Do you use QuickBooks Online with Shoeboxed? Well, we've got some great news for you! We're thrilled to announce that our brand new integration with QuickBooks Online is live and available for use in your online account.
You don't need to wait for the export to complete! We'll email you when it's done (or if there were any errors) so you can get back to your to-do list in the meantime.
We now keep track of which receipts you've already exported, so no reason to worry about sending duplicates.
There's no more manual syncing with your Chart of Accounts – just pick the receipts you want to export and we'll remember the rest. We'll sync automatically when you connect with QuickBooks Online and re-sync each time you start an export.
As always, we automagically remember what vendors and payment types you've used in the past so that future exports take less time.
Overall, it's a simpler and more reliable way to quickly get all of your receipt data into QuickBooks Online!
Like our new CSV and PDF export options, the new QuickBooks Online integration starts from your receipt table. For step-by-step instructions, visit the article on our Help Desk.
Stay tuned for future updates to our integration with QuickBooks Online, including more advanced management features for your Chart of Accounts and better handling of errors.
If you have any questions or feedback on the new integration, you can reach us 24/7 at help@team.shoeboxed.com or on Twitter at @ShoeboxedHelp.
Thanks for the feedback. :) We'll definitely post an update if and when we move forward with a new integration with FreshBooks.
Is there a quick and easy way to check whether all your supplier (COGS) transactions in Quickbooks match with scanned invoices in Shoeboxed account. I have scanned a bunch of my business receipts and supplier invoices, but not sure if I missed any transactions. The only way i could find that out if I will match to transactions in Quickbooks (as these transactions are pulled from my web-banking). Thanks!
There's unfortunately no way in QuickBooks to match transactions to invoices. In Shoeboxed, however, you can use our new filters to show documents that haven't yet been exported to QuickBooks, so that way you ensure that all of your invoices have been sent over.
What if i already have transactions in quickbooks from previous years and i want to match them to scanned receipts/invoices in Shoeboxed database. Whats the best way to proceed in this case? Thank you.
What if we are running QB Enterprise. Is there no way to connect?
Exporting those receipts/invoices from Shoeboxed to QuickBooks will create new entries in the Expenses section– there will be no way to match them with already-entered transactions.
Unfortunately this integration will only work with QuickBooks Online.
Hi Emily–I set up a trial of Quickbooks Online, but found that Quickbooks Self Employed is a better fit, so I switched. I can't get my shoeboxed account to talk with it, though. Does Shoeboxed support Self Employed?
Unfortunately the integration only works with QuickBooks Online, not Self Employed.
Hi Emily: Will there eventually be support for QB Self-Employed, or is this something that is unlikely to happen?
Banish Bad Expense Reports with Our New PDF Export!


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Disrespect and Abuse in Family Planning Service Delivery
Photo by Flynn Warren, courtesy of the Population Council.
Many women face barriers to accessing health services, not least of which is disrespectful and abusive care. Such care may entail medical procedures performed without a woman's consent, discriminatory treatment, denial of services, lack of privacy and confidentiality, and physical and verbal abuse.
While disrespect and abuse (D&A) appear to be widespread in both low- and high-income countries, its prevalence and contributing factors are not well documented, making it difficult to design and implement appropriate and effective interventions for ending these rights abuses.
Recent efforts have been made to better define and understand the issue of respectful maternal care (RMC) and its impact on women's maternity-care-seeking behavior. USAID, through the TRAction (Translating Research into Action) Project at University Research Co., LLC (URC), is supporting work that defines and quantitatively measures the prevalence of disrespect and abuse (D&A) experienced by women during facility-based deliveries. While the initial results of this work suggest that women experience a range of D&A during facility deliveries, there remains a need to validate the approach for measuring D&A during maternity care.
To address this need, the TRAction Project has designed a protocol for a systematic review of constructs and measures related to D&A from a range of health areas in order to inform RMC measurement strategies. This systematic review will explore the measurement of disrespect and/ or abuse in research domains similar to RMC and specifically in the areas of HIV and AIDS, intimate and gender-based violence, elder care, and family planning services.
In partnership with TRAction, the Evidence Project will undertake the systematic review related to measures of D&A in family planning service delivery. Through this literature review the Evidence Project will identify existing measures of respectful care within the family planning field and gaps in measuring D&A.
The literature-review synthesis will describe how existing family planning quality-of-care frameworks contribute to measuring respectful care and will describe the existing approaches used to measure aspects of D&A (including stigma) and their impact on demand for and delivery of family planning services. The review will seek to provide evidence on how aspects of D&A affect uptake of family planning services and the lessons learned for addressing them at the service-delivery level.
Measuring Disrespect and Abuse in Family Planning: Are We Ignoring Negative Experiences?
Measuring and monitoring quality of care in family planning: Are we ignoring negative experiences?
Equity, Rights, and Accountability
Laura Reichenbach, Population Council

