The federal judge presiding over a $765 million settlement of NFL concussion lawsuits has initially denied the compromise, saying it's not enough money to provide for 20,000 retired players involved in the litigation.
According to the Associated Press, U.S. District Judge Anita B. Brody requested more financial information from both sides.
This follows the players' lawyers filing a detailed payout plan for Brody to review.
"I am primarily concerned that not all retired NFL football players who ultimately receive a qualifying diagnosis or their (families) … will be paid," Brody wrote today.
A settlement is eventually expected to be approved.
"We are confident that the settlement will be approved after the Court conducts its due diligence on the fairness and adequacy of the proposed agreement," retired players lawyer, Christopher Seeger said in a statement. "Analysis from economists, actuaries and medical experts will confirm that the programs established by the settlement will be sufficiently funded to meet their obligations for all eligible retired players. We look forward to working with the Court and Special Master to address their concerns, as they rightfully ensure all class members are protected.


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AWI February Webinar: The Perils and Land Mines of Municipal Investigations
Monday, January 6, 2020 (0 Comments)
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This session will cover the legal framework governing municipal employment complaints and investigations, including the complexities of confidentiality in the context of open meetings and open records laws. The speakers will discuss scaling the process to fit the jurisdiction and special issues with elected officials, city councils and boards and commissions. This webinar will also provide tools for working with elected officials and offers some ideas on how to remediate, mitigate and prevent problems in a setting where the respondent in the investigation is not subject to disciplinary process or removal from office.
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Kirsten J. Crawford
Kirsten J. Crawford has been with the City of Denver since May 2013, first serving as an assistant city attorney for the Denver International Airport and presently as the senior legal advisor to the Denver City Council. Ms. Crawford received her J.D. from the University of Denver in 1999, after which she served as a judicial clerk for the Hon. Raymond D. Jones, Colorado Court of Appeals. Prior to joining the City of Denver, Ms. Crawford was the City Attorney for the City of Littleton where she was the chief legal officer to the elected officials.
Anna Itenberg
Anna Itenberg has been an attorney with Karp Neu Hanlon in Glenwood Springs, Colorado since 2001. Ms. Itenberg serves as Assistant City Attorney for the City of Glenwood Springs and provides legal counsel in employment matters to several other municipalities and private employers on the Western Slope. Ms. Itenberg's employment practice includes performing workplace investigations, drafting employment agreements and personnel policies, advising on hiring, firing and disciplinary action, and representing clients in EEOC and CCRD investigations and other administrative proceedings.
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Marine Raiders vs. Green Berets: What you need to know
Coffee or Die | November 10, 2021
This article by Luke Ryan was originally published by Coffee or Die.
When there's an iconic picture floating around of a special operator with a hefty beard and a well-worn rifle standing in some unspecified distant country, there's a good chance that he hails from the U.S. Army's Special Forces (SF, sometimes known as the Green Berets). These men are rough down to their bones, and while they are capable of and carry out direct-action raids, their primary mission is to train foreign nationals. The classic SF mission would be to insert into a hostile country, train a local group whose interests are aligned with the U.S., and then fight alongside them. This takes years of training and retraining, from learning languages to building explosives — and everything in between.
The U.S. Marine Corps Forces Special Operations Command (MARSOC) is the Marines' contribution to special operations on today's battlefield. Also known as Marine Raiders, they are capable of conducting complex direct-action raids and high-level reconnaissance. Raiders are not the same as Marine Force Recon — while Force Recon is an elite unit, it does not belong to the Special Operations Command (SOCOM) as MARSOC does. MARSOC is the most recent addition to the primary special operations groups, having been activated in 2006.
Green Berets assigned to 3rd Special Group (Airborne) prepare an exfiltration on Aug. 15, 2019, near Hurlburt Field, Florida. Photo by Spc. Peter Seidler/U.S. Army.
Related: Rangers vs. SEALs: Who's had more impact in War on Terror?
Despite each special operations component's legendary status, each one is constantly fighting for relevance. Today's battlefield never stops evolving, and these so-called "special" groups wouldn't be special if they didn't evolve with it.
