Today's wedding blog post is an honor to write. Shyla and Leon's wedding mark the first time I ever did bridal makeup (nearly two years ago)! With a wedding party so diverse, I received a crash course in makeup application for every skin tone and skin type as I made up Shyla and her bridesmaids – and the stakes were high! I was blessed to have Shyla's confidence and trust on such an important day. From these photos you will see, it was one spectacular wedding! Makeup and vendor details are at the bottom of the page.


There is no word yet on who will play the protagonist of the film, the 4-year-old Kun, who lashes out when his parents bring home his new baby sister. Likely it will be an unknown child voice actor, who will have to shoulder a heavy, somewhat complex role as a bratty little boy who finds himself on a wild adventure through time after he meets the future version of his younger sister, Mirai.
The best anime film this year (and a likely candidate for the fifth slot in the 2019 best animated feature Oscar) makes its highly anticipated U.S. theatrical release in New York and Los Angeles on November 30, 2018, which is the qualifying run it needs for the Oscars.
If you get the chance, please see this movie — it's a transporting treat of a film that melds family drama with magical realism, and wields its empathy on its sleeves. Luckily for those not in LA or New York, GKIDS and Fathom Events will also partner to bring Mirai nationwide for special event screenings later this year on November 29, December 5 and December 8, 2018.


The National Disability Insurance Scheme (NDIS) is a new way of delivering support.
It gives people with disability choice and control.
TAD is an NDIS-registered service provider.
The NDIS is rolling out across Australia.
To buy equipment through the NDIS, you need to make sure a budget for this equipment is included in your plan.
Your NDIS plan must have a budget for 'capital supports' to pay for the equipment.
how the equipment will help you take part in your community.
Make a list of the equipment and assistive technology you use now.
Make a list of the equipment you need but don't have.
Write down how much it costs to have, keep and look after your equipment.
what it will help you do.
Talk to your NDIS Planner to make sure your NDIS plan has a budget for 'capital supports'.
Ask your therapist to write a letter to help you get funding for equipment you need.
TAD will give you a quote and a supporting letter to send to the NDIS.
Under the NDIS, a Freedom Wheels bike is seen as Assistive Equipment for Recreation.
Your child's goal might be 'to ride a bike'.
The NDIS might not fund this goal.
being included in the community.
taking part in school or community sports events.
ask you to pay part of the cost of a Freedom Wheels Bike.
Assisted Technology A device that allows you to do something you would find hard to do without help.
Capital Supports Part of your NDIS budget set aside for buying equipment or making changes to your home or work.
Assistive Equipment for Recreation Equipment to help you take part in sports or recreation.
NDIS Participant The person whose plan you are developing with the NDIS.
NDIS Provider A service or business who can provide support, services or equipment to help a participant achieve their NDIS goals.
Local Area Coordinator or LAC An NDIS employee who will help you set your goals in your NDIS plan.
The NDIS is a new way of delivering support to give more choice and control to people accessing services. TAD is an NDIS-registered service provider.
The NDIS is continuing to roll out throughout Australia. Go to https://www.ndis.gov.au/about-us/our-sites, to find out when the NDIS will be available in your area.
To purchase equipment through the NDIS, you will need to make sure a budget for this equipment is included in your NDIS plan. Your plan will be broken up into several broad areas, you need to make sure you have a budget for "capital supports" for the NDIS to fund equipment.
When you speak to your NDIS Planner, you need to tell them what equipment you need, as well as how the equipment will help you to participate in your community.
Call us on 1300 663 243 to discuss your options.
Make a list of all your current equipment and assistive technology.
Write down how much it costs to maintain and service this equipment.
Write down why your equipment is important and what your equipment will help you to achieve.
Talk to your NDIS Planner about your equipment needs and costs, to ensure that you have a budget in your plan for "capital supports".
Talk to your current therapist and ask them to write a letter to support your request for funding for equipment.
TAD will provide you with a quote and supporting letter to send to the NDIS when requesting funding for equipment.
In relation to recreational support, it is important that the support relates to one or more participatory goals. For example, developing greater social networks or greater inclusion in the community.
If your goal is for your child to "ride a bike", the NDIS may not fund this because it does not relate to increased participation in the community or in social activities. Your goals need to include the activities your child will be able to access if they have a bike, for instance, riding with friends and family in the park, or participating in school or community sports events.
An example of a goal might be: The goal for my child is to develop greater social networks and have greater inclusion in the community, through participating in activities such as cycling with friends and family. To achieve this goal my child needs a Freedom Wheels bike.
If a participant requires modifications to the usual equipment required to participate in their chosen recreational activity, the NDIS may fund the reasonable and necessary costs associated with equipment (over and above the usual cost for the equipment) or the cost of modifying the equipment.
This means the NDIS may ask parents to contribute to the cost of a Freedom Wheels bike.
Assistive Technology: any device that allows you to do something you would find difficult or would not be able to do on your own without help. This could be a special chair, a computer program, a Freedom Wheels bike, a wheelchair; basically, any piece of equipment that assist you to achieve your goals.
Capital Supports: a section of your NDIS budget that is set aside for buying equipment, or making modifications to a home or workplace.
Assistive Equipment for Recreation: this includes equipment to assist you to participate in sports and recreational activities.
NDIS Participant: the person whose plan you are developing with the NDIS.
NDIS Provider: a service or business who can provide support, services or equipment to help a participant achieve their goals.
LAC: Local Area Coordinator, a person who can help you find supports and services to help a participant achieve their goals.
Planner: an NDIS employee who will help you to set your goals in your NDIS plan.


text:
Rebecca Eaton Quotes
I depend a lot on my own judgment, for better or worse.
Rebecca Eaton
Judgment, My Own, Depends
I love mysteries on television – the more psychologically complex the better.
Television, Mystery, Complexes
"Rebecca Eaton Talks 'Mystery' and the Return of Dorothy Sayers' Lord Peter Wimsey". Interview with Aljean Harmetz, www.indiewire.com. May 5, 2013.
Theres just a big group of actors in London. There are new ones coming in all the time, who are looking for work, and established actors who are interested in working and like to work. To be a working actor in England is a life.
Groups, Actors, London
"Executive Producer Rebecca Eaton Talks PBS' MASTERPIECE, SHERLOCK, DOWNTON ABBEY, ENDEAVOR, and More". Interview with Christina Radish, collider.com. April 30, 2012.
There's a new television generation coming in every five or 10 years, and the classic stories stand up to being redone.
Years, Generations, Stories
Source: collider.com
My primary job is to choose the programs, either to co-produce them, or acquire them after they're finished. So, I read a lot of scripts, I meet with producers and I read a lot of books.
Jobs, Book, Scripts
Sometimes, the actors are thrilled to have visitors because they're just waiting most of the day. It's the directors that are a little busy.
Waiting, Actors, Littles
If you spend any time on the shooting of a drama, for television or movies, it's very slow and there's a lot of standing around.
Drama, Television, Shooting
Anybody who pitches a story or an idea for a film to an executive, whatever the latest hit is, is what you're comparing it to.
Ideas, Stories, Film
People love solving puzzles, and you always love it when somebody smarter than you is solving puzzles.
People, Puzzles, Smarter
I've discovered that people don't actually want to have things spoiled, and they really try to avoid spoilers.
People, Trying, Want
To be a working actor in England is a life. I think it's harder in this country. Either you are a superstar or a starving actor.
Country, Thinking, Actors
There's always a crisis somewhere, and you get the satisfaction of solving the problem. And then, there's always the mystery of whether a program will work or not, and waiting for the reviews or seeing what the audience figures are.
Waiting, Satisfaction, Mystery
I think the part I enjoy most is reading the scripts and screening films because I'm a bookworm and a movie buff.
Reading, Thinking, Scripts
When complicated characters aren't well drawn, they're boring.
Character, Complicated, Boring
Lesley Nicol
Rob James-Collier
Colin Callender
Steven Moffat Television writer
Lesley Nicol Film actress
Julian Fellowes Actor
Rob James-Collier Actor
Mark Gatiss Actor
Colin Callender Television producer
Russell Baker Writer
Born: November 7, 1947
Occupation: Television producer

redpajama_set_name: RedPajamaCommonCrawl


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Scoutparts.com is a Scout/Light Line Authorized Dealer.
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text:
Supporting Latine Children's Informal Engineering Learning and Spatial Thinking Through Tinkering and Storytelling
Diana AcostaFollow
In the United States, the Latine community is the fastest growing minority group. Projections estimate that by the year 2060, they will represent 28% of the total population. Yet, Latines continue to be underrepresented and underserved in STEM fields and careers. Providing equitable informal STEM learning opportunities to young children may be a way to increase access and interest in STEM, to address the broader goal of increasing representation. Importantly, for these learning experiences to be truly equitable they must be meaningful and engage everyday cultural practices. Guided by a strengths-based approach, the current study examines how oral stories as a cultural resource can be harnessed to support Latine children's engagement in a tinkering activity. The project explores whether and how setting an at-home tinkering activity within a story context engenders rich parent-child conversations that provide engineering and spatial learning opportunities for young children.A total of 52 Latine families were randomly assigned to either hear a story as a frame for a hands-on tinkering activity, or to engage in the same tinkering activity without the story. After families finished tinkering, a researcher elicited the children's reflections about their tinkering experience. Approximately two weeks after the activity, children were asked to share their tinkering reflections with a second researcher. Parents and children in the story condition talked more about engineering during tinkering, and these children also talked more about engineering during both reflections than children in the no-story condition. The story context also supported parents' spatial language during tinkering and children's spatial language in their reflections immediately after tinkering. These findings suggest that integrating stories into tinkering activities is a promising future direction for the creation of more equitable informal engineering and spatial learning opportunities for Latine children and families.
Acosta, Diana, "Supporting Latine Children's Informal Engineering Learning and Spatial Thinking Through Tinkering and Storytelling" (2022). Dissertations. 3911.
Copyright © 2022 Diana Acosta
Available for download on Wednesday, July 26, 2023
Developmental Psychology Commons