redpajama_set_name: RedPajamaCommonCrawl


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Words: Martin Aston, Photographer: Meir Gal
Taken from Underground, Issue Two, May 1987
Jarvis Cocker, diplomat, playwright, crooner and NH spex wearer, this is yer page...
Pulp is a soft mush of nerves in the interior of your tooth - probe it and you'll wince, feel a slither of fear, or possibly the worst pain imaginable.
I'd say that Pulp from Sheffield sing about love in much the same way. Then again, when they're in contact with the outside world, Pulp are as close to the humorous - the funny bone to you - at that moment when you don't know whether to laugh or cry at your depressing, painful tangle of affairs. "So just lie back and enjoy it and save your tears for when the kissing stops, oh you know it's got to stop" (Don't You Know).
It goes like this. A human climbing frame stuffed inside a third-hand suit behind NH glasses and perplexed eyes, Jarvis Cocker is the voice and core of Pulp. Through eight years and three difficult incarnations, Pulp have had just the one Peel session (scored while still at school in 1981) and the mini-album, 'It', to show for it. Pulp's fondness for theatrical gestures on stage, songs that veer from Radio Two to Radio Five, past the point of Peel programming, and a disposition that can hardly be contained in the expression strange, has meant Pulp are still marooned.
Not that their songs ever scream 'rescue me'. Instead they rub shoulders with the emotionally crippled while trying to touch and bleed the MOR pop classicism of a Jimmy Webb or maybe even a Burt Bacharach.
Later on, the story got even more confused. There will never be a more perfect example of a band's clash of desire and realisation than Pulp's 'Little Girl (With Blue Eyes)' which signalled their return from the wilderness after It in 1985. This was a new Pulp, with Candida, Russell, Manners and Magnus, and the year's most unloved, unrecognised single - an epic, sparse ballad, haunted by piccato violin, swelled by that chorus: "There's a hole in your heart and one between your legs, you never have to wonder which one he's going to fill despite what he says..." Little Girl is a sign of the way Pulp take notions of love, vulnerability and dependency and then expose it. Beautiful ballads are equally ripped and torn by drones, crescendos and thrashes.
"I like aggressive music, say The Birthday Party, but in any type of music, I don't like to stick in into different categories of how I feel."
Fair enough, Jarvis, but Pulp sound more at home on a stage than in a rock gig.
"Probably, but we're in the rock 'n' roll market so we have to play those places. Do you think we're more refined than that?"
Pulp have strands of Sheffield factories and London bedsits, but mostly Parisienne folk clubs, Frankfurt nightclubs; Jacques Brel, Berthold Brecht...
"I can see that, but I don't like this idea of this 'singer-songwriter' idea. I don't mind having been compared to Webb and Bacharach, but the more wimpy types like Donovan..."
Jarvis looks hurt.
"We can do it the other way, which is like to sledgehammer it into people."
Those people probably have enough problems of their own. All those doomed relationships, all that self-torturing. Pulp can't help but satirise the fatalism, but are they entertainers, spectators or commentators as they interfere with our daydreams?
"I've wondered about this sometimes because I don't want to appear as if I'm looking at the world and moralising and pontificating. I would just hope that we don't contribute to the problem. Most of the music that I listen to is a true reflection of the world because it's crap. Hopefully Pulp can make music as a sound track to the world as I'd like it to be, as perhaps it could be."
Both the last two singles, 'Dogs Are Everywhere' and 'They Suffocate At Night', two bulging ballads, failed to sell. It's going to be hard for Pulp. The new album, Freaks, walks by a fairground, gets followed home, jumps in and out of bed and tries to repair the irrepairable. People hate each other. People love each other. People are their own worst enemies. Guitars are strummed for sadness and violated for desperation. Imagine a Roman Polanski soundtrack to a Phil Spector movie. Collapsing new feelings.
"Sometimes truth is very ugly but if it is true, then it can't help but be beautiful. It's certain realisation. You either get depressed about them or you see a funny side to it. Just to realise what things are." "As the signs outside proclaimed, nature sometimes makes mistakes"
One last question; Jarvis, you said 'It' was "very innocent and naive, trusting love and romance. I suppose I'm a bit more realistic now." But have you been in love since?
"I don't really like to use that word anymore. I don't know what it's supposed to mean."


According to a new study by Health eCareers, a third of healthcare recruiters in the United States rank employee turnover as their top staffing concern in the year 2017. According to 565 healthcare employer respondents in Health eCareers' 2015 Healthcare Recruiting Trends Survey, forty-three percent of respondents say finding qualified talent is the number one obstacle. The fact that the turnover in hospitals has high numbers is not hidden; but the high costs of hiring new talent pool cannot be discounted. This high turnover can have an adverse effect on the hospital leadership. Hence, there is a need for employee background check to ensure that the candidate selected is one of the best from the available pool.
Healthcare industry requires meticulous examination of the educational qualification of the candidate. Hence, we carry out education background check that scrutinizes the training programs, certification courses and internships undertaken. This assists you in selecting the best talent in the healthcare domain.
Before finalizing a candidate, it is important to carry out the database check in the healthcare industry. Hence, we run the database background check that scrutinizes the public and proprietary databases of the candidate to ensure that the interviewed candidate does not have any financial frauds or criminal records under his/her name.
In the healthcare industry, it is important to look out for any past criminal activities of the candidate. Hence, we carry out criminal background check to thoroughly examine of any past convictions including civil or criminal of the candidate. This background check is run at multiple levels.
Before finalizing any candidate, it is important to carry out employment check in any industry; but it is of utmost important in the healthcare industry. Hence, we run employment background check with careful examination of the professional life of the candidate including previous designations, period of employment, reason for leaving etc. This is done to scrutinize whether the claim made in the resume is correct or not.
It is extremely critical to verify the address of the candidate in the healthcare industry. Hence, we carry out address verification check by careful examining the candidate's address including the current and permanent addresses is verified with the help of physical visit. This ensures that the candidate has a clean and incident-free past.
In healthcare industry, it is important to check the identity of the candidate before finalizing him/her. Hence, we carry out identity background check by verifying the identity of the candidate with the help of Government-issued documents verification provided by him/her.
In the healthcare industry, it is important to check the reference of the candidate. Hence, we carry out reference check by adjudging the candidate's skills based on the precise interview conducted with past supervisors enquiring about the roles and responsibilities carried out by the candidate.
In the healthcare industry, candidates selected need to work with people hence, it is of utmost important for them to be in sober state. Hence, we conduct drug test to scrutinize the candidate's blood and urine samples in reputed laboratories to check whether the candidate is free from any substance and abuse history.
It is a must to verify the credentials of the candidate in the healthcare industry before making the final selection. To help you achieve this endeavor, we provide credential background check that assists you in verifying the credentials i.e.; the professional credentials like certificates that authenticate their medical practice. It can be a certificate to work as a medical practitioner, doctor, nurse, physiotherapist or an alternative medicine practitioner.
Want to know more, to check whether we 'fit' in your scheme of things? Give us a call on the numbers given below, email us, or send us a quick message using the form on the right.