Coffee or Die spoke to Colonel Neil Schuehle (ret.), a Marine officer who had a seat at the table from 2002 to 2005 when the groundwork was laid for a Marine component to SOCOM. Schuehle was also the first commanding officer of the West Coast Marine Special Operations Battalion. He shed some light on some of the similarities and differences between MARSOC and the Army's Special Forces.
One core mission-set that many groups are tasked to perform is FID (Foreign Internal Defense). This is the core SF mission — training foreign defense — but it has permeated every level of SOF, including MARSOC. Even units whose sole purpose is to violently hit targets in the middle of the night will at some point find themselves training foreign militaries and/or militants. As the climate of warfare continues to change, the nuances of war become more complex. Large, direct-action raids by American forces may not be a realistic option, even by secretive SOF groups, when friendly forces could be trained just over the border to accomplish the same mission. War is a game of chess, and sometimes the most brazen move isn't the smartest.
U.S. Marines with Marine Special Operations Command conduct assault in support of a UH-1 battle drill exercise during Weapons and Tactics Instructor (WTI) course 2-19 at Yuma Proving Ground, Arizona, April 5, 2019. Photo by Cpl. Sabrina Candiaflores/U.S. Marine Corps.
MARSOC was also established with FID as its primary focus. They aren't just casually training foreign nationals when required to do so overseas, "they have embraced their FID charter and have definitely put a Marine Corps stamp on it," Schuehle said. Special Forces have Robin Sage as a culminating training exercise; MARSOC has Derna Bridge. Like SF, MARSOC operators are also required to learn a foreign language; however, like their SF counterparts, some go on to advanced training while others stay at a more basic level.
Another similarity between SF and MARSOC is that in addition to combat deployments, they tend to deploy to countries around the world who are allies of the United States. The deployment may be near a conflict area, or it could just be a friendly training deployment between two nations, sharing knowledge from some of their most valuable tactical assets. This is in contrast to a group like the U.S. Army Rangers, who generally only deploy to areas of major conflict.
It's unlikely to have 30 Special Forces operators roll down into a valley to train some locals; more than likely, you'll have about a dozen men, all highly trained and dead-set on keeping a low signature. MARSOC operates in small teams as well, but they train to a level where they can conduct larger-scale, infantry-type operations — a full-on assault with 100 men is not off the table for MARSOC, nor is it out of their training regimen.
A Marine with U.S. Marine Corps Forces, Special Operations Command provides security at a landing zone in Nahr-e Saraj district, Helmand Province March 28, 2012. Photo by Cpl. Kyle McNally/U.S. Marine Corps /Released.
Related: Should USSOCOM be its own military branch? A Navy SEAL weighs in
"We include CQB (close-quarters battle) in our basic course, whereas for both SEALs and SF, these are follow-on advanced courses," said Schuehle. "This does create a basic element that deploys that has a more Ranger-like DA (direct action) capability, but that being said, the emphasis definitely remains on FID."
As with all of the SOF groups, cultural rivalries abound. MARSOC is seen by some as the baby of SOCOM, struggling to find their niche and retain relevance as many jobs are being covered between the other groups. And if MARSOC is the baby, Special Forces might be seen as the great-great grandfather. They are also struggling to find relevance when the FID job is being handed to conventional forces and the DA missions are going to Special Mission Units like Delta Force and Rangers (the former has more DA training; the latter has more firepower per man, primarily with a larger arsenal of crew-served weapons).
The reality is that the jobs of special operators are constantly in flux, which means the jobs of all SOF groups are as well. What makes these groups — and the men in them — so special isn't that they know how to shoot and conduct complex, tactical raids (though that is certainly part of it). Their primary edge is in their flexibility. MARSOC and SF will remain relevant as long as they prove that they can do what is required of them, whether that's training foreign nationals, packing a heavy punch in a direction-action raid deep behind enemy lines, or something entirely different.
And as new conflicts roll around, these things will continue to evolve.
