says that the original i-series will still be sold alongside the iX-series.
How has it been in practise?
"We are very pleased with the i300s," says Hughes. "They have surpassed our high expectations and allowed us to consolidate most of our digital printing from both colour and mono devices and from litho, which was being outsourced before. Key is the ability to produce litho quality personalised documents at speed."
Installation went smoothly, he says. "Canon was very efficient with the installation and on-boarding of the new machine, which took around three weeks to install and commission. We really were pleased with the whole process as well as ongoing maintenance. The engineers are great and resolve issues quickly."
There haven't been any real problems , he says. "As with any new device, there are always one or two glitches. Canon was able to speedily resolve them within hours. Overall, the service and maintenance has been impressive. Latcham operators love the machine as it has great uptime and is very efficient compared with the previous iGen colour toner printers."
Any niggles? "The paper weight of the i300 is limited to 300gsm and B3, so we have to produce some heavier weighted products or extended sheet sizes on the C850/910s, at a premium," says Hughes. "The only other issue is maybe its size: it is big compared with other cut-sheet devices, but similar in size to a B2 four-colour litho press.
"On the plus side, inkjet printing and the i300 is much better for the environment than toner, with lower energy consumption per page, removal of microplastics (toner) and more recyclable inks. We hope to be supplying most of the power with solar in the future as well."
Latcham's second i300 answers the "would you buy it again" question, but would Hughes recommend that others do the same? "We would definitely recommend this machine and we are happy with our purchase. The next generation of Canons promise to have higher resolution and can handle increased paper weights, but are more expensive. The i300 hits the sweet spot for us."
Process Drop-on-demand sheetfed piezo inkjet
Inks Water-based pigment
Paper sizes From 203x203mm to 488x320mm. With optional guide: 178x254mm. With PIM-XL: 353x500mm
Stock weight range 60–300gsm
Speed Up to 300 A4 images/minute, or 106 duplex A3 images
Front end Prismasync Controller
Price About £750,000 depending on configuration
Contact Canon UK 0870 600500 www.canon.co.uk
Latcham Direct is an established print, data, digital, marketing and fulfilment provider based in Bristol. It was set up in 2010 by Mike Hughes and now has a turnover of about £15m. Its production site in Bristol provides direct mail, marketing and fulfilment services to local authorities, health, financial services, utilities and member organisations.
Latcham's first Canon VarioPrint i300 B3 sheetfed inkjet press allowed it to increase capacity for high-quality print with more speed and efficiency, at a lower environmental cost. A second i300 was added six months later. It also installed Canon ImagePress C850 and 910 colour toner printers to replace Xerox colour toner machines. It uses Ricoh IP5000 colour inkjet presses for its high-speed high-volume needs. Xerox digital presses are still used for monochrome work, although Latcham finds the i300 is also cost-effective for mono.
What has it brought to the company?
"The i300 allows us to print faster and more efficiently, allowing us to take on extra work," says MD Mike Hughes. "In addition to boosted efficiency, not having to deal with recycling cartridges – simply refilling the machine with ink instead – is something both our staff and the environment appreciate."
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Clinic Synopsis: Rehearsal labs provide observers an opportunity to watch and listen to well-known conductors working with various types of ensembles in an open rehearsal setting. Attendees engage in a meaningful learning experience by observing rehearsal technicians prepare multiple styles of music. An important goal of these sessions is for audience members to gain insight and develop practical pedagogical skills they can use at home with their own ensembles.
Clinician Biographical Information Dr. Gail V. Barnes is Professor of Music Education and Director of the USC String Project at the University of South Carolina where she has prepared over 100 teachers for string and orchestra classrooms and studios. She edited Applying Research to String Teaching and Playing for American String Teachers Association and has published in many of the major music education journals. In addition, she has conducted student orchestras throughout the country and presented clinics at national and international conferences. She is also an administrator for a Facebook group for several thousand orchestra teachers at https://www.facebook.com/groups/OrchestraTeachers.