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Tag: cultural
Asian American segregation
Asians, the fastest-growing, highest-earning and best-educated race in the U.S., are almost as segregated from the nation's white majority as they were two decades ago, according to a study released today, reports today's Bloomberg News
"Specific Asian ancestries — including two of the largest, Chinese and Indians — are as isolated from the white population as Hispanics, according to the study by two Brown University sociologists. At the same time, Asians generally live in neighborhoods that are comparable — and in some ways "markedly better" — than those of whites, the study said.
"The Asian pattern is separate but equal (or even more than equal), raising questions about the prospect or value of their residential assimilation in the future," wrote John Logan, who co-authored the report.
"The number of Asians in the U.S. surged 43.3 percent during the last decade, about four times faster than white population growth, to more than 17 million. Their ranks have more than doubled since 1990. Median household income has risen 2.3 percent to $70,815 for Asians since 2000 while white Americans have suffered a 1.1 percent drop.
"When viewed as a single race, Asians are less segregated than Hispanics or blacks. When Asians are divided into major ancestries, "they're more segregated than we thought they were," Logan wrote. Cultural values and the fact that a majority of Asians are immigrants are the likeliest reasons for their segregation, he said. While most immigrant groups assimilate over time, Logan said Japanese are the only Asian ancestral group that isn't as segregated as the broader racial category. "There may be no motivation for spatial assimilation of these immigrant groups, that the current residential enclaves fully meet their needs in a way that could become self-reinforcing," the authors wrote.
"The bulk of the nation's Asian population consists of six ancestries with 1 million or more people each: Chinese, Indian, Korean, Japanese, Filipino and Vietnamese. All except Japanese are made up of a majority of immigrants. While Asians are the nation's third-largest minority group, they're concentrated heavily in three states. California accounts for 5.6 million of them, almost one-third of the nation's Asian population. New York has 1.6 million, and Texas claims 1.1 million. Among U.S. metropolitan areas, New York and Los Angeles have the greatest numbers of Asians. New York's Asian population consists primarily of Chinese and Indians; Los Angeles has a larger percentage of Filipinos, Japanese and Koreans. Texas leads the nation in its share of Vietnamese."
More at: http://www.bloomberg.com/news/2013-06-26/asians-in-thriving-enclaves-keep-distance-from-whites.html
Performance and the new cultural democracy
The economic recession has had one weirdly positive effect on the art world: democratization. Increasingly, museums and symphonies find that they can no longer get by on the generosity (or lack thereof) to an elite minority. Large cultural institutions need new audiences to justify their existence and to qualify for public dollars. Venues that once couldn't care less about attendance now anxiously await busloads of kiddies and seniors. "Education" and "outreach" programs have exploded in recent years, with many places literally giving away tickets to boost admissions. Aside from benefitting "social practice" artists who have always occupied the fringes of art world, the is move to larger and more democratic approaches to audience has favored genres that are more friendly to the public.
Enter performance art. In the old days, performance was a marginal affair because it was edgy and conceptual––but also ephemeral. Continue reading "Performance and the new cultural democracy"