Read more from Sandboxx News:
Exclusive: Special Operators sound off about SOCOM's Armed Overwatch Program
SOCOM test set the future for modular weapon rail systems
The strangest Spec-Ops firearms in SOCOM's armory
Special Operators account for half of all US combat casualties
US SpecOps are using AI to look for an edge
Timothy says
I believe the marine corps would have been better served by creating a duplicate of the 75th ranger regiment. But instead of the airfield seizure mission they would have FID. I say this because the big army gains a lot from the 75th which is funded by socom. The rotation of officers and senior nco's from the 75th to big army and back again has allowed their experience to cross-pollinate the conventional forces, all the while socom foots the bill. Raiders should have a direct enlistment option just like rangers instead of competing with the big corps for the best talent.
2001-2003 SF dominated and Rumsfeld wanted more. Marine Corps obliged
2004-2013 the ranger regimented dominated but Marsoc was already committed to the SF path. Never too late to change.


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Liberty SIPP to Pay Out Compensation After Failed Pension Investments
The Financial Conduct Authorised (FCA) has announced that the troubled SIPP Provider Liberty Sipp has entered administration with named administrators, Andrew Poxon and Alex Cadwallader of Leonard Curtis.
Due to the Financial Ombudsmen Service receiving a high volume of claims relating to high-risk non-standard investments made against Liberty, insolvency would be the only option to provide protection for creditors plus former customers.
In August 2018, the FOS received just over 500 complaints from Liberty clients who had allegedly lost money after transferring their pensions into hight-risk investments through unauthorised firms which since have become illiquid meaning that they can't be currently sold or traded.
What occurred In October 2018 after the mis-selling claims were filed with the FOS, Liberty Sipp Limited trading assets were sold to a subsidiary of the Embark Group, EBS Pensions Limited, which then rebranded the Liberty SIPP as the Option SIPP
However, the legal entity Liberty SIPP was not part of the sale and retained its liabilities and consequently had to pay out against any complaints using the assets it held.
Due to the lack of due diligence made by Liberty into these high-risk investments, the Financial Services Compensation Scheme (FSCS) are now accepting claims against Liberty SIPP and hundreds are expected where customers could receive up to £85,000 if their claims are deemed eligible.
If you have been affected by SIPP Pension services offered by Liberty SIPP Ltd and would like to discuss how we may be able to help give us a call on 01903 931043.
Information in this article was sourced from
https://www.ftadviser.com/pensions/2020/04/28/claims-head-to-fscs-as-liberty-sipp-enters-administration/
FSCS gives CMCs Permission to Sign Claim Forms For Clients During Lockdown
Please read - Important Business Update
733 claims have been received by the FSCS from Berkeley Burke customers


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The Space Between Interesting Writing and Art History
I have in mind three frames for this project. Each one centers on a text I wrote for some other occasion. Looking back on these scattered writings, I am surprised to see that they align very accurately, as if I had had this project in mind all along. (It's not a very comfortable feeling, because it also means that much of that earlier work was to one side of an unnoticed, or at least undeveloped, central theme. It took me a long time to recognize that theme.)
I am hoping that beginning with excerpts will not seem too indulgent; I have certainly been put off by authors who quote themselves. Each of the three texts I will be revisiting here had specific purposes in relation to art history, theory, and criticism, and it matters that the general idea of "writing with images" began in such contexts. Still, if you would like to begin with the thing itself, stripped of the problems that generated it, please go straight to chapter 4.
Each of these three excerpts concerns a gap between established forms of writing on art and what could, in different ways, be called interesting writing. The first gap is between writing and art history. The second is the smaller, but just as treacherous gap between interesting writing and visual studies; and the third is about the positive gulf between writing and art theory, aesthetics, and philosophy.
The seed of this project, and my first try at articulating a space between art history and interesting writing, was in the opening and closing pages from the book Our Beautiful, Dry, and Distant Texts: On Art History as Writing (1997, reprinted 2000). That was, or is, a long and oddly assembled inquiry into art historical writing.
That book's introduction sets up the complaint. Then I reproduce the book's final page in its entirety.