VSCO Cam™ (Free) by Visual Supply Company is the new version of the original VSCO CAM that launched a year ago. If you're a fan of photography apps for your iPhone, then this is another option to add to your growing collection.
I had the original VSCO CAM, and even though I did not use it as much as I should have (I was a primary user of Camera+ at the time), I did like the simplicity of the app, and saw its appeal to many. Point, snap, filter and process, and boom, you're done. It was never complicated, and delivered high quality results.
I was a bit disappointed to see that the original VSCO CAM is no longer in the App Store, and has been replaced with this new version (it's not an update). However, it's free, so if you haven't tried VSCO Cam before, then now is the perfect time to hop on and try it out. If you are familiar with the original VSCO CAM, then you will be happy to know that most of what you loved has been transferred into this shiny new version.
On launch, you will be greeted with a flat interface, which will most likely feel right at home with the rumored flat design of iOS 7. The first thing you will see is the capture screen, which features the viewfinder in the center (not square format for the anti-square people). You will have buttons for switching to the front-facing camera, as well as other options hidden under the gear button, which I thought was for various app settings, but that is not the case. Tapping on the gear button will reveal five different buttons: Flash, Grid, Big Button Capture, Low Light Boost, and White Balance Lock. Photographers can also set separate focus and exposure points by using two fingers on the screen, and then dragging them around to your desired points. To enable the single focus and exposure, double-tap the screen. If you enable the Big Button Capture, the separate focus controls are disabled since you capture the image by tapping anywhere on the screen. VSCO Cam provides plenty of options in a sleek package.
When an image is captured, you will see it being processed in the bottom corner, which it will then show up as a thumbnail in. This is what you tap to access your VSCO Cam Image Gallery, where photos are stored in before you individually select which ones to save to your iPhone Camera Roll. You can also import existing images on your device by tapping on the large + button at the top, and then selecting what you want to import in a batch.
If you pull the screen down a bit in the Gallery view, you have two buttons at the top. You can change the size of the thumbnail grid (small, medium, or large), and also filter the photos that you see at a time (all, flagged, or edited). You can tap on multiple images to flag, share or save to the Camera Roll, or delete. If you tap on an individual photo, you will have the option of editing it in VSCO Cam.
The Editing screen is pretty similar to what was in the original app. You will find a handful of filter presets in a strip along the bottom, complete with small thumbnails of how the image will look with it applied. Tap on one to view it on the actual image, and then tap on it again to bring up the intensity slider, where you can change the strength from zero to 12. When you're happy with how it looks, tap on the ✓ to apply it.
If you tap on the thin bar at the bottom with an arrow pointing downwards, you will bring up the other editing tools. The editing tools that VSCO Cam brings are sliders for Exposure, Temperature, and Contrast, with the additional options of Rotate and Crop. If you end up not liking your changes, just tap on the undo button to go back one step, or the other button to start completely over from the beginning.
Once you are satisfied with your results, you can save the edited photo to your Camera Roll, or share it across your choice of social networks, including: Instagram, Facebook, Twitter, or Weibo. There is also the good old-fashioned method of email.
Final results will be saved in full-resolution, though be aware that this is limited to the final resolution output of your device, so mileage will vary. If you take photos exclusively with your iPhone, then this may not be a problem, but if you are editing images that you import from your standalone digital camera, then this may be a letdown. You've been warned.
But the fun with VSCO Cam doesn't end there. A social network is built around it, which is called the VSCO Grid. If you tap on the "hamburger" button in the bottom left corner of the gallery view, you reveal an entire side panel menu of options.
You can create an account and share photos with the community once your profile is set up, and you can also find inspiration through the grids of others in the Discover tab. Users can also change some preferences in the Settings view, or browse the Store for more preset packs.
While VSCO Cam is an initial free download, it will only come with a handful of presets for iPhoneographers to apply to their photographs. However, there are a total of 16 different preset packs in the Store, ranging from Portraits to Analog Classics to Black & White to various moods, and much more. Each pack contains several different effects, and will cost $0.99 a pop. There's a deal going on right now, though, where you can get all 16 packs for a mere $5.99 ($16 value) for a limited time. I have actually bought this just now, and look forward to experimenting with it over the weekend.
Even though I love the simplicity that is found in Analog Camera, I am a bit sad that it only has eight filters, which all look a bit too similar to each other. I am going to be using VSCO Cam for a while now, as I just love the interface, simplicity, and plenty of amazing effects and filters.
The only negatives to VSCO Cam are the fact that it does not save the original resolution of imported images from other sources, and it currently has some bugs with the iPhone 4. The bugs that are being reported are missing editing tools and a fade on the image when exporting via email or saving to the Camera Roll. Hopefully these issues are resolved quickly by the developers.
If you are looking for a simple, yet powerful, camera app for your iPhone, then look no further than VSCO Cam. Get it in the App Store for free, with in-app purchases for more preset packs.


Ivy House B&B - Ideally situated B&B for ferry traffic in Stranraer , Dumfries and Galloway.
Wilma and John McMillan will make you feel very welcome in this centre of town Victorian house. We are ideally situated for the weary traveller or visitor offering a hearty breakfast and a comfy bed. We are located only a few hundred yards from the main Irish ferry port and train station.
We are a fairly small family run house and take heart from the satisfaction we have given to our Guests and try to make them feel as much at home as possible.
Close by we have a varied selection of restaurants and pubs for those who enjoy dining out.


We're located downtown 1 block away from the family law court. Parking can be a challenge so please plan accordingly.
Our Family Law attorneys are experienced family law courts in your area. There is no substitute for local experience and knowledge of local legal strategies. We are present and defending cases in your area every day of the week.
Our fees are affordable and the most affordable on the market. In addition, our attorneys work hard to resolve your matter efficiently, in a way that ultimately saves you money in a timely manner..
Our family attorneys fight hard to get our clients the results they need. We tailor our representation to seek great results that make sense for our clients under their particular circumstances.
All of our Attorneys love practicing family law and care deeply about their clients. This reflects in everything they do. In family law, having an attorney who cares enough to work hard and fight for you, makes all the difference.
Our attorneys make themselves accessible to their clients. Our phones are answered by a live person from 8:00AM to 5:00PM PST, Monday through Friday. Feel free to give us a call at any time for a Free Case Evaluation or questions at (800) 968-5313.
Our attorneys are skilled family law practitioners. We practice family law exclusively in your areas.
Few circumstances are as stressful as a Divorce. For some people divorce can be as stressful as losing a family member. We are here to help you. We have been helping our clients successfully navigate the divorce process for years. If you are facing a divorce in the Sacramento area, you will want our help. Our team of Sacramento Divorce Attorneys are experienced at understanding our clients' circumstances, perfecting winning strategy for their case, and then going to work to achieve your goals for you case. We know how to win. Call us for a Free Consultation. Our Team of Divorce Lawyers stand ready to assist you in your time of need.
Among all the issues our family law attorneys handle, nothing is more important than securing child custody for our clients. Our Sacramento Child Custody Attorneys excel at winning custody cases in Sacramento Family Court. Let us put our experience to work for you. We are highly skilled yet we are affordable. Whether you are dealing with custody for the first time, or you need to modify an existing custody arrangement, we can help. In addition, our attorneys are experienced at achieving our clients' goals relating to child support. Let us help you demonstrate to the family court that it is in your child's best interest to stay with you.
If you are dealing with a child custody case you likely have a child support matter as well. Do not assume that the courts will provide you with a fair order of child support. It is imperative that you have an experienced Child Support attorney on your side, fighting for your rights. There are many factors that contribute to the Child Support equation. You need a Child Support Attorney who understands this equation and how to make it beneficial to you. We have a proven track record of securing great child support results for our clients. If you are dealing with the Sacramento department of Child Support Services, do not go at it alone. We can help. Call us today.


Beethoven's Choral Symphony Bayreuth 1951 Season. Early made in UK on HMV ALP 1286-87 Red & Gold Semi-Circle Original Mono Label, heavy and flat pressing, issued on 2 records set in individual covers. Recorded during the re-inaugurantion of Bayreuth Festivals in 1951.


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Frequencies From Planet Ten – album stonermetalowego zespołu Orange Goblin wydany w 1997 roku.

Pierwszy studyjny album zespołu stanowiący połączenie motorowego bluesa i metalowych riffów. Inspirowany muzyką takich zespołów jak: Rush, Led Zeppelin i Black Sabbath

Charakterystyka albumu

Już na pierwszym albumie zespołu słychać tak charakterystyczne brzmienie, melodykę' riffy i zmiany tempa. Co najmniej jedna gitara używa w każdym z utworów efektów typu wah-wah, Flanger i pogłosów. W przeciwieństwie do pozostałych albumów, perkusyjne talerze są bardzo wyraźne i wysunięte na pierwszy plan.

The Astral Project -
Początek utworu stanowi dźwięk poddany mutacji poprzez zmiany jego częstotliwości. Dźwięk ten, prawdopodobnie stworzony został przy użyciu organów Hammonda, powtarza się jeszcze w ciągu trwania piosenki. The Astral Project to stoner rock z klasycznym dla Orange Goblin riffem. Wokalista śpiewa w różnym stylu, spokojnie i melodyjnie, lub rytmicznie, prawie krzycząc. Gitarzysta używa efektu typu Flanger. Ścieżka wokalu i gitary przetworzona jest efektem pogłosu. W utworze wykorzystano Organy Hammonda do grania harmonii i pasaży.