This July as part of the European-funded Open Out Arts project , of which Theatre Bristol is a partner member, two Bristol companies, Pangottic Circus Theatre and Search Party, had the opportunity to present shows at Les Tonnerres de Brest, in Brittany, France.
So there's this man… Immo. He's from Germany. He's really funny. He can juggle five ping pong balls in his mouth (into a head wind), memorize a list of twenty words almost instantly, make us think he's smashed an unsuspecting Frenchman's watch into tiny pieces, juggle with fire atop of a six foot unicycle, all whilst being utterly charming, funny, likable, witty, and spontaneous. And he's next to this other man who has built a life-size, remote controlled, fire breathing horse called 'Rusty' – the horse, not the man (he's called Paka). Next to them are Tina and Ken; they can perform death-defying acts of aerial acrobatics, swinging on a trapeze, whilst cracking jokes with smiles on their muscular faces. Oh, and Tina can hula-hoop with what looks like just the fifty hoops. And of course there's this handsome, French speaking American, dressed as a crow, who is seamlessly fired twenty feet in the air out of a cannon during an hour-long, anarchic musical extravaganza.
I'm in Brest, performing Search Party's durational semaphore conversation Save Me at what I'm told is the biggest maritime festival in Europe. We've performed outside the UK on many occasions, we've recently performed this show outside the UK, a task made ever so slightly more complex by the need to translate our words into other languages, but this feels different. As a result of Theatre Bristol's participation in a European project called Open Out Arts, we've been curated within a 'street arts' context – a first for us. We're working with Le Fourneau, one of nine regional centres for street arts in France, and I get the impression that having artists like us is a bit new for them as well.
What do I mean 'artists like us'? Are we so different? And if so how and why? For me, there are clues are in the language. Upon a quick re-read of our contract (written in French) I notice how our work is described. The front page of the contract reads 'Titre du spectacle – SAVE ME'. It's this word 'spectacle' that stands out. In French, I'm told it just means 'show' or 'performance' – the thing that we do that other people watch. But for me it comes loaded with uneasy connotations.
Thinking back to my new friends Immo, Paka, Tina & Ken and the crow – their acts are fundamentally and unashamedly engineered around the spectacular. They most definitely have the 'wow' factor – and I mean that with all sincerity; on several occasions, even on second viewing these shows make me audibly gasp with delight. To my untrained eye I feel like I am watching virtuosic performers, at the peak of their powers, display their skills for me to enjoy.
In these 'spectacles', the thing that I see is the virtuosic. This is where the uneasy relationship between Search Party's work and this festival is manifested. I want to make it abundantly clear that I'm not trying to place any negative value on the virtuosity of these shows, the opposite in fact – but simply identify this key difference in approach, and what the implications of that may be for the presentation of our (and other experimental) work in these contexts. Neither am I trying to present some kind of exclusive, us and them culture, there are many similarities between our approach and that of my new friends, not least a studious attention to detail, a clarity of aesthetic and obvious care for the watcher. Clearly there is an audience for these more traditionally spectacular street performances (I'm gladly one of them), as there is for Search Party's work – but is it the same audience and what happens when we're on the same street?
Search Party's work, Save Me especially, is purposefully approached with a low-key sense of virtuosity. The 'skill' is not the thing that you're watching. In fact we try to down play any sense of virtuosity, a conscious strategy to bridge the gap between performer and spectator, we're not so different from you – and that feels important. Don't get me wrong, I think we're good at what we do, but that skill isn't on display, it doesn't separate us from our audience, separating the 'cans' from the 'cannots'. I can't juggle ping-pong balls from my mouth, I can't dangle precariously from a trapeze, I can't ride a motorized fire-breathing horse and I most definitely cannot fly out of a cannon dressed as a crow. But therein lies the joy in witnessing these feats of excellence. So, extra-daily are these feats that they come with either an implicit or often explicit 'don't try this at home' caveat. Whereas, for us the whole premise of Save Me is structured around a 'do try this at home', in fact try it here, try it now, here's a semaphore alphabet, it only takes a little bit of practice and while you're at it, why don't you write the text for the show as well, here's a little yellow tag and a biro. So it seems as if we're asking for something very different from our audience, and in this context, we seem to be the only ones who are asking for something very different – which feels both exciting and a little tricky.
On our last night in France, as we're saying goodbye, Jeremy – the charming, articulate, experienced stage manager strikes up a conversation with me (in English) questioning some aspects of our performance. He's concerned that the audience don't know what to do, don't know how to behave, and don't know how to watch. It's a rare and welcome conversation (maybe an inherent nervousness of plagiarism in the street arts restricts these conversations), but badly timed – I'm leaving and I could talk about this all night. I want to tell him that that's ok. That's kind of what we want, audiences that don't feel like audiences, audiences that don't 'behave' like audiences, audiences that have to renegotiate their own relationship to this performative offer as a fundamental part of their experience of it. It's a conversation I've not had to have for a long time. When we're within Home Live Art's alternative village fete, or Forest Fringe's compilation of disparate experiences, or experimental festivals like Wunderbar or Mayfest these principles are taken for granted. But, my demi-conversation with Jeremy, and my experience of this festival in general, remind me of those unspoken contracts we make with ourselves about how, why and what, as artists, we choose to make. And any experience that challenges these core principles, shifts them, or brings them back into focus, is for me, extremely valuable.
Now I'm back in England. Immo, Paka, Tina & Ken and the handsome crow are still on the busy street arts summer circuit. And I know the question that Theatre Bristol are going to ask me; does Search Party's work feel appropriate for the street arts sector? Firstly, it's much better for me to say 'yes', I (like any artist/maker) am constantly looking for new opportunities to show my work (it is a 'job' after all). And I think it does. The length of the work engages with the fluctuating and sprawling nature of outdoor audiences, the piece provides an interesting contrast to the high impact, high octane, spectacles also on show, you're asked to engage with the work in a different rhythm, with a different part of yourself. But, being the only diversion from an established and accepted norm, can feel isolating and vulnerable. As is often the case, the conversation is probably the most important thing, the one between us and the festival – the 'this is what we do, is this what you want' conversation. And perhaps, in my limited experience, there appears to be a little bit of an 'off the shelf' culture in the outdoor arts – which I suppose is fine if your work is on the shelf in the first place, but if, like Le Fourneau, you're keen to experiment with different types of performance that takes place outdoors a slightly more bespoke approach is required. We've always found it hard to describe what it is we do, we can do it, it takes a bit of time and a lot of talking and, hopefully, when the work is shown, it's worth it.
And now I'd had time to think about it, I'd love to pick up my conversation with Jeremy. I'd say that actually, I think audiences do know what to do, how to watch and how to behave – they're a pretty resourceful bunch in my experience, as long as you take the time to think about them, to care about them, to make them feel like a crucial part of this thing. We've performed Save Me in eight different cities, from Bristol (UK) to Almaty (Kazakhstan), in English, French and Russian, on seafronts, city streets, bridges and battleships and every time, wherever we are people leave messages, hundreds of messages. It's just a different type of engagement.
Save Me and our other outdoor works like Search Party vs… exist in public space, not in a 'street-art' context, but these works are for the same audience. And, I'm sure that for some of these audiences other types of engagement, perhaps smaller, more intimate, more unconventional offer new and engaging experiences, creating alternative relationships between them, the work and the place that it happens. Perhaps both types of work, our slightly unusual intimate exchanges and more traditional street art spectacles, being placed next to each other in the same street is an exciting prospect for street performers working in live art festivals and vice versa. I look forward to learning more about the street arts sector, and to meeting the festivals and programmers who are interested in re-thinking how they might engage with their audience.


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David Humphreys (13 December 1936 – 2 May 2021) was an Australian cyclist. He competed in the individual road race at the 1964 Summer Olympics.

References

External links

1936 births
2021 deaths
Australian male cyclists
Olympic cyclists of Australia
Cyclists at the 1964 Summer Olympics
Place of birth missing

redpajama_set_name: RedPajamaWikipedia


Are you curious about skin - how it works or what it does? Have you wondered why some people have strong and healthy skin, while other people's skin is easily irritated and prone to rashes?
We, Peter M. Elias, M.D. and Mary L. Williams, M.D., are professors of dermatology and skin scientists who have spent our careers learning how the skin works in our laboratory and treating children and adults with skin disorders in our clinics. Here, we offer up to date and scientifically sound information about skin and how it works everyday – quietly and efficiently - to keep us well, and what is happening in our skin, when it is unwell.
We believe that, just as there is more to owning and operating a car then simply filling the gas tank and turning on the ignition, so, too, if we understand how the skin operates, this knowledge will make us better stewards of its health and beauty.
We provide both in-depth articles based upon the latest scientific understanding and research, as well as answers to some of the most commonly asked questions about skin. Whether you are just a curious person, or a parent with a child suffering from a skin disorder, or a practitioner in the skin-care industry, or a health care provider, we believe you will find here new and surprising information.
This booklet offers up-to-date scientific information on how the skin works to keep us well and what we can do to maintain its health and beauty.
November 12, 2018 By Peter M. Elias, M.D.
November 1, 2018 By Peter M. Elias, M.D.
February 24, 2019 By Peter M. Elias, M.D. & Mary L. Williams, M.D.
January 31, 2019 By Mary L Williams, M.D.