1. Preface to the Routledge paperback edition (2000)
The book you're holding is a strange introduction to art history. Strange because it fails to round up the usual suspects like social art history, psychoanalysis, feminism, deconstruction, or postcolonial theory. Strange, too, because it omits some of the leading work in the discipline. It may need more of an introduction than I first gave it, so I am adding a few words here of encouragement and apology.
The three basic arguments of the book can be put succinctly. First, I am dissatisfied with the usual way of learning the discipline, in which students study parts of some theory (say Lacanian psychoanalysis) whenever it seems helpful for interpreting the art that interests them. That practice leads to monographs that read like tours of different theories: a little linguistics from Jakobsen, then some semiotics from Saussure or Barthes, an anthropological account of liminality or hybridity, and perhaps some reference to performative speech acts. This is exaggerating a little, but not much: it has become normal in art history to move from one interpretive model to another. Various names of drift in and out of the writing: Benjamin, Warburg, Riegl, Badiou, Foucault, Rancière, Deleuze. In a sense, that state of affairs is unobjectionable—after all, it serves the practical goal of finding the best words to describe the art.
Behind this successful practice is a simple assumption, which I think should be deeply troubling: that it is possible to tell which theories are appropriate, and to know how and when they should be applied. I doubt that the motives or methods of interpretation are as well controlled as is often thought. That is the reason I avoid expositing individual theories in this book. The idea is to stop applying theories, or even studying them, and look at the whole discipline more abstractly. I want to ask: What tells me that I have found an optimal way to interpret a work? Do I know why I am attracted to this theory, or that one? It strikes me art historians are confident about these questions, and one purpose of this book is to reflect on that confidence until it disappears.
The second theme enlarges the first: I want to argue that much of art history (and not just the manipulation of theories) is not entirely conscious. Most of this book is a meditation on the ways art historians meander among the works, only half in control of the discipline that leads them. Thinking about art and history is like daydreaming: we drift in and out of awareness of what we're doing. Sometimes it may be clear what impels me to write a certain passage: other days, I have very little idea why a certain theory rings true, or a certain phrase sounds right. This book is a compendium of reasons why art historians are not in full control, and in that respect it runs strongly against the grain of contemporary theorizing, which remains rational and confident in the face of any number of post-structuralist accounts of the breakdown of intentionality and perfect rationality. Some readers of the first printing of this book thought it was unnecessarily pessimistic and anti-logical. For me, those aren't bad things: I am half asleep when I look at art, and when I try to write about history. That's the maziness of it, the lovely hopelessness of ever understanding my reactions to art outside of art history.
The third and last theme is the most important, and it is the reason I am happy to see this book reprinted, even with all its unresolved conundra and odd backwaters. In the end, art history is a kind of writing. It has its blindnesses and its moments of control just like any other writing, and it expresses the lives and the thoughts of its writers just as much as any fiction. Normally art historians don't think about the writing as writing, because it seems more important to convey the facts of the past that are being recovered and displayed for the present. Yet there is no way around it: what we write, as art historians—as academics of any sort—expresses who we are. By not thinking too much about the expressive dimension of our writing, we end up writing poorly. From a writer's point of view, the writing in a typical art history journal might seem beautiful, but it probably also sounds dry and emotionally distant. In other words—to put it as directly as I can—to an outsider art history will often seem like bad writing, concocted by someone uninterested in the writer's self, and unaware of the writer's voice. Some contemporary art historians are at work on this problem, but the recent interest in first-person writing has only made matters worse, because it has injected an unmodulated confessional voice into a setting where it just doesn't fit. Good writing, as the rarity of good writers attests, is harder than that.
Does this matter? Well, it doesn't if the only purpose of writing art history is to learn about the past. But if you ask yourself what you are actually producing, what you are spending your life making, then it starts to matter more than anything else. I've said this as strongly as I can in the last page of this book, and I still think that page is worth the price of admission. The rest is a thicket of problems that can have no clear solutions: if they were clear, they wouldn't be art history.
2. Envoi, on our dry texts
It would be wrong to conclude without underscoring the unimportance of all this.