Magic Carpet -
Wstęp na gitarze basowej grany jest z użyciem wah-wah. Następnie wchodzą dwie gitary, w tym jedna z kaczką. Utwór po takim wstępie zmienia się w bardzo charakterystyczny stoner metal.

Saruman's Wish -
Bardzo spokojny początek grany na dwóch gitarach, ulega stopniowemu wzmocnieniu, aż do stonerrockowego riffu. Riff to klasyczny motorowy blues. Pod koniec utwór zmienia nastrój na bardziej psychodeliczny. Fragment jedynie z wokalem i gitarą przechodzi w Rock 'N' Roll z improwizującym fortepianem.

Song of the Purple Mushroom Fish
Gitara z efektem typu kaczka i dźwięki przypominające odgłosy podwodne to jedyne czego użyto do tego interesującego instrumentalnego utworu.

Aquatic Fanatic -
Spokojny początek z samplami (okrzykami mew) i talerzami przechodzi w stoner metal. Potem następuje powrót do tematu początkowego i ponowne wzmocnienie stoner metalowym riffem.

Lothlorian -
Instrumentalny, melancholijny utwór na gitarę akustyczną. W tle harmonie na Syntezatorze - smyczki.

Land of Secret Dreams -
Wstęp na perkusyjnych talerzach, gitarze z pogłosami i psychodelicznym, melodyjnym wokalu z nałożonymi efektami. Między spokojnymi zwrotkami grany jest riff stoner metalowy. W piosence użyto riffów kojarzących się z Sabbath Bloody Sabbath, albumem Black Sabbath i charakterystycznych, dla obu zespołów, zmian tempa. Potem grany jest ciężki riff a w tle słychać dziwne, głosy: jeden podniesiony o oktawę, drugi obniżony. Fragment ten wykonuje prawdopodobnie, kobieta, śpiewająca fragmenty wokalne na innych płytach Orange Goblin. Utwór ma prawie 8 min.

Orange Goblin -
Typowy stoner w wykonaniu Orange Goblin, pełen częstych zmian tempa i sabbathowych riffów.

Star Shaped Cloud -
Ponad 9 minutowy utwór z wykorzystaniem organów Hammonda i gitary z wah-wah. Gitara i organy grają przypominające improwizację fragmenty bluesowo - jazzowe. Wokal jest spokojny i bardzo melodyjny. Pod koniec każdej zwrotki utwór zmienia się w stoner metal, aby potem powrócić do tematu początkowego. Piosenka kończy się spokojną gitarową improwizacją.

Na albumie umieszczono ukryty utwór. Są to odgłosy baru: dzwonek kasy fiskalnej, pijackie śpiewy, kasłanie, brzdęk szkła oraz pianino grające w tle niezrozumiałą melodię.

Lista utworów
 The Astral Project (Class A)
 Magic Carpet
 Saruman's Wish
 Song of the Purple Mushroom Fish
 Aquatic Fanatic
 Lothlorian
 Land of Secret Dreams
 Orange Goblin
 Star Shaped Cloud

Wykonawcy
 Joe Horae - gitara
 Martyn Millard - gitara basowa
 Pete O'Malley - gitara
 Chris Turner - perkusja
 Ben Ward – wokal

Linki zewnętrzne
 AMG - Frequencies From Planet Ten
 Frequencies From Planet Ten – teksty piosenek

Albumy Orange Goblin
Albumy muzyczne wydane w roku 1997

redpajama_set_name: RedPajamaWikipedia


text:
President's Perspective
By President Frederick W. Clark JR., ESQ., '83 | June 1, 2020
The keys to a better future, now as always, will be knowledge, experience, forward-thinking and the drive to see what lies over the horizon.
President Frederick W. Clark JR., ESQ., '83
Story Series
Bridgewater Magazine
It's been an extraordinary few months in the United States and around the world. The COVID-19 pandemic has killed more than 110,000 Americans, millions have been subjected to stay-at-home orders, unemployment has skyrocketed, and the economy has been shaken in ways unseen since the Great Depression.
While no one can predict the long-term effects of the pandemic, it's clear that at least temporarily, it has reshaped life as we know it.
We can all be proud of BSU's response to the crisis, which included converting all classes to online, while continuing to provide outstanding academic, health and financial support for our students, including the creation of a special COVID-19 Student Emergency Fund (see inside back cover for details). We have also shifted most of our workforce to telecommuting.
Meanwhile, everyone from maintainers to BSU police officers have committed to keeping the campus clean and safe, and we continued to care for more than 100 students in our residence halls for whom moving out would have created hardships. We had to postpone commencement but with a promise that we will hold an on-campus commencement ceremony when safety permits. Throughout, our rallying cry has been "We've got this." I have stated this with confidence because of the extraordinary people who are Bridgewater State University. I am grateful for their efforts.
Throughout, the trustees, Foundation members and the cabinet have managed with aplomb the enormous financial challenges brought on by the pandemic.
This issue of Bridgewater magazine was well underway when COVID-19 overtook the nation's headlines. Inside you will find several stories related to the pandemic and how the university and members of the BSU community have responded. This issue also spotlights BSU's nationally honored undergraduate research program. You'll read about the impressive work being done by students in laboratories, libraries, archives, classrooms and out in the field. Behind every story of student research success, of course, is a faculty mentor. These tireless educators, some of whom are featured in these pages, provide the kind of support and instruction that transform lives.
The spirit of inquiry that drives the students and faculty mentors is crucially necessary in these times, as the world grapples to move beyond this current crisis and prepare for those that no doubt loom ahead.
The keys to a better future, now as always, will be knowledge, experience, forward-thinking and the drive to see what lies over the horizon. These are hallmarks of a Bridgewater State University education. Just as important during these troubled times are empathy, kindness and a generosity of spirit – characteristics that define the BSU community.
Together we are a potent force. Let us draw strength from each other as we build a bridge to a better and healthier future.
With warmest regards,
President Frederick W. Clark Jr.
President's Perspective
President Clark sat down on the opening day of the fall semester to talk about the critical issues facing Bridgewater State University and the world these days, specifically the pandemic and racial justice.
Bridgewater Magazine keeps alumni, faculty, students and their families, staff, and friends of BSU informed about the university community and its impact on the region. This magazine is written, designed and edited by the Office of Creative Services and Publications with the needs of its varied audiences at heart and in mind.
For correspondence regarding Bridgewater Magazine, address all mail to:
Creative Services and Publications
For older issues of Bridgewater Magazine, please visit Virtual Commons