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Oldest Yacht clubs of Europe
Yachting is a sport enjoyed by many people all over the world. Some Clubs were established many years ago, the oldest started in 1720! (Other old clubs have disputed this). This is the Royal Cork Yacht Club which is now situated at Crosshaven, County Cork, Ireland.
Royal Cork Yacht Club
Cork week is a large sailing regatta held every two years in which there are multiple events. The first Cork Week was held in 1976, and it was a great success. The event attracted only about fifty boats. During the 1985 event, it was realized that the races were dominated by expensive modern designed boats of very light construction that had to carry weights on the windward side – not a good idea. To compete with these boats, the competitors had to sail 24 hours a day for four days, taking much of the enjoyment from the races. These boats were not accepted at future events, and new rules were incorporated. The International Standards approved these rules.
Neva Yacht Club
The Neva Yacht Club is based in St Petersberg, and this club contests the Royal Cork Yacht Clubs claim to be the oldest club in the world. The Tsar established it, Peter the Great in 1718 and he was the sole sponsor, but this ceased on his death. The Royal Cork Club disputes this as a club should be run by members on a committee voted in by members, not a club run and financed by an individual.
The Lough Ree Yacht Club
The Lough Ree Yacht Club is found in Ball glass, Coosen, Ireland, and also is a contender for oldest Club but the Royal Cork Yacht Club is the most former seawater-based club, and Lough Ree Club is probably the oldest freshwater club as it is based on a lake.
The Starcross Yacht Club
The Starcross Yacht Club is based in Devon on the Exe estuary. Recorded information goes back to 1775, but the club was used since 1772. Regattas were held regularly, and the club was housed in the Courtney Arms in Starcross. Membership dropped off after the First World War, so the club joined forces with the Chockstone YC of Exmouth. The clubhouse, in 1933, was in a wooden hut with a balcony overlooking the yacht moorings. With the support of the Earl of Devon, the club moved to Powderham Point (its original location) where the Fete Marine started 200 years previously. When the fisherman's cottages became inadequate for the club, a clubhouse was erected in 1960.
The Royal Thames Club
The Royal Thames Yacht Club established itself in 1775 and is the oldest club internationally with an entire membership. (The oldest mentioned had periods of closing). Initially, members met in coffee bars, by 1857 the club owned property in London and moved to the premises at 60 Knightsbridge, in 1923. It has since moved to its present premises.


Predictions and advice about technologies and tactics.
By now, you've read every list imaginable of what to expect this year in public relations, social media, search engine optimization, media relations and so on. But what about your intranet—the medium used by many companies to communicate with employees. Here's what you can expect.
1. SharePoint will continue to dominate. All hail the king, SharePoint!
SharePoint has become the single biggest, most pervasive intranet platform of all time (present in 50–60 percent of all midsize to large organizations). Although SharePoint is still minimally used for department- and team-level document sharing and collaboration, more organizations will use it as the enterprise intranet platform.
SharePoint 2010, due to market in late spring, is vastly improved over the former version, MOSS 2007. Many organizations will upgrade to 2010 and begin to use the new version as the enterprise intranet platform.
What's more, the cost of entry for taking on SharePoint has never been lower as Microsoft SharePoint is "in the cloud" (see point No. 5) with SharePoint Online. SharePoint online already boasts more than a million users, and unlike the previous SharePoint Online, the 2010 version promises to have "near feature parity" (with only small exceptions) to the install version.


I feel this is fairly self-explanatory, but I'm curious why those who are writing, do?
I'll start - I chose to start writing again to help me escape from my world a bit. I also really want to challenge myself more, as I was starting to feel like I was in a rut. I'm trying to break my habit of sounding like I'm documenting everything when I write these days (thank you, work). I'm also trying to prove to myself that, hey, I can finish a story.
And I actually really think I can finish what I'm writing for a change. I have a pretty clear concept, and I'm much more disciplined now than when I was in my teens. I also have a pretty strong group of characters in my head, who are unfortunately a little to strong sometimes and try to take over for me.
I love my damn characters. Literally, that's it. I want them to have happy endings, so I have to write them. What kind of mother would I be if I didn't?
That's awesome! It sounds like you're in a prime mental and creative space to go the distance and finish a whole book. It definitely helps to have a gaggle of characters pushing against your mind to be written.
I write to process my emotions and cope with my personal issues through fictional settings, which nourishes my mind but results in some pretty heavy storylines. There's a catharsis in releasing these characters onto the page that I'm frankly addicted to.
I wrote for a living, but didn't care for the business part or the self-promotion. So I returned to school and got a science degree, which led to fieldwork and starting a business.
But I enjoy writing so much that I can't quit. Posting my work on WattPad gives me the satisfaction of being read (by a select few). Sheer numbers don't matter.
I really love inhabiting characters and doing heaps of research to get their times and places right. I also write poetry, for the music and texture of words and the pleasure of letting them fly free. I love how unpredictable poetry can be.
I think I'm going to remember that going forward, cause really, they deserve it.
I agree with that. I definitely do it to deal with my anxiety some. Except then my therapist has to remind me I'm not in his office to discuss my writing, or work. So, oops?
Also, I feel like getting my characters to do what I want them to is like herding cats. Either I have to open a can of food, or find just the right shiny object to attract them to the end goal. Otherwise they'd loaf around and do screw all.
I started out that way - wanting to write for a living. Ended up starting school as an art major, then came full circle with a history degree (ugh, so many papers) and have a career in social work (legislators LOVE giving us paperwork, which requires lots of documentation and writing). Now, I'm kind of trying to rekindle it.
I'm struggling with the reader thing - because no one is giving me feedback, which is getting frustrating. But, I'm also trying to do this for myself rather than for praise. But, I really like praise and hearing good things about what I'm doing, so its a bit of a struggle. I'm telling myself if I keep posting, they'll come. Eventually, at some point. Mostly, I'm trying to keep myself to a fairly regular update schedule, because I feel like if I do that, eventually people that keep browsing by will see that I'm a regular poster.
Yes, the research is fun. I've learned far more about medicine since I started writing this story than I previously wanted to learn. Reddit, the Mayo Clinic, Web MD, and similar have really become frequent sites for me when I'm trying to get a feel for something.
When I write it is like exposing a part of my imagination to other people, whether it be a big crowd or to one person. I enjoy seeing them smile or think, and maybe even both, and when they ask me questions about what I wrote it just makes me feel good as a whole.
On top of that I get to think up individual characters and make them their own and complex. Like you can talk to them yourself if possible. There is no straight forward answer from me i guess.
That's actually what terrifies me about writing (exposing myself). I also recognize that I am a creature of vanity, and like the praise. So I post what I do to satisfy those needs. I also try really hard not to do it right before bed, so I can sleep. I'm usually not this smart, though.
I'm finding these answers in general are pretty complex. I'm also recognizing some of my own motivations that I hadn't recognized.
Enjoyment, excitement, belief in the idea and that I can do it, therapy.
I can understand that. I actually find my best work coming out right before I go to sleep. But I wouldn't say you aren't as smart because of such a habit? Everyone is different. Ya know. But I am glad you see some of your motivations in what I wrote,makes me feel nice. I don't mean for my answers to come out as complex.
I'm still new to this btw so hopefully I don't tap something and everything disappears.
I write because I want to create a world that is different from the world that I live in now. I want to make an escape for people and have them forget about the real world.
I also want to cause people (readers of my books) to cry while I laugh at their pain.
My motivation for writing is that the story gotta get told!
I am so tempted right now to call you a troll-author for that. Except, then I'd be a hypocrite, so I'm not gonna.
I find writing is my escape, rather than trying to create one for others. I think it'd be more accurate for me to say that I'm trying to share my escape with them.
I like getting people interested in my books. I do have one book that's ending is just one word, and I am sure that people would get mad at me for it. xD It isn't up on watt, yet.
Eh, it's not so much a matter that the writing or motivations themselves are complex. I think I was trying to get at that there's more than one motivation for all of us.
Also, I will write before bed, I find it unwinds me. I also often imagine what my characters are up to before I go to sleep. Or when I'm bored at work. Or when I'm stuck in traffic. Or really, anywhere. I just try not to post before bed, because then I'm worried about what people way say (nothing so far). But, when I first posted my new work, I was up an extra two hours because I wanted to read all the reviews. Didn't need to stay up for that, apparently.
Actually, that sounds pretty awesome, having a one word ending. Although, as a reader I might be going why???
Both in the sense of Tragedy in Comedy, causing either sadness or happiness.
Specially therapy, cause life's pretty wacky.
also often imagine what my characters are up to before I go to sleep. Or when I'm bored at work. Or when I'm stuck in traffic. Or really, anywhere.
Oh my God, same. xD I go like 'huh I wonder what such and such has been doing. Let's look into their world and get motivated to write it again.