To say that what art historians and other academics write is rarely read outside a community of like-minded scholars, is to say that it will be forgotten forever. The books we write—most emphatically including this one—are consigned to dust from the instant they appear. Some, which will never be read, turn to dust in our hands, even before they are printed. Each year there are tens of thousands of dissertations in the humanities, and even seminal texts are lost in fifty years' time. Scholarship, as Derrida says, is dangerously "biodegradable."
Thinking about the differences between the kinds of writing that go under names such as art history, visual theory, methodology, and historiography, I have been led toward a way of considering the texts that is, in important respects, alien to all of them. In general terms, the readings in this book approach art historical writing as if it were expressive in intent.
What I have wanted to know is how the writing stands up as writing, as what is uninformatively called imaginative or creative writing—as if a principal purpose of art historical writing were to act on a reader as a novel, a short story, or a poem, rather than as a source of information. In doing so I have tried to read the texts in a fuller way, and cast some light on the nature of their relation to one another; but I have also been motivated by some ideas about the value of scholarly writing in general. The conviction on which this book is built is that in the end all the questions we customarily ask ourselves regarding the choice of theories and theorists, methods and methodologies, evidence, interpretation, and the constitution of the discipline are swept aside by what we actually produce. Our writing is our testament, it is what matters about what we do. And if that is the case, then our writing must be understood as an expressive endeavor, one that speaks for us and for our contemporary situation. To me art history is in a certain sense an arbitrary profession, since I tend to use it to explore my own thoughts, and to learn about myself. An object is always also a mirror of what I want to see, and of how I understand myself.
What this commonplace helps us remember is that even though our texts afford some challenging puzzles, academic writing may be inexpressive and in the end uninteresting because it is chosen by people who do not wish their writing to compete on a higher level. There has always been truth in Nietzsche's descriptions of scholars ("the herd animal in the realm of knowledge," and so forth) and in those terms, art historical writing may be a fitting expressive vehicle: a kind of writing that is highly evolved to complement and maintain a certain kind of life.
Our texts appear as history, as facts, as discoveries, as stories, even sometimes as truths, and they function in all of those capacities—but they are also our way of recording who we are. We need to begin to think about how our quizzical, convoluted, dry and distant writing tells the story of our lives.
Those two excerpts from Our Beautiful, Dry, and Distant Texts: On Art History as Writing, written now about 15 years ago, can stand almost as they are to express what I think is missing from art history. Today I wouldn't say art history is necessarily "distant" and "dry," although it often is. But it remains every bit as true that art historians pick and assemble theorists and theories without paying attention to how they have been chosen or how they work together. And that, in turn, is only possible when the historian isn't paying attention to the writing itself, to its voice, its coherence, or its expressive content. Art history remains, in that sense, very much unconscious.
In art history there is an intermittent interest in writing, and an intermittent awareness that in poststructuralism, writing cannot be adequately understood as a utilitarian vehicle for the articulation of historical thought. But writing on writing in art history has tended to be local (regarding qualities attributed to the writing of individual art historians), disciplinary (involving judgments about whether certain writers can usefully be considered primarily as art historians), or abstract (regarding the importance of writing, in general, in poststructuralism since Barthes). At the same time, art history as a discipline remains oblivious of the state of contemporary literary theory, so art historical discussions of writing tend to be conceptually and analytically impoverished, and to depend on old-fashioned criteria of literary style and taste.
Writing in art history is constrained four times over:
1. By disciplinary habits, expectations, and protocols about art historical narrative, argument, evidence, and citation. These aren't uniform: they differ from one publication to the next, and they change from one decade to the next; but they exert a strong influence on the field. Every young art historian knows what kinds of narratives might be acceptable to The Art Bulletin or October.
2. By the disciplinary agreement that writing is optimal when it is clear, serviceable, economical, direct, persuasive, and adequate to its subject. What Cicero called narratio or infinum, the "plain style," is the default ideal for art history and much of the humanities. Clarity, Hermogenes's term sapheneia, is the principal goal. (In effect art history and visual studies also admit the "middle style," aequabile, whose purpose is to please, but not the "high style," supra, whose purpose is to move the reader.)