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Journal > Anthropology
Critique of Anthropology
Anthropology | Political Sociology
eISSN: 14603721 | ISSN: 0308275X | Current volume: 41 | Current issue: 3 Frequency: Quarterly
Critique of Anthropology is dedicated to the development of anthropology as a discipline that subjects social reality to critical analysis. The journal challenges received wisdoms inside academic anthropology and in society at large, presenting work that is innovative, challenging, sometimes experimental and often uncomfortable.
"Critique of Anthropology adopts a critical spirit and self-reflection to produce significant anthropology in the present and to promote a more disciplined and principled anthropology for the future." Richard Fox, Washington University
"I have read and enjoyed Critique of Anthropology from its very first issue. It is a journal that has always been agile in picking up and debating new substantive and theoretical issues in anthropology. Throughout the years it has become a useful teaching tool, providing valuable insights into the developments in our discipline." Verena Stolcke, Universitat Autònoma de Barcelona
"Critique of Anthropology has been the only anthropological journal with a genuinely distinctive personality in recent times." Maurice Bloch, London School of Economics
"I welcome Critique of Anthropology's particular mix of new answers to old questions and searching examinations of new departures." Eric Wolf, City University of New York
Critique of Anthropology is available electronically on SAGE Journals Online at http://coa.sagepub.com
Critique of Anthropology is a peer reviewed journal, dedicated to the development of anthropology as a discipline that subjects social reality to critical analysis. It publishes academic articles and other materials which contribute to an understanding of the determinants of the human condition, structures of social power, and the construction of ideologies in both contemporary and past human societies from a cross-cultural and socially critical standpoint. Non-sectarian, and embracing a diversity of theoretical and political viewpoints, COA is also committed to the principle that anthropologists cannot and should not seek to avoid taking positions on political and social questions.
All branches of anthropology which raise issues relevant to the journal's basic aim of developing a critical cross-cultural social science that challenges received wisdoms within both the academy and present society at large, are within the scope of the journal's interest. This may include aspects of biological anthropology, ethno-history and archaeology.
COA seeks to present work that is innovative, challenging, sometimes experimental, and often uncomfortable. Above all it aims to be a pace-setter for the development of anthropology at the international level.
Gareth Stanton Goldsmiths, University of London, UK
Maia Green University of Manchester, UK
Corresponding Editor
Alan Smart University of Calgary, CA, Canada
Eric Bähre University of Leiden, The Netherlands
Sian Lazar Cambridge University, UK
Daniel Souleles Copenhagen Business School, Denmark
Gareth Stanton Goldsmiths College, London, UK
Catherine Alexander University of Durham, UK
Talal Asad Johns Hopkins University, USA
Nina Bandelj University of California, Irvine, USA
Tom Biolsi Department of Anthropology, Portland State University, USA
Susanne Brandstädter Cologne University, Germany
Lindsay DuBois University of Dalhousie, CA, Canada
Marc Edelman City University of New York, USA
Stephan Feuchtwang London School of Economics and Political Science
John Gledhill University of Manchester, UK
Keith Hart University of Pretoria, South Africa
Nelly Arvelo Jimenez Instituto Venezalona de Investigaciones Cientificas, Venezuela
Stuart Kirsch University of Michigan, USA
Belinda Leach University of Guelph, Canada
Winnie Lem Trent University, CA
Mary B. Mills Colby College, USA
Wang Mingming Peking University, China
David Nugent Colby College, Waterville, USA
Robert Pool University of Barcelona, Spain
Frances Rothstein Towson State University, USA
Mike Rowlands University College London, UK
Jacqueline Solway Trent University, Canada
Lynn Stephen University of Oregon, USA
Maila Stivens University of Melbourne, Australia
Anne Stoler The New School for Social Research, USA
Ida Susser Hunter College, CUNY, USA
Richard Ashby Wilson University of Connecticut, USA
Abstracts in Anthropology
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Anthropological Literature
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Business Source Corporate
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This Journal is a member of the Committee on Publication Ethics
Please read the guidelines below then visit the Journal's submission site http://mc.manuscriptcentral.com/CritAnth to upload your manuscript. Please note that manuscripts not conforming to these guidelines may be returned.
Only manuscripts of sufficient quality that meet the aims and scope of Critique of Anthropology will be reviewed. Articles must be under 8,000 words in length, including notes and bibliography.
There are no fees payable to submit or publish in this journal.
As part of the submission process you will be required to warrant that you are submitting your original work, that you have the rights in the work, that you are submitting the work for first publication in the Journal and that it is not being considered for publication elsewhere and has not already been published elsewhere, and that you have obtained and can supply all necessary permissions for the reproduction of any copyright works not owned by you.
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What do we publish?
1.1 Aims & Scope
1.2 Article types
1.3 Special Issues
1.4 Writing your paper
2.1 Peer review policy
2.2 Authorship
2.3 Acknowledgements
2.4 Funding
2.5 Declaration of conflicting interests
2.6 Research Data
3.1 Publication ethics
3.2 Contributor's publishing agreement
3.3 Open access and author archiving
4.1 Formatting
4.2 Artwork, figures and other graphics
4.3 Supplemental material
4.4 Reference style
4.5 English language editing services
Submitting your manuscript
5.1 ORCID
5.2 Information required for completing your submission
5.3 Permissions
On acceptance and publication
6.1 SAGE Production
6.2 Online First publication
6.3 Access to your published article
6.4 Promoting your article
1. What do we publish?
Before submitting your manuscript to CoA, please ensure you have read the Aims & Scope.
The journal publishes Original Articles and Book Reviews. Articles must be under 8,000 words in length, including notes and bibliography. Articles must include an abstract (100-150 words) and five to 10 key words.
The editors will from time to time accept an article for translation into English, once publication has been agreed in principle. But this is a time-consuming process, and contributors are requested to submit in English if at all possible.
Critique of Anthropology welcome proposals for special issues. Please send a brief description of the proposed issue as a whole, with a list of authors, titles and abstracts to critique@gold.ac.uk Note that issues are limited to 50,000 words (approximately 7 articles). For special issues we currently have a very long lead time to publication of approximately 3 to 4 years from time of first proposal.
The SAGE Author Gateway has some general advice and on how to get published, plus links to further resources.
1.4.1 Make your article discoverable
When writing up your paper, think about how you can make it discoverable. The title, keywords and abstract are key to ensuring readers find your article through search engines such as Google. For information and guidance on how best to title your article, write your abstract and select your keywords, have a look at this page on the Gateway: How to Help Readers Find Your Article Online
2. Editorial policies
CoA operates a double-blind reviewing policy in which the reviewers' names are always concealed from the submitting author. Manuscripts are initially reviewed by members of the journal's international editorial working group for intrinsic quality, contribution to debate and suitability for the journal.
Some submissions will be rejected or be returned with the recommendation to revise and resubmit at this stage, accompanied by comments. Papers that receive a balance of favourable reviews and are considered a high priority for space in the journal will be refereed by specialists in their subject matter. Authors are then sent all the accumulated comments, which may contain suggestions for minor or more substantial revisions.
Decisions on manuscripts will be taken as rapidly as possible. Authors should be aware that the volume of submissions is high and that proposals for special issues in particular will be subject to extended scrutiny, since each paper submitted for the issue will be reviewed individually and judged against the standard of papers submitted by individuals that will be competing for space. Questions of priority must arise even when comparing projects of high quality.
Although we aim to provide authors with a preliminary response within two months of submission, the international composition of the editorial group and increasing demands on the time of our specialist peer reviewers will sometimes result in longer turnaround times.
CoA aims to be a genuinely international journal and one that promotes new ideas. We encourage and regularly publish submissions from younger scholars and from anthropologists outside the United States and Europe.
All parties who have made a substantive contribution to the article should be listed as authors. Principal authorship, authorship order, and other publication credits should be based on the relative scientific or professional contributions of the individuals involved, regardless of their status. A student is usually listed as principal author on any multiple-authored publication that substantially derives from the student's dissertation or thesis.
All contributors who do not meet the criteria for authorship should be listed in an Acknowledgements section. Examples of those who might be acknowledged include a person who provided purely technical help, or a department chair who provided only general support.
Please supply any personal acknowledgements separately to the main text to facilitate anonymous peer review.
2.3.1 Third party submissions
Where an individual who is not listed as an author submits a manuscript on behalf of the author(s), a statement must be included in the Acknowledgements section of the manuscript and in the accompanying cover letter. The statements must:
• Disclose this type of editorial assistance – including the individual's name, company and level of input
• Identify any entities that paid for this assistance
• Confirm that the listed authors have authorized the submission of their manuscript via third party and approved any statements or declarations, e.g. conflicting interests, funding, etc.
Where appropriate, SAGE reserves the right to deny consideration to manuscripts submitted by a third party rather than by the authors themselves.
To comply with the guidance for Research Funders, Authors and Publishers issued by the Research Information Network (RIN), Critique of Anthropology additionally requires all Authors in receipt of funding to acknowledge their funding in a consistent fashion under a separate heading. All research articles should have a funding acknowledgement in the form of a sentence as follows, with the funding agency written out in full, followed by the grant number in square brackets:
This work was supported by the Medical Research Council [grant number xxx].
Multiple grant numbers should be separated by comma and space. Where the research was supported by more than one agency, the different agencies should be separated by semi-colon, with "and" before the final funder. Thus:
This work was supported by the Wellcome Trust [grant numbers xxxx, yyyy]; the Natural Environment Research Council [grant number zzzz]; and the Economic and Social Research Council [grant number aaaa].
Please include this information under a separate heading entitled "Funding" directly after any other Acknowledgements prior to your "Declaration of Conflicting Interests" (if applicable), any Notes and your References.
Important note: If you have any concerns that the provision of this information may compromise your anonymity dependent on the peer review policy of this journal outlined above, you can withhold this information until final accepted manuscript.
For more information on the guidance for Research Funders, Authors and Publishers, please visit: http://www.rin.ac.uk/funders-acknowledgement.
CoA encourages authors to include a declaration of any conflicting interests and recommends you review the good practice guidelines on the SAGE Journal Author Gateway
The journal is committed to facilitating openness, transparency and reproducibility of research, and has the following research data sharing policy. For more information, including FAQs please visit the SAGE Research Data policy pages.
Subject to appropriate ethical and legal considerations, authors are encouraged to:
share your research data in a relevant public data repository
include a data availability statement linking to your data. If it is not possible to share your data, we encourage you to consider using the statement to explain why it cannot be shared.
cite this data in your research
3. Publishing Policies
SAGE is committed to upholding the integrity of the academic record. We encourage authors to refer to the Committee on Publication Ethics' International Standards for Authors and view the Publication Ethics page on the SAGE Author Gateway