It's always exciting discovering new bands. I had the fortune of watching Prima Queen perform a stunning set at my local venue a few months ago and was immediately charmed by their wry lyrics and luscious guitar hooks.
We met at Metropolis Studios in London exactly three years ago, when Kristin (who's American) was on her study abroad term for university. We became friends really fast and started writing songs together. Louise had been trying to form a band for months and hadn't been successful in finding members that were the right fit, but we clicked right away.
We used to play with other people, but we knew we wanted the band to be all women if possible. We were really excited when we met Kitty (bass) and Heledd (drums) last year through mutual friends and being students at Goldsmiths.
We used to be called Grlfriend, but we found out that another band had the same name so we knew we had to change it. It took us ages to come up with different ideas that we both liked, but we knew we wanted the name to be feminine in some way.
We loved the word Queen because it represents female leadership and power, and we thought the word Prima sounded cool with it, because it also has feminine connotations because of 'Prima Donna' and 'Prima' means female cousin in Spanish.
I recently saw you play a great show at The Finsbury in London. What's been your favourite live experience to date?
We had a lot of fun at our first headline gig at The Control Room last month – it was really busy and everyone was dancing and singing along which made it really fun.
You've released some lush live videos. Are you releasing new music this year?
Yes! We have five singles we are hoping to release this year. Two of the tracks are the studio versions of Mexico and M4, so the videos were a little sneak peak of what's to come.
Which artists or bands inspire you?
We really love Alvvays, Bill Withers, Phoebe Bridgers, Prince, Lucy Dacus, Hiatus Kiayote, Haim, Rilo Kiley, Diana Ross and Soccer Mommy.
If you could recommend one album for our readers to check out, what would it be?
Don't Let The Kids Win by Julia Jacklin.


Set on St. John's Great Cruz Bay with a private 1,200-foot-long white sand beach and surrounded by the lush green hills of the emerald isle, lies The Westin Resort, St. John.
Just minutes from the pristine Virgin Islands National Park which encompasses over two-thirds of the island, the resort is grand in terms of seclusion and abundant activity.
This was our sixth trip to St. John and the fifth to the Westin, where we have a timeshare at Bay Vista. Obviously, we love the place or we wouldn't have bought a timeshare. The beaches are some of the most beautiful in the world, the restaurants are fantastic, and the employees at the Westin are knowledgeable, accommodating, and friendly. Karen Powell, one of the concierges, is top-notch. We always look forward to chatting with her, and now consider her a personal friend. St. John and the Westin: What's not to love?
We visited in August and the Island and hotel were absolutely wonderful!!