3. By the disciplinary consensus that rhetorical properties of writing, such as metaphor, allegory, apostrophe, repetition, are understood to be potentially useful or pertinent, but not central or essential. Rhetoric, in general, is imagined as an ornament on writing. (There is a link here with art criticism, which sometimes imagines itself as unconstrained by academic concerns: in art criticism, too, informational, plain style writing is imagined as a base, on which rhetoric is built.)
4. By the disciplinary custom of limiting moments of expressive writing. Tone, address, style, manner, mood, voice, diction, authorial self-reference, the lyric, and metanarrative are intermittently encouraged in graduate students' writing, but only within the bounds of proper disciplinary interests.
Outside of these constraints, and outside the art historical constraint of writing about fine art, there is the unexplored territory of writing in general, as it has been theorized in literary criticism since modernism began, and in poststructuralism since the 1960s.
Reading a draft of this text online, Karen Schiff wondered what the goal of abandoning conventions might be, other than the pleasure of writing. My interest is in what might have to happen in order for art history and its neighboring disciplines to take writing as seriously as it has been taken since Barthes, Derrida, De Man, Altieri, Conley, Culler, Perloff, and many other critics and theorists. What I have in mind is a critique of art history's senses of writing, and how it presents writing to itself. In general, and with many exceptions, art historical writing remains dry, timid, affectively distant, conservative, and often inadequate to the very works it wants to address: and part of the reason for that failure of writing is a reticence about writing itself. The principal goal for writing outside certain conventions is to engage writing, and therefore the condition of the humanities in the twenty-first century, more fully. A secondary goal, which would not be mine, would be to capture more historical meaning for art history.
I am writing you Prof. Elkins because as a mid-career academic art historian I feel like I'm hitting a formidable brick wall. May I run by you some work I'm doing and perhaps you could tell me if you think I'm merely being self indulgent in the writing?
jamesprestonelkins September 3, 2016 at 8:21 AM
Sure, email me through the website jameselkins.com.


Truth is, I juggle a lot. I primarily stay at home with my almost 3 year old twin boys, I have a brand new business baby called Sara Dear Photography, I run a blog (Sara Dear), and I run my home, I try to keep a social life… oh and there's that other dude that lives here (my hubby…. 😉 ). But aren't we all doing a lot and juggling a lot? I know that busy is nothing new to you, friend, so I'll avoid the run-on sentences of the stuff I'm juggling in my day right now, which honestly feels pretty jam packed. But I'm surely blessed, and pretty darn happy. And oh so freaking excited to share with you a day in our life. Our crazy, fun, busy, blessed life.
6AM – Wake up call.
I know it's early but it's the only time I get to have productive alone time every day. First thing every morning – I make my bed and I get myself dressed and put a little makeup on. Putting makeup on in the morning is like the one thing that takes me from a grumbly sleepy mess to awake and ready to tackle the day. It's amazing how a mascara wand has become my light saber, but here we are.
BuJo equals Bullet Journal and 7:00 equals time to plan my day, write my to-do lists and drink a hot cup of coffee. Also, breakfast if I have time before the kiddos are up which is usually around 7:30.
My boys have had this obsession with cereal and milk in bowls with spoons like big kids. Super cute because they want to be big, but it makes a giant mess. Whatevs. They eat in their pajamas, then it's time to get dressed and ready. We let the dogs out, throw the dishes in the dishwasher, and I spend approximately 30 minutes trying to convince my kids to get their shoes on. Then when one kid has shoes on and I'm putting shoes on the other, the first kid takes his off. And we go around that merry go round until I'm sweaty and annoyed and wondering if they actually need shoes, or if it's too early to make a margarita. And contemplate putting it in a to-go cup. Because we do actually have somewhere to be.
I'm not sure whether I'm proud or a little embarrassed that this is literally a staple of my week. Like, we're at Target A LOT. Or Trader Joe's. Or sometimes Costco because they sell snacks by the truck load and the sample ladies (AKA Costco Angels) give my kids all the cheese they want so I can load up on coffee in bulk and those delicious little cheesy bread ball things in the freezer section. Anyway, today it's Target. To get light bulbs, and toilet bowl cleaner, and about 50 things from the Dollar Spot I never knew I needed.