3.1.1 Plagiarism
CoA and SAGE take issues of copyright infringement, plagiarism or other breaches of best practice in publication very seriously. We seek to protect the rights of our authors and we always investigate claims of plagiarism or misuse of published articles. Equally, we seek to protect the reputation of the journal against malpractice. Submitted articles may be checked with duplication-checking software. Where an article, for example, is found to have plagiarised other work or included third-party copyright material without permission or with insufficient acknowledgement, or where the authorship of the article is contested, we reserve the right to take action including, but not limited to: publishing an erratum or corrigendum (correction); retracting the article; taking up the matter with the head of department or dean of the author's institution and/or relevant academic bodies or societies; or taking appropriate legal action.
3.1.2 Prior publication
If material has been previously published it is not generally acceptable for publication in a SAGE journal. However, there are certain circumstances where previously published material can be considered for publication. Please refer to the guidance on the SAGE Author Gateway or if in doubt, contact the Editor at the address given below.
Before publication, SAGE requires the author as the rights holder to sign a Journal Contributor's Publishing Agreement. SAGE's Journal Contributor's Publishing Agreement is an exclusive licence agreement which means that the author retains copyright in the work but grants SAGE the sole and exclusive right and licence to publish for the full legal term of copyright. Exceptions may exist where an assignment of copyright is required or preferred by a proprietor other than SAGE. In this case copyright in the work will be assigned from the author to the society. For more information please visit the SAGE Author Gateway
CoA offers optional open access publishing via the SAGE Choice programme. For more information on Open Access publishing options at SAGE please visit SAGE Open Access. For information on funding body compliance, and depositing your article in repositories, please visit SAGE's Author Archiving and Re-Use Guidelines and Publishing Policies.
4. Preparing your manuscript for submission
The preferred format for your manuscript is Word. LaTeX files are also accepted. Word and (La)Tex templates are available on the Manuscript Submission Guidelines page of our Author Gateway. The text should be double-spaced throughout with 1.5cm at left and right hand margins (making 3cm in total) with 2.5cm at head and foot (to make 5cm). Text should be standard 10 or 12 point.
For guidance on the preparation of illustrations, pictures and graphs in electronic format, please visit SAGE's Manuscript Submission Guidelines
Figures supplied in colour will appear in colour online regardless of whether or not these illustrations are reproduced in colour in the printed version. For specifically requested colour reproduction in print, you will receive information regarding the costs from SAGE after receipt of your accepted article.
This journal does not currently accept supplementary material.
CoA adheres to the SAGE Harvard reference style. Click here to review the guidelines on SAGE Harvard to ensure your manuscript conforms to this reference style.
If you use EndNote to manage references, download the SAGE Harvard output style by following this link and save to the appropriate folder (normally for Windows C:\Program Files\EndNote\Styles and for Mac OS X Harddrive:Applications:EndNote:Styles). Once you've done this, open EndNote and choose "Select Another Style..." from the dropdown menu in the menu bar; locate and choose this new style from the following screen.
Authors seeking assistance with English language editing, translation, or figure and manuscript formatting to fit the journal's specifications should consider using SAGE Language Services. Visit SAGE Language Services on our Journal Author Gateway for further information.
5. Submitting your manuscript
Before submitting your manuscript, please ensure you carefully read and adhere to all the guidelines and instructions to authors provided above and in this section. Manuscripts not conforming to these guidelines may be returned.
Critque of Anthropology is hosted on SAGE track, a web based online submission and peer review system powered by ScholarOne Manuscripts. Please prepare your manuscript according to the Manuscript Submission guidelines above and then simply visit http://mc.manuscriptcentral.com/CritAnth to login and submit your article online.
All manuscripts for Articles must be submitted via the online system. If you would like to discuss your paper prior to submission, please refer to the contact details for the Editor-in-Chief below in Section 7 at the end of this document.
IMPORTANT: Please check whether you already have an account in the system before trying to create a new one. If you have reviewed or authored for the journal in the past year it is likely that you will have had an account created. For further guidance on submitting your manuscript online please visit ScholarOne Online Help.
As part of our commitment to ensuring an ethical, transparent and fair peer review process SAGE is a supporting member of ORCID, the Open Researcher and Contributor ID. ORCID provides a unique and persistent digital identifier that distinguishes researchers from every other researcher, even those who share the same name, and, through integration in key research workflows such as manuscript and grant submission, supports automated linkages between researchers and their professional activities, ensuring that their work is recognized.
The collection of ORCID iDs from corresponding authors is now part of the submission process of this journal. If you already have an ORCID iD you will be asked to associate that to your submission during the online submission process. We also strongly encourage all co-authors to link their ORCID ID to their accounts in our online peer review platforms. It takes seconds to do: click the link when prompted, sign into your ORCID account and our systems are automatically updated. Your ORCID iD will become part of your accepted publication's metadata, making your work attributable to you and only you. Your ORCID iD is published with your article so that fellow researchers reading your work can link to your ORCID profile and from there link to your other publications.
If you do not already have an ORCID iD please follow this link to create one or visit our ORCID homepage to learn more.
You will be asked to provide contact details and academic affiliations for all co-authors via the submission system and identify who is to be the corresponding author. These details must match what appears on your manuscript. The affiliation listed in the manuscript should be the institution where the research was conducted. If an author has moved to a new institution since completing the research, the new affiliation can be included in a manuscript note at the end of the paper. At this stage please ensure you have included all the required statements and declarations and uploaded any additional supplementary files (including reporting guidelines where relevant).
Please also ensure that you have obtained any necessary permission from copyright holders for reproducing any illustrations, tables, figures or lengthy quotations previously published elsewhere. For further information including guidance on fair dealing for criticism and review, please see the Copyright and Permissions page on the SAGE Author Gateway
6. On acceptance and publication
Your SAGE Production Editor will keep you informed as to your article's progress throughout the production process. Proofs will be made available to the corresponding author via our editing portal SAGE Edit or by email, and corrections should be made directly or notified to us promptly. Authors are reminded to check their proofs carefully to confirm that all author information, including names, affiliations, sequence and contact details are correct, and that Funding and Conflict of Interest statements, if any, are accurate. Please note that if there are any changes to the author list at this stage all authors will be required to complete and sign a form authorising the change.
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7. Further information
Any correspondence, queries or additional requests for information on the Manuscript Submission process should be sent to the Editorial Office: critique@gold.ac.uk.
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text:
1Characteristics
2.1Renovation
3Site of a massacre
4In literature
Mehmed Paša Sokolović Bridge
Historic bridge in Višegrad, Bosnia and Herzegovina
Drina River
Višegrad, Bosnia and Herzegovina
Most Mehmed-paše Sokolovića
179.5 metres
Mimar Sinan
Mehmed Paša Sokolović Bridge in Višegrad
ii, iv
Designated
2007 (31st session)
The Mehmed Paša Sokolović Bridge (Serbian: Мост Мехмед-паше Соколовића, romanized: Most Mehmed-paše Sokolovića) is a historic bridge in Višegrad, over the Drina River in eastern Bosnia and Herzegovina. It was completed in 1577 by the Ottoman court architect Mimar Sinan on the order of the Grand Vizier Mehmed Paša Sokolović.[1] UNESCO included the bridge in its 2007 World Heritage List.
Characteristics[edit]
It is characteristic of the apogee of Turkish monumental architecture and civil engineering. It numbers 11 masonry arches, with spans of 11 to 15 meters, and an access ramp at right angles with four arches on the left bank of the river.
The 179.5-meter-long (589 ft) bridge is a representative masterpiece of Mimar Sinan, one of the greatest architects and engineers of the classical Ottoman period and a contemporary of the Italian Renaissance, with which his work can be compared. The UNESCO summary states: The unique elegance of proportion and monumental nobility of the property as a whole bear witness to the greatness of this style of architecture.[2]
The center pile of the bridge
The Višegrad Bridge was commissioned by Grand Vizier Mehmed Pasha Sokolović, who exercised power over a long period at the summit of the Ottoman Empire during the reign of three sultans as a tribute to his native region and a symbol of trade and prosperity. Construction of the bridge took place between 1571 and 1577. Major renovations of the bridge have taken place in 1664, 1875, 1911, 1940 and 1950–52. Three of its 11 arches were destroyed during World War I and five were damaged during World War II but subsequently restored.[3]
Andrićgrad and Mehmed Paša Sokolović Bridge
Renovation[edit]
The bridge received UNESCO World Heritage Listing in 2007.
The Turkish International Co-operation and Development Agency (TIKA) provided 3.5 million euros for the restoration of the Mehmed Paša Sokolović Bridge. Representatives of TIKA, the BiH Commission for Co-operation with UNESCO, the Republika Srpska Cultural Ministry and the Višegrad municipality signed an agreement to renovate the bridge on 19 April 2010.[4]
Mehmed pasha Sokolovic bridge reconstruction 2013
Site of a massacre[edit]
Main article: Višegrad massacres
During the Bosnian War the bridge was a site of mass murder of Bosnian Muslims, and it served as a dumping point for the bodies of murdered Bosniaks which were thrown into the Drina River.
In literature[edit]
The bridge is widely known because of the book The Bridge on the Drina (1945) written by Yugoslav writer Ivo Andrić, Nobel Prize–winning author.[3][5]
List of World Heritage Sites in Bosnia and Herzegovina
Višegrad massacres
^ Mehmed Paša Sokolović Bridge at Structurae. Retrieved 15 April 2017.
^ "UNESCO World Heritage Centre - Bosnian Bridge among five new sites inscribed on UNESCO's World Heritage List this evening". Whc.unesco.org. Retrieved 14 July 2017.
^ a b "Mehmed-Pasha Sokolovic Bridge". Archived from the original on 2 July 2007. Retrieved 14 July 2017.
^ "Culture and Sports: Turkish agency sponsors repairs to Ottoman bridge". SETimes.com. Retrieved 15 April 2017.
^ Wayne S. Vucinich, ed. (1995). "Ivo Andrić Revisited: The Bridge Still Stands" (PDF). Division of International and Area Studies, University of California, Berkeley. Archived (PDF) from the original on 27 May 2020.
Media related to Mehmed Paša Sokolović Bridge in Višegrad at Wikimedia Commons
Mehmed Paša Sokolović Bridge, visegradturizam.com
Mehmed Paša Sokolović Bridge, official promo video 2019, youtube.com
UNESCO listing of Mehmed Paša Sokolović Bridge in Višegrad, whc.unesco.org
World Heritage Sites in Bosnia and Herzegovina
Stećak (with Croatia, Montenegro and Serbia)
Ancient and Primeval Beech Forests of the Carpathians and Other Regions of Europe1
1with Albania, Austria, Belgium, Bulgaria, Croatia, Czech Republic, France, Germany, Italy, North Macedonia, Poland, Romania, Slovakia, Slovenia, Spain, Switzerland and Ukraine
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mehmed_Paša_Sokolović_Bridge&oldid=1132725955"
Ottoman bridges in Bosnia and Herzegovina
Deck arch bridges
Architecture in Bosnia and Herzegovina
Bridges completed in 1577
Mimar Sinan buildings
Buildings and structures in Republika Srpska
1577 establishments in Europe
Medieval Bosnia and Herzegovina architecture
Structurae ID not in Wikidata
Use dmy dates from June 2021
Pages using infobox bridge with extra embedded table
Pages using infobox bridge with empty coordinates parameter
Articles containing Serbian-language text
Instances of Lang-sr using second unnamed parameter
Pages using the Kartographer extension