"Without a doubt, Mele deserves to be widely known."
As a gift, from me, you can download two tracks from my first cd, "DREAM". Two of the most distinctive and unique songs: "Evangeline Lilly, la sirène" and "Treno per la luna". The tracks are mixed together in a high quality mp3. To download simply click the button below. Enjoy!
What People say about "DREAM"
It manages to amply demonstrate the acoustic guitar's power as a stand-alone instrument [...] the playing is phenomenal, but the intensity with which it is delivered is what makes DREAM so special.
"Listening to Andrea Mele's CD release of solo guitar music really kept me on my toes in anticipation of what pleasant surprises might follow from piece to piece. Andrea is a newcomer in the fingerstyle or modern acoustic guitar scene at least to me. By now, if you follow acoustic guitar music, you may have seen some of Mele's YouTube videos of these songs. I discovered him via this video website which is a place of so many immensely talented players but also a place where imitation of icons of the tapping scene - just to mention Andy McKee or Don Ross - really bothers me. My problem is that these new techniques are interesting and fascinating but often result in a lack of melody and emotion. This is not the case with Andrea's music. The first track "Jentu" is a mix of rhythmic tapping and strumming woven around his beautiful voice with no lyrics. This reminds me of Pat Metheney Group's vocal latin jazz songs – very intense and dynamic. This one is followed by "Rose" which is a romantic love song – a ballad which serves as a contrast to the first one. Even now it gets clear that Mele masterfully incorporates every possible technique in the fingerstyle arsenal. "Dancing with my 6strings" comes in a bossa nova or samba style which keeps my fingers snapping. The whole album sounds very rich in variety which is always a good thing of course. "Treno per la luna" really sounds like the train that sets out for the moon. My personal favorite is "Evangeline Lilly, la Sirène" which is dedicated to the Canadian actress Evangeline Lilly (The Hobbit) which serves as a kind of love song for her and incorporates some celtic elements. This piece sounds like played in an alternate tuning with a very deep and rich bass. The CD ends with the painfully beautiful "Drawing the Sky," an elegiac cry of sorrow tinged with glimpses of hope.
Easily one of the best fingerstyle records I have heard recently. By the way it is recorded beautiful with just enough reverb from time to time that does not distract the listener."
"Babbo Natale è passato da me già qualche tempo fa con questo cd ma ho volutamente atteso di avere il tempo giusto per ascoltarlo con la dovuta attenzione e tranquillità e oggi è finalmente arrivato il momento. E, ancora sull'onda dell'emozione post ascolto scrivo a braccio le mie sensazioni. Sin dalle prime note si è investiti da una bellezza di suono davvero rara e, nota dopo nota, il discorso musicale si fa coinvolgente, trascinante e avvolgente, mai banale, anzi capace di tenere vivo l'interesse senza stancare mai. Andrea Mele è capace di prenderti per mano e accompagnarti in un viaggio musicale dove il tempo è sospeso, entri nella musica e basta. Sono felice di avere con me questo prezioso cd e le parole che Andrea mi ha dedicato sono un valore aggiunto a un lavoro di alta classe. Grande Andrea!"
"Mi sono ascoltato il cd di Andrea Mele con la calma che si merita.
Non sono un chitarrista, ma autorevoli amici chitarristi prima di me hanno già recensito questo cd, io da semplice fruitore di musica non posso che confermare le loro più che positive impressioni.
Sinteticamente mi verrebbe da dire che è un viaggio musicale ricco di suggestioni sonore diverse ed originali in cui viene esaltata la chitarra come strumento dalle grandi capacità espressive.
Sicuramente da suggerire a tutti gli amanti della chitarra acustica."
"Einige Platten dürfen bei dem Musikerlebnis eines Menschen nicht fehlen.
Weil es nicht nur mit "deinem" Erlebnis zu tun hat, sondern es zur süßen Pflicht wird, darüber zu reden und es zu teilen. Wenn es einem Künstler wie Andrea Mele gelingt, die Zusammenfügung vom "Tun" und "Lieben" zu vermitteln, dann ist alles in Butter.
Es handelt sich dabei nicht nur um eine Platte von einer akustischen Gitarre; Es handelt sich um einen Mensch, der von sich selbst erzählt und sich bemüht, es im Rahmen seiner Möglichkeiten so gut er nur kann zu machen, in vielen Sprachen und an vielen Orten.
Genau, man reist von der ersten Sekunde an bis zur allerletzten und benötigt nie zu rasten.
Meiner Meinung nach ist diese Platte unabdingbar im Rahmen ihrer Musikgattung.
Es ist unmöglich, nur ein Stück ins Herz zu schließen, es geht einfach nicht.
Ich habe mich vor weniger als einem Jahr dem Instrument wieder angeschlossen, das ich abgelegt hatte, mit dem ich verstritten hatte, und es nur dank ihrer Worte und Musik.
Meine Freunde Musikanten und Musiker, falls ihr noch nicht wisst, was ihr euch zu Weihnachten schenken sollt, kontaktiert Andrea und lasst euch dieses Ticket schicken, ein "Ticket für eine Reise, die jedesmal neu ist".
Ich sichere es euch zu 100% zu."
"Andrea is first of all a friend; just to make clear that this can not be an objective review. On the other hand, can a review ever be objective? We met with Andrea on Facebook in 2015. As soon as I got to listen to some videos from his YouTube channel, I immediately said to myself: "how many albums has this guy recorded?". But, when asked, his answer was "I'm actually working on my first album". From which I understood I was dealing with a perfectionist, an attitude that I do envy in other people, being myself at the antipodes. As a matter of fact, months passed and then years and the album was still missing. I have often poked Andrea during these years, making fun of him for his "constipation", because of such a long delay releasing the album. About an year ago we finally met in person at an exhibition (Cremona Mondomusica), and we had a change to exchange thoughts and impressions. It is also thanks to him if I came back home from there with a Chatelier guitar. But, once again, no trace of the album yet. Finally, after a year of various adventures, setbacks, and the time to prepare some promo videos, the CD arrived up here in Finland where I'm still x-raying it to catch all possible nuances. And being Andrea, as I said, a perfectionist, the deeper I dig, the more I find. When we listen to a new record, we always try to compare it to other people's works, as milestones. From what I can read in the credits of the CD, I guessed right many of the influences that came to my mind: the soundscapes of Ralph Towner (and, as it happens, also Andrea plays nylon guitar and 12 string guitar), Joe Satriani's melodic and polyphonic tapping, and the unavoidable Michael Hedges, cited in some short but fundamental passages. One thing that could go unnoticed in this