The athletes who are currently competing in Rio got ready for the 2016 Olympics by training. We get ready to tune in to the competition by making sure our beauty looks are patriotically on point. We already showed you how to show some #TeamUSA spirit with super pretty nail art ideas, so now it's time to talk hair and makeup. We embarked on an Instagram search to bring you the coolest red, white, and blue beauty inspiration. Click through, and start training to master these techniques!
What better way to watch the 2016 Rio Olympics than with one of these patriotic hairstyles or makeup moments? Don't forget to take a selfie, BTW.
We'll begin with this crazy tapestry braid, featuring tricolor ribbons and an American flag bow. Try it if you have the requisite hair skills — and length!
Don't feel up to attempting anything quite so intricate? No problem. This pared-down version nixes the braids and just keeps the hair bow. Arrange your hair in loose curls to pull it all together.
You can also mix reds and blues into your actual hair. The temporary (or permanent!) dye route is always an option, but this look uses extensions to create a patriotic effect.
How cute are these stenciled stars? The colors will show up best on lighter hair shades, but they'll create a cool, hidden illusion if you have brunette or black strands.
We're not even going to begin to guess at how these Olympic hair rings were created. All we know is that they look incredible, and that we will not be trying this one at home.
If you're more of a makeup lover, show your patriotic pride with lipsticks and eyeshadows instead! We love this red, white, and blue eyeshadow look – complete with gliterry, gold explosions (a prediction for Team USA, perhaps?).
Those who don't plan on snacking while watching the Olympics should try this vibrant lip art, complete with a row of star studs.
Note to self: the perfect accessories for your patriotic Snapchat are these tiny, penciled stars. Use eyeliner for the blue stars and lipliner for the red. We love how they look dotted across the cheekbones.
Speaking of Snapchat, we hope this star-spangled filter sticks around throughout the Olympics. It's the perfect finishing touch to blue eyeliner and a red pout.
Now it's time to talk about looks that have a patriotic touch, but are subtle enough to wear out. We love this gorgeous, burgundy smokey eye that seamlessly melts into navy eyeshadow at the outer corners. So pretty!
Painting over your neutral eyeshadows with bright blue eyeliner is another, pretty way to subtly support Team USA.
Don't feel like doing winged liner? Easy. Just move the blue to the bottom. Add a red lip, and you're all set!


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Band on the Run is een hitsingle van Wings. Deze single was afkomstig van het gelijknamige album. Nineteen Hundred and Eighty-Five was de tweede track op de single.

Band on the Run is een suite die bestaat uit drie delen. Het nummer begint sober met een slidegitaar en synthesizers, waarin McCartney zingt over het lot als gevangene. Na 1:20 min gaat dit over naar een sneller stuk waarin de zinsnede If we ever get out of here centraal staat. Later gaf McCartney aan dat die zinsnede afkomstig is van een opmerking van George Harrison tijdens een vergadering van de Beatles met Apple Records. Het derde en laatste deel begint na 2:05 min. De muziek explodeert en wordt overgenomen door akoestische gitaren, die de ontsnapping en bevrijding moeten voorstellen.

Hitnotering

Radio 2 Top 2000

Compositie van Paul McCartney
Nummer van Paul McCartney
Nummer van Wings
Single uit 1974

redpajama_set_name: RedPajamaWikipedia


Senior citizens often fall victim to predatory opportunists out to con them. They are likely to be very vulnerable when it comes to high-value transactions such as real estate, where a deal can run into millions of dollars. Last month, an ex-property agent went on trial for allegedly misappropriating more than $500,000 of his visually impaired elderly client's money.
Singaporean holidaymakers have been flocking to Japan for many years but now property investors are discovering the delights of the Land of the Rising Sun. The interest has been sparked in part by Tokyo winning the right to host the 2020 Olympics and Prime Minister Shinzo Abe's "Abenomics", which is reviving the world's third-largest economy.
It's been seen as something of a basket case by Singaporeans for decades but the much-maligned Philippines looks to be turning a corner and property investors here are taking note. Despite the devastation caused by Typhoon Haiyan in November, the country registered GDP growth of 7.2 per cent last year, one of the fastest rates among Asean countries.


We are flexible. We make our project goals aligned to your business needs, while our costing structure also does not compromise our quality. Throughout the years, we have proved our results are satisfactory for each one of our clients.
To introduce our services are an invaluable asset for our clients, and create a long term impact for a selected brand that we are working with. We are ready to give our partners the well versed services at an unbeatable working model.
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