Hi! Sign in to let us know how Watson Carpet & Tile was?
Karen O. Jan 04 .
The employees at Watson are fantastic with their customers, very helpful, and friendly!
They have a large selection of flooring products to choose from, I would highly recommend!
Their prices are reasonable, and their installers are very professional.
If you've been to or used Watson Carpet & Tile, leave a review.


Hi all! This is coming a little late. The locs came out on thursday, after my exams were over. It's just been crazy since then.
If I burnt or cut any of my own hair, I didn't notice (yay!), plus my hair didn't feel dry at all. I thought it would cos I hadn't been consistent with moisturising.
Next it was time to pre-poo. I used Nigerian black palm kernel oil (PKO) in my deep conditioner the last time and I've been curious to try it other ways. So I set some aside and then poured in some mustard oil. Too much. Cripes. I couldn't pour it back obviously so I kept going and added some of my vo5 conditioner. It says 'strengthening' on the label and I'm all for that especially since my hair didn't feel like it needed protein. I applied in 4 sections, massaging my scalp and covering hair from root to tip. Then I covered with a plastic cap and settled down for an hour.
This turned out to be my oiliest prepoo ever cos I had to use it all up. Ororo everywhere- my neck, back, shoulders. Ugh.
An hour later I shampooed with my diluted doo gro moisturising shampoo and warm water. Hair still felt kind of oily afterward but I didn't want to overdo it with the shampoo. I skipped adding any oil to my deep conditioner and just used it straight. I covered again with a plastic cap. Normally i would wrap it up in a towel for warmth but I was so sleepy, it was about 1am after a very long day. I just crashed. I woke up by 5am and caught sight of my black tea (to combat shedding) which I was supposed to use BEFORE deep conditioning. Sigh. I rinsed with it anyway and finished with plain water.
1. Shampooing after using the PKO as a prepoo might have washed out its effects.
2. I shouldn't have used the black tea, which is known to harden hair, AFTER deep conditioning.
I sealed in the moisture with a very tiny drop of oil in each section.
Detangling was not a breeze. Did i say before that there was very little shedding or breakage? My bad. I spoke too quickly. I encountered a couple of stubborn knots, more shedding than before I washed, and a few broken strands when my patience wore thin.They were all nice, healthy strands except one: it was split in not one, not two, but get this- three spots along its shaft. The horror. I went on a search for more of those to cut out but didn't find. I think it was just a deviant.
I had a busy day ahead so I had to put it in a bun. That busy day ehen, whew! It would have a post of its own.
I love your bantu knot fullness! I hate it when I have that one knot that won't act right! Ha-ha!
Hi dear..I have a 'funny' question. What exactly is wrong with straggly ends?
Hi Loju, the issue with them is 1.they take away from the beauty of your hair. Imagine long pretty hair with uneven, dry ends. No bueno.
2. They usually are dead and weak so are prone to splitting and breaking. If you don't get rid of them they could split all the way down the hair shaft and your hair will loose its health and shine. You may end up cutting more than you initially would have had to cut.


I was born in Richester but have lived and worked in Sunbury for many years.
I have painted for many years in all mediums, the majority now are watercolours. I have had lessons in oils and watercolour, attending many workshops with leading artists here and overseas.
I am the founding and life member of Sunbury Art Society, the independent Artists and was a member of Vic Arts for several years. I have won numerous awards and travelled extensively, both around Australia and overseas where many of my paintings now are.
Art has been my passion in life and has brought me much joy and many friendships.


text:
The Black Mask (ie. Further Adventures) by E.W. Hornung (REVIEW)
E.W. Hornung successfully continues the attraction to a story of a man who led not just a double but a triple life. Emphasizing the contrast of Raffles' various identities and exploring how he balances them continues to be a major theme of the collection.
A Critic's Meta-Review: 4/5
The Black Mask (ie. Further Adventures) by E.W. Hornung (1866-1921). Published by planksip
The Black Mask (ie. Further Adventures) by E.W. Hornung (1866-1921)
E.W. Hornung successfully continues the attraction to a story of a man who led not just a double but a triple life. Emphasizing the contrast of Raffles' various identities and exploring how he balances them continues to be a major theme of the collection. To the public eye, A.J. Raffles is a man about town, with rooms at the Albany, a reputation for charm, and a taste for Scotch and Sullivan cigarettes. What makes him irresistible, however, is his anti-heroic under-life as a "cracksman", or housebreaker.
Raffles: Further Adventures of the Amateur Cracksman by E. W. Hornung
Raffles: Further Adventures of the Amateur Cracksman by E. W. Hornung Raffles: Further Adventures of the Amateur Cracksman (Fiction, 1910) A NOTE FROM THE PUBLISHER	3 No Sinecure	4 I	5 II	11 III	17 A Jubilee Present	23 The Last Laugh	50 To Catch a Thief	65 I	66 II	72 III	80 An Old Flame	87 ...
PERMISSIONS: Anyone on the internet can find and comment. Journalists at planksip® can edit
Hooked on the stories of Raffles and Bunny? The Black Mask is available for FREE download on planksip.
Your FREE download will include formats in: Apple Books, Generic EPUB, Google Play, Kindle, Kobo, Nook, and for Print (PDF format).
Gumroadplanksip
First published in 1901, The Black Mask, also recognized as Raffles: Further Adventures of the Amateur Cracksman, is the second collection of short stories written by E.W. Hornung about a gentleman thief in Late Victorian London.
The book continues the events of the final story of the preceding short story collection. After the reputations of both A.J. Raffles and his companion, Bunny Manders are ruined, Raffles is assumed to have drowned in the Mediterranean and Bunny has spent eighteen months in prison.
The eight stories of the collection detail their reunion and return to crime. However, the popular characters are depicted more as hardened criminals rather than respectable gentlemen. The collection is organized in chronological order but the stories can be enjoyed independently and separately.
The collection begins with a Narrator's Note explaining that Raffles and Bunny are no longer the dapper gentlemen thieves readers once knew, but are now hardened, professional criminals. The eight short stories are summarized as follows:
"No Sinecure": Bunny, recently released from prison and struggling to survive as a writer, answers an advertisement for an older gentleman in need of a male nurse.
"A Jubilee Present": When Raffles sets his heart on stealing a priceless gold cup from the British Museum, he and Bunny go to scope out the museum's security.
"The Fate of Faustina": Raffles reveals his time spent as a tramp in Italy for the two years after his supposed death in the Mediterranean.
"The Last Laugh": The Italians who Raffles antagonized while in Italy get their revenge.
"To Catch a Thief": There's a new gentleman burglar in London. Raffles and Bunny plan to make him their third partner.
"An Old Flame": After a woman from Raffles' past recognizes him, she makes an unwelcome attempt to rekindle their past relationship.
"The Wrong House": From their new location in the suburbs, Raffles and Bunny venture out on their bicycles to burgle the vulnerable house of a stockbroker.
"The Knees of the Gods": Raffles and Bunny join the British volunteer forces to fight in the Second Boer War.
Begging the Question - The Fallacy under Question
Soledade and the Solitude of One


Tough Guys from Don Relyea on Vimeo.
Tough Guys was accepted into this years Digital Graffiti festival in Alys Beach Florida. This is a very fun festival to attend in person and is unique in style and locale. "Tough Guys" won the People's Choice Award as the most tweeted and shared installation from the live event!
Below is a great photo of my 2010 entry "Bombshell" one of my more popular pieces.
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There are many very striking photographs of aircrew marrying, resplendent in their best uniforms, often surrounded by other crew members. Many of these marriages were all too short-lived, often leaving a heart-broken widow pregnant with her dead husband's child. One such was Edith Skinner, who lost her husband Jack over the Dutch island of Texel in January 1944. Eaton-Clarke and his new wife were fortunate and had a long happy life ahead of them.