album is the very high technical content of most of the compositions. There is so much technique, but of that kind that remains inside the notes, that builds up music by remaining behind the scenes, never showing off, just like Andrea. Also the search for different tones is remarkable, going from his loyal 6-string Colombo acoustic, to a baritone guitar, from a 12-string Seagull (actually 11, having Andrea got rid of the high G string) to a classical guitar. In certain passages of the album, it does not even seem you're listening to a guitar, like when he draws African sounds echoing the kora of Ballakè Sissoko. Another similarity suggested by the listening - despite not being mentioned by him among his influences - is Egberto Gismonti (who has collaborated a lot with Towner), and more generally Brazilian music and rhythms. The recurrent use of the voice is also beautiful and original, a primordial singing without words that accompanies the guitar, instead of being accompanied by it. Finally, a note on women, both real and dreamed, that inspire sweetness, admiration, tenderness, nostalgia, but also revenge. There is a lot of life, both lived and imagined, that exudes among the notes of the whole album. Andrea asked me to tell which is my favorite tune on the album. I'm not strong in making rankings, I gladly leave it to others, especially in front of such a varied album, 40 minutes that flow easily, all in one breath. A pleasantly eclectic album: in none of the pieces I find a unique style, those elements that make some authors immediately recognizable at the first bar. On the other hand, there are recurring influences and techniques, the same basic ingredients but differently measured, which every time leads to surprisingly different outcomes. No Andrea, I cannot choose my favorite song, but I thank you for having finally given us this collection of beautiful music: it is really worth all the time I waited for it."
"Mi trovo a parlare, indegnamente, del lavoro dell'amico (spero rimarrà tale anche dopo questo post) Andrea Mele. Andrea mi ha consegnato il suo CD a Mondo Musica, la fiera della liuteria a Cremona. Abbiamo parlato a lungo e mi ha trasmesso tutta la passione con cui ha realizzato questo album. Confezione e grafica sono di altissimo livello, una cura quasi mai incontrata in dischi di chitarra solista. Le immagini sono suggestive ed evocative. Ottima la scrittura dei brani. Andrea ha interpretato in modo fresco, personale, mai banale diversi stili dell'universo musicale. Il CD scorre piacevolmente, iniziando dalle coinvolgenti atmosfere delle ventose giornate salentine di "Jentu", per passare alla romantica ballata di "Rose", continuando con "Dancing with my 6 strings" fresca Samba che richiama le atmosfere di Concato. Si prosegue poi con la romantica ed intimista "Evangeline Lilly le Sirene" (tra l'altro il video pubblicato da Candyrat è "fichissimo"), alla quale fa seguito la coinvolgente ed emozionale "Treno per la Luna". "Hasta el fin del Dia" richiama in modo originale piacevolissime atmosfere spagnoleggianti. Si continua con la fresca e allegra ballata "Patchouli". Si avvicina ormai la fine di questo capolavoro di chitarra acustica solista con il coinvolgente brano "Elena". "Kalimba" rappresenta l'esempio ideale dove un semplice tema avente le sonorità tipiche di questo strumento africano, evolvono in appassionanti ritmiche chitarristiche. La degna conclusione del lavoro di Andrea si ha con il decimo brano "Drawing the Sky"brano che accompagna l'ascoltatore a rilassanti atmosfere da sognatore. Concludo dicendo che i brani sono perfettamente registrati e mostrano la cura maniacale del suono che ho potuto osservare direttamente Andrea cerca in ogni circostanza, anche live"
"Spero di aver trascritto nella maniera giusta il titolo di questo tuo album, Andrea. E mi fa un piacere pazzesco sentire quanto sei cresciuto musicalmente da quando ti conosciamo. Il tuo gusto si è affinato, sai che riesci a sorprendermi? Non che non avessi fiducia nelle tue qualità, ma la musica che riesci a mettere sulla tua chitarra io la sento come il frutto di una maturazione lunga, complicata, interrotta, ripresa a fatica e poi… il risultato è lì, sotto gli occhi (o meglio le orecchie). Risentire "Treno per la Luna" su cd e ripensare al tuo concerto a Omegna quando al momento giusto, con l'intonazione e la durata giuste, una locomotiva ti ha salutato… di solito non mi capita, ma l'emozione è stata la stessa. Sentire le folate di "Jentu" e lasciarmi andare alle tue note. Le tue storie d'amore sempre a mezzo tra la terra e il cielo dalle quali si precipita quando il pezzo finisce. Ancora qualche passo verso la "tua" musica, nessuna paura di allontanarsi da strade battute. Come diceva il Barone Frakenstein: SI - PUO' - FARE! La creaturina è bella, ben registrata, ben impaginata (hai fatto bene ad aspettare un po' più di tempo, la grafica è notevole). E non stare a ringraziare tutta quella gente sull'ultima pagina del booklet: sono loro a doverti ringraziare per le emozioni che regali e regalerai."
"I'm putting in a word for this debut acoustic guitar album by Andrea Mele called 'Dream', which I've been listening to for a couple of months now. It has passion, heart, delicacy, virtuoso playing and, most of all, beautiful and thrilling music. I mean, 'Treno per la Luna' is, frankly, amazing. And 'Elena' has me weeping into my bowl of Chocolate Cheerios. 🙂 The album and musicianship sits easily among the top acoustic guitar offerings available right now. You can read 'proper' reviews on his website. I have the CD, which has excellent production and brings out all the finesse and detail of Andrea's playing. It comes very nicely packaged with an informative booklet. The album is also on Spotify and all the other streaming platforms. Go to Andrea's website (below) for videos, free downloads, track samples, and ordering details. (Odile, dis-leur comment tu as apprécié ce CD!) Enjoy!"
"Le ore più centrali della notte, l' attenzione che non sarà difficile da trovare e mantenere, un volume che riempia la stanza: 3 condizioni per capire, ed apprezzare, DREAM del chitarrista Andrea Mele. In un' epoca in cui sempre più spesso il virtuosismo tecnico che la chitarra acustica ha raggiunto non riesce a produrre un virtuosismo emotivo di pari livello, DREAM va per la sua strada, anteponendo, al tutto, la visione musicale. Visione musicale fatta di tempi incalzanti e pacifici; di ritmi impetuosi e cadenzati; di voci; di melodie che rimangono: si viene sballottolati continuamente da una parte e dall' altra, senza aver tempo di soffermarsi su quel che è appena accaduto, su dove Andrea ci ha portato, su ciò che Andrea ci ha mostrato: le emozioni nascono e si modificano velocemente, e difficilmente svaniscono. DREAM è in grado di dimostrare anche ai più lontani dal genere quanto una chitarra acustica, se sincero mezzo di espressione di un musicista, possa essere potente."