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text:
News Opinion Topic: Computing
The open internet and the web
Vinton G Cerf, one of the "Fathers of the internet", on the architecture, connectivity and openness of the web
By Vinton G Cerf
Widely known as one of the "Fathers of the internet," Vinton G Cerf is the co-designer of the TCP/IP protocols and the architecture of the internet. He served as chairman of the board of the Internet Corporation for Assigned Names and Numbers (ICANN) from 2000-2007, and has been in his current role as vice president and chief internet evangelist for Google since October 2005. Here he writes on the occasion of the twentieth anniversary of a free, open web.
When the internet was conceived in the early 1970s, the notion of openness lay at the heart of its architecture, philosophy and technical protocols. The system was designed to grow organically through distributed and relatively independent implementation and interconnection. The protocols were published openly and were permitted to be used without licensing or approval. The layered design allowed for new applications and new underlying switching and transmission technology. The internet did not know about applications, only about moving packets of bits from one point to another. Thus, new applications could be implemented without seeking permission from all the internet service providers.
The institutions that were created to cater to the evolution of the internet were open, bottom-up and inclusive. Anyone could and can participate in the Internet Engineering Task Force (IETF). The same may be said for the Internet Society, the Internet Corporation for Assigned Names and Numbers (ICANN) and the Internet Research Task Force (IRTF). Many stakeholders participate in these institutions to the general benefit of all users of the internet and providers of internet-based services.
When Tim Berners-Lee invented and released the World Wide Web (WWW) design in late 1991, he found an open and receptive internet in operation onto which the WWW could be placed. The WWW design, like the design of the internet, was very open and encouraged a growing cadre of self-taught webmasters to develop content and applications. The arrival of Marc Andreesen and Eric Bina's work on the MOSAIC version of the browser struck a potent resonance with millions around the world. Netscape Communications emerged from this period of competition as a major force in internet evolution. Its Initial Public Offering triggered the Dot-Boom. Even when the Dot-Boom waned in April 2000, there was enormous resonance and continued demand for access to basic internet service. Start-ups continue to be funded albeit at a somewhat less breakneck pace.
As mobile technology emerged with the capacity to run software applications that could interact with the vast and growing power of the internet and WWW platforms, new and very creative ideas found fertile space in which to grow. The new economics of the digital world challenged business models based on other technologies and opened new vistas for products and services that could capitalize on increasingly fast and incrementally less expensive communication. Old applications were reborn on the internet and heretofore-impossible ones were invented. Voice, video, text, imagery and every kind of data could be carried in the internet medium creating a rich and varied tapestry of applications. Open-source code created yet another current in the internet ocean, fostering further application development, functional improvement and added robustness.
All of this openness has had some side effects. Open connectivity meant that parts of the internet could attack other parts. Infecting personal computers and network servers with malware created Botnets and these collections of infected machines are used to generate spam, launch denial of service attacks and to conduct corporate and government espionage. This has spawned much debate and creative thinking about protecting the internet and the WWW and their users from various forms of malicious conduct. There is still a great deal of technical and policy work to be done to protect users, network and application service providers from harm. Some of the solutions call for changes in user behaviours ("safe networking"), some for changes in technology, some for changes in business practice and the practice of domestic and international law enforcement. Corporations have to review, refresh and re-invent their own security practices to keep up with the continuing growth and evolution of the WWW and the internet.
Although it is probably not possible to produce a precise estimate of the growth in global GDP that can be attributed to the internet and the World Wide Web, it seems likely to run into the hundreds of billions if not trillions of dollars. Some estimate that in some countries, domestic product associated with the World Wide Web may reach 8-13%. There remains a great deal of work to be done to continue to nurture and cultivate a culture of online creativity on a global scale. Internauts will be there, helping one another, inventing and sharing, as the internet and its devices and applications continue to evolve towards a future that we can only guess at today.
More on the twentieth anniversary of a free, open web:
"Twenty years of a free and open www" - Robert Cailliau
About the first website - info.cern.ch
internetBirth of the Web
7th Geneva Engage Awards honour Indico event ...
Big data and social media
25 years of the Internet Society
Also On Computing
Members of the "CoE RAISE" EU project – devel...
Computer Security: Animal or plant?
Computer Security: When auto-update is not so...
Computer Security: What's under the tree?
Computer Security: Freemium paywalls
Applications open for 2023 CERN openlab summe...
Quantum deep: delving into quantum technologi...
Computer Security: When your restaurant turns...
Computer Security: Finally, bonbons for downl...


text:
The Adage that Didn't Add Up
Jesse Goldberg-Strassler
There is a popular saying that goes a little like this:
Baseball's the only avenue in life in which you can fail 70 percent of the time and still be considered a success.
In "It's Anybody's Ballgame," Joe Garagiola quoted Pete Rose a little more specifically: "When you play this game 20 years, go to bat 10,000 times, and get 3,000 hits, you know what that means? You've gone 0-for-7,000."
Makes sense to you? Agree with the sentiment?
Good. Now let's attack it.
1. It runs both ways.
The batter may be failing more times than not, but the pitcher who succeeds in dispatching only the opposition seven out of 10 times is going to get run out of the league in a hurry.
In fact, when you consider that BABIP places its normal percentage around .275, a pitcher had better hope to be extraordinarily lucky or dominant in order to succeed more than 70 percent of the time.
For every single batter who is shaking off his 0-for-2 and 0-for-3 start to a game with the inward motivation to make something of his next at-bat, there is a pitcher realizing how slim a tightrope he has to walk in order to keep his team competitive.
So the adage holds true only for the batter. A pitcher can not fail 70 percent of the time and be considered a success; he can't even fail 30 percent of the time.
Even where the batter is concerned…
2. It ignores baserunning and defense.
Hitting is only a percentage of the game. A batter is excused for failing far more than 70 percent of the time as long as he helps his team in other ways, thanks to running the bases and playing high-quality defense. For a catcher or a shortstop specifically, upper-echelon defense trumps offense more often than not.
Let's turn our attention back to hitting, though.
You know what the adage forgets?
3. A .300 on-base average doesn't cut it.
The successful batsman reaches base around four times out of every 10 plate appearances. A .350 to .380 OBA? Sure, that'll work just fine. .300? Something's amiss – either the batter can't hit, or he hasn't honed the proper plate discipline to earn a walk every now and then.
It's a rare and unwanted player who equates coaxing a walk with failure.
But heck…
4. Not every out is a failure, either.
Some drive in runs, others advance teammates 90 feet closer to scoring, and a select few come at the end of prolonged at-bats that tax the opposition's hurler.
Hitters are also plagued by sterling defensive plays and missed calls by the umpire, turning a certain 1-for-1 into 0-fer. Quite often, each at-bat's result rests in the eye of the beholder.
There is the negative angle the other way, as well – those batters who collect purely cosmetic hits, prettying their stats without doing anything to help their team win. (Dave Kingman, how are you, sir?)
And outside the white lines…
5. Quality of success amid a quantity of failure isn't limited to baseball.
Politics is an easy target. What's your local/national pol's batting average right now?
Or consider a movie star's output. A slew of bombs is easily balanced out by one box office hit. "After Earth" crashed for Will Smith; "The Lone Ranger" turned into a dud for Johnny Depp. But Steve Carrell was in an enormous movie slump ("The Incredible Burt Wonderstone", anyone?) before finding success recently with "Despicable Me 2." Robert Downey, Jr., was down and out before coming up surprisingly clutch in "Kiss Kiss Bang Bang" and belting a home run with the "Iron Man" franchise.
Music artists are the same way. Their latest album might have 12 tracks, nine of them forgettable, but if Track 1, 2, and 4 capture radio air play and jump up the charts, they've got it made. For some artists, one hit song might still be enough to keep them in the public consciousness – and "The Best Hits of the 80s, 90s, and Today!" formats. (One hit? Who does Deep Blue Something think they are, Fernando Cabrera?)
An inventor might fail one hundred times in a row… but if try No. 101 works, she/he's a full-fledged success. The same goes for laboratory researchers, hopeful authors seeking a publisher, young job-searchers, college applicants, and the nervous 20-something about to dive into the world of online dating. One hit balances out all other failures.
Think about that, and ignore Pete Rose and his statistics.
Whether you're a batter or not, you still might find:
The odds are in your favor.


text:
'So Much Evil, Mommy, Those Poor Babies', by Dr. Michael L. Brown
40 Days for Life Campaign That Inspired "Unplanned" Has Saved 263 Babies From Abortion So Far, by Shawn Carney
Founder's Quote
By Dr. Michael L. Brown, Guest Columnist, OneNewsNow, April 1, 2019
The deeply moving pro-life movie Unplanned opened in theaters this weekend to great box office success – but that only tells you so much. It's the testimonies of the viewers which are so powerful.
To the surprise (and consternation) of Hollywood, Unplanned opened to more than $6 million in box office receipts, finishing #5 in the nation. And it did this while opening in less than 1,100 theaters nationwide.
More importantly, this powerful, pro-life movie that exposes the evil of Planned Parenthood and the abortion industry is making a powerful impact on its viewers. This could truly be a major game-changer in the days ahead. (Official movie website)
Not that the left didn't try hard to stop the film from getting out of the gate, let alone succeeding.
Lead actress Ashley Bratcher (left) was warned that she was "probably gonna be blacklisted" by Hollywood if she took the role. (See related article)
The Hollywood Reporter notes that, "Lifetime, Hallmark Channel, HGTV and several other cable networks" rejected advertising for the movie.
I've heard of theaters that dropped the movie before its release, only to reinstate it after protests.
Then there was the ridiculous R-rating the movie was saddled with, without possible justification. (See related article)
And over the weekend, Twitter temporarily suspended the movie's account, only to restore it a few hours later after a storm of protests. (Can anyone tell me any possible rationale, other than sheer, anti-life bigotry, for shutting down this account?) Then, once the account was restored, more than 100,000 followers realized they were no longer listed on the account. This is beyond suspicious.
And still, despite all this opposition (and more) the movie brought in more than $6 million in the first weekend, more than doubling prior estimates.
It's also quite revealing that, on Rotten Tomatoes, critics (15 so far) have given Unplanned a rating of 53, while viewers (1,996 at present) have given it a score of 94. Right now, that makes Unplanned the highest viewer-rated movie of all new releases, way ahead of Dumbo and Captain Marvel, both of which have viewer ratings of 60. It's even doing better than How to Train Your Dragon, at 88.
But these ratings only tell you so much. It's the testimonies of the viewers which are so powerful.
One man posted this on my : "I had tears throughout the movie. Got to my car and really broke down. Thank you God that you are allowing people to see your side of this issue."
A woman wrote: "I cried through so much of this movie. I don't understand how people can continue to justify the killing of the unborn. I walked out of this movie with the conviction to get involved in crisis pregnancy assistance ASAP."
Another said this: "I couldn't stop crying and at one point wanted to wail and pray. I had to force myself to get it together."
And another: "Within the first ten minutes I was sobbing as was the lady sitting beside me. I know what happens with an abortion but seeing it was powerful. If I weren't already pro-life I would be after watching this movie."
A mother posted this: "I took my 16 year old and she was greatly impacted. She had no strong opinion on abortion until she saw this movie. I'm taking my 11 year old to see it next."
And one viewer commented, "I was overcome by the strong message of grace and forgiveness."
One viewer after another described the powerful impact of Unplanned, with many feeling the need to get involved in the pro-life movement now.
But the comment that moved me most was this one, from another mother who went with her daughter. Her own story is compelling as well. Read this and weep:
"Wow what a movie! I went to see it with my 11yrs old daughter Bella. I was reluctant at first to take her, I prayed about it and got the green light from The Holy Spirit. Yet there were scenes where she covered her eyes, she was glad she saw it too. At the end she hugged me so tight, started crying uncontrollably and said 'So much evil mommy, those poor babies. Everyone needs to see this movie.'
"She is also one of those babies who got saved by prayer. I was one of those women who had an appointment to murder my baby when I was 12 weeks with her, but cancel the appointment hours prior doing 'the procedure' at a clinic here in Houston…"
May God have mercy on our nation. May He turn the tide in our country. May He act on behalf of more than 60 million slain in the womb.
And so we pray, "So much evil, Lord! These poor babies! Help us to do our part to awaken the conscience of the nation. We beseech You, Father, to change hearts and minds. It's time!"
Dr. Michael Brown is the host of the nationally syndicated Line of Fire radio program.
This column is printed with permission. Opinions expressed in 'Perspectives' columns published by OneNewsNow.com are the sole responsibility of the article's author(s), or of the person(s) or organization(s) quoted therein, and do not necessarily represent those of the staff or management of, or advertisers who support the American Family News Network, OneNewsNow.com, our parent organization or its other affiliates.
The staff at Onenewsnow.com strives daily to bring you news from a biblical perspective. If you benefit from this platform and want others to know about it please consider a generous gift today.
http://www.askdrbrown.org/
onenewsnow.com/perspectives/michael-brown/2019/04/01/so-much-evil-mommy-those-poor-babies


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We're committed to engaging community members to lead, inspire, network and create to build a sustainable future in Redwood County. Every donation makes a difference and allows us to continue to work towards that goal! Thank you!


text:
Google Docs Gets More Realtime; Adds Google Drawings To The Mix
Erick Schonfeld	@erickschonfeld / 9 years
Slowly but surely, Google keeps trying to chip away at Microsoft's core Office productivity suite with Google Docs, its free online word processor, spreadsheet, and presentation software. Today, Google Drawing is being added to the mix and Google Docs and Spreadsheets is getting a major realtime update. Both are being announced at Google's Atmosphere event.
Google Drawings is not really a drawing app, it's more of an online whiteboard. The app is designed to help people visualize ideas through flow charts, diagrams, and stencils. There is a chat window where participants can chime in. Images can be imported and moved around. But sadly there is no freehand drawing option. Google Drawings is best experienced in an HTML5 browser (Chrome, Safari, Firefox, IE9 if it supports SVG). Google Docs will also be discontinuing offline access via Google Gears on May3, and will bring it back later via HTML5.
The real news, though, is that Google Docs and Spreadsheets is getting more realtime. There has always been a noticeable delay when new edits get saved and synced up, especially when more than one person is working on the same document. Google is addressing this delay with an entirely new architecture built from the ground up.
Instead of waiting a few seconds to see the new sentences or spreadsheet figures someone else entered onto the doc you are both working on, you will now be able to see each change in realtime as each character is typed in. Google's engineers developed a new Javascript layout engine which sits on top of the browser and allows realtime editing, faster overall responsiveness, and new features such as the ability to drag-and-drop floating images through a document while the text rewraps itself around the image on the fly. "Working on documents should be as easy as having a conversation," says Goggle Docs product manager Anil Sabharwal. Users will need to turn on the new features in settings in order to see them.
Google Docs still lags Microsoft Office in features, but tries to make up for that by being a better way to edit and share docs and spreadsheets collaboratively among co-workers or anyone else. The key is to make it feel as responsive as a desktop app, even though it is in the cloud. During a briefing, Sabharwal showed a slide comparing the two, with check marks next to all of Google Docs' supposed advantages (realtime multi-user editing, IM, storage in the cloud, mobile web access, no patches or updates, free with Google Apps).
He also showed the slide below, which is more conceptual than anything else in that it is not based on any data. But it does illustrate how Google thinks about attacking Office from below and winning over time by becoming a better collaboration tool. What I love about the chart, though, is that it places Google Docs in 2010 at just below Office 2003 in terms of an individual authoring tool. Of course, Microsoft is also moving to the cloud with Office 2010, and I'm sure they can make marketing charts which look very different.


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child soldier
Tears of the Sun
Navy SEAL Lieutenant A.K. Waters and his elite squadron of tactical specialists are forced to choose between their duty and their humanity, between following orders by ignoring the conflict that surrounds them, or finding the courage to follow their conscience and protect a group of innocent refugees. When the democratic government of Nigeria collapses and the country is taken over by a ruthless military dictator, Waters, a fiercely loyal and hardened veteran is dispatched on a routine mission to retrieve a Doctors Without Borders physician.
Innocent Voices
A young boy, in an effort to have a normal childhood in 1980's El Salvador, is caught up in a dramatic fight for his life as he desperately tries to avoid the war which is raging all around him
A drama based on the experiences of Agu, a child fighting in the civil war of an unnamed, fictional West African country. Follows the journey of Agu as he's forced to join a group of soldiers. While Agu fears his commander and many of the men around him, his fledgling childhood has been brutally shattered by the war raging through his country, and he is at first torn between conflicting revulsion and fascination. Depicts the mechanics of war and does not shy away from explicit, visceral detail, painting a complex, difficult picture of Agu as a child soldier.
A mysterious creature destroys 70% of the moon. The creature then warns that if he is not destroyed by March of next year, Earth will be next. The creature also demands that he becomes the homeroom teacher for 3rd grade E class at Kunugigaoka Junior High School. The government is powerless to say no. The creature then becomes the homeroom teacher of 3rd grade E class which consists of failed students including Nagisa Shiota (Ryosuke Yamada). The creature is called Teacher Koro. Meanwhile, the government requests that the students try to kill Teacher Koro even though he possesses super powers. The government offers a 10 billion yen reward for whomever successfully kills him. The students are confused by the situation, but decide to kill Teacher Koro. When their class begins with Teacher Koro, the students finds themselves having a good time with their new teacher.
War Witch
Somewhere in Sub-Saharan Africa, Komona a 14-year-old girl tells her unborn child growing inside her the story of her life since she has been at war. Everything started when she was abducted by the rebel army at the age of 12.
Johnny Mad Dog
A cast of unknown performers are used in this drama about child soldiers fighting a war in an unnamed African country.
Vetri decided to find her fellow former child soldiers. They, like her, fought for the independence of the Tamil state in northern Sri Lanka. Talking together, they open up the traumas of war and reveal stories that were meant to be forgotten.
Ballad of the Little Soldier is a 1984 documentary film about child soldiers in Nicaragua.
For over 18 years a civil war in northern Uganda has dragged on almost completely unnoticed by the rest of the world. The rebels of the LRA ( Lord's Resistance Army) are waging a bloody guerilla campaign. They abduct children and conscript them as soldiers, forcing them to kill their own people. The film Lost Children documents the lives of four children, from 8 to 14 years old, who successfully escaped the LRA. They return home to be branded as killers. Will they ever forget? Will they be forgiven? Can you ever be a child again after being a soldier?
In a nameless, African country riven with civil war, a young female lawyer is the court-appointed counsel for a rebel leader. He has been accused of serious war crimes and his reputation is that of a butcher. But the idealistic lawyer encounters the delinquent unflinchingly. The pair size each other up as in a chess match and move by move get closer to the truth. The defendant was a child soldier. Did that make him what he is today? Eye of the Storm shows two faces of modern Africa and is marked by impressive performances from the two leads, Maimouna N'Diaye and Fargass Assandé. They both won awards at the Panafrican film and TV festival Fespaco in Ouagadougou, Burkina Faso.
Not My Life comprehensively depicts the cruel and dehumanizing practices of human trafficking and modern slavery on a global scale. Filmed on five continents, in a dozen countries, Not My Life takes viewers into a world where millions of children are exploited through an astonishing array of practices including forced labor, sex tourism, sexual exploitation, and child soldiering.
Hip-hop star Emmanuel Jal returns to Sudan where he served as a child soldier.


Just a brief note to thank you for all the work you did to sell my property in Brooklyn. The two of you never gave up despite the tough market. You were always available and no task - great or small - was too difficult. I am very pleased with the sale and I would not hesitate to recommend you to anyone looking for a realtor.


The FIU CNHS Building, Equipment and Technology Fund Campaign is an appeal to all alumni, faculty, staff, students, parents, and friends to support the College's efforts to enhance the educational experiences of South Florida's future health care professionals with cutting-edge technology. Gifts will advance the College's efforts to offer students state-of-the-art technology which will prepare FIU's diverse students for professional success in the 21st century.
The fund provides immediate support for the College's most important academic and technology needs, benefiting faculty and students in all programs of the College.
Your gift to the Building Equipment and Technology Fund will significantly enhance the educational opportunities available to our students. Your support will enable us to continue to meet and exceed our objectives of improving access to healthcare in South Florida, and provide cutting-edge education by investing in the latest resources and technologies to keep our first-class teaching facility at the forefront of health education.
Your contribution will enable us to prepare 21st century healthcare professionals to meet the growing demands within the ever-changing multicultural healthcare landscape today, tomorrow and always.


text:
Q: SVN Errors on trying to make an initial repository First off, my svn version is:
svn, version 1.9.3 (r1718519) compiled Aug 10 2017, 16:59:15 on x86_64-pc-linux-gnu
I'm trying to create a repository using svn by following the instructions here: http://svnbook.red-bean.com/en/1.7/svn.intro.quickstart.html
When I attempt to make my initial import using the instructions:
svn import /tmp/myproject file:///var/svn/repos/myproject -m "initial import"

However, when I do this. I get the notices:

svn: E170013: Unable to connect to a repository at URL 'file:///var/svn/repos/myproject'
  svn: E180001: Unable to open repository 'file:///var/svn/repos/myproject'

redpajama_set_name: RedPajamaStackExchange


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