11AM – Pre-lunch Dance Break.
While our Trader Joe's Boxed Mac N Cheese boils (#wefancy), we play some Billy Joel and twirl around the living room. One of my best parenting tactics are dance breaks. Whenever the boys are antsy, upset, in need of distraction – Stop. Hammer time.
I try to round out my morning with the boys with a post-lunch clean up. Fill the dishwasher, wipe down the table, get laundry going, and quickly vacuum the floors. The boys "help" and we keep the music going. It's a good way to work off lunch and get the house ready for quiet time. As much as sometimes I don't want to clean up at this point in the day (cause I'm feeling kinda tired and kinda like just scrolling through social media and kinda like just sitting the heck down), I also know that mess is a big distraction for me. And since nap time (AKA work hour) is coming up, I turn up the tunes and push through. Like literally, push the vacuum through the house. It's really pretty cathartic.
Even though I'm not actually moving, this feels like the most intense part of my day. I try really hard to not work in the evenings, (not always so successful) so I try to get as much done as possible within the next 2 hours or so. This includes blog photos, emails, Instagram stuff, full posts, and most all of my photo editing and photography work, which I've found that if I do too tired I end up making people look like they have spray tans. So I don't do that anymore. It's a lot to shove into a couple hours but that's why I keep lists to lower my distractions and I don't allow myself to open up Facebook or Instagram unless it's for a specific purpose and I'm on a timer. I'm horrible about falling down the rabbit hole into my IG feed, and online shopping, so I have to keep myself accountable.
The boys wake up usually between 3 and 3:30 and nothing squashes my working from home mode like two kids running around post nap yelling about snacks. Just being honest. So I wrap up when I know I'm at a stopping point and get back to Mommin'. So I settle into those couple loads of laundry I started earlier and fold, while the dog supervises and I drool over Joanna Gaines's impeccable style. My hubs gets home about 4:30 so I try to tie up anything I had going on during the day so we can have family time when he gets home.
I'd like to pretend this is "me" time where I get to sip on a glass of wine and listen to Jazz music and leisurely cook dinner… pretend the entire family is going to eat and definitely not throw food to the dogs, it's just not the case. This is usually time when I'm in the kitchen with a dog laying on my feet, twin toddlers both shouting at me for a banana and/or cheese stick, and my hubs is doing stuff around the house so I suddenly have an out of body experience as I watch my mind evaporating out of my ears and try to channel bedtime to come faster.
However… Or on this particular night, I actually got to read because we had a freezer meal in the oven. I do a monthly swap with my friends and I end up with 5 meals I can just throw in the oven and walk away. It's pure bliss I tell you. I'm currently re-reading The Great Gastby (my fav of all time, and this is probably my 15th time through it) and the boys got some quality time in with Mater's Tall Tales – for probably the 1500th time. Somehow they still think it's funny.
Dinner first – mmmm casseroles, then off to the bath. Hubs has done bath time with the boys solo for a long time. It's their time to hang and have dada/kiddo time, and my time to tidy up from dinner, steal a piece of the chocolate, and scroll through Instagram mindlessly for a little bit.
Like I said, I try my hardest to not work in the evenings. I was working on finishing up a dress I made for a friend for her birthday, and did some vinyl for a couple birthday gifts I needed to send out. Sometimes I color, other times I go out with friends or go out for date night. Evenings are my time to recharge and fill my cup. And as much as I would love to show you pictures of the next 3 hours… they all pretty much just show me, taping patterns or cutting fabric or browsing the internet for more fabric. So instead, I'll show the finished product of the dress I made, which my friend loved and I'm super happy with.
Because we get up really early, and are hoping to get up earlier soon, we have a lights out at 11 policy. Seems silly sometimes to have a bedtime as a grown adult, but I thank myself when I'm awake before the sun is, which as motivated as that may sound, I really don't speak for those first couple of hours. I just squint at the world, drink a lot of coffee, and cherish a little silence before the minions are awake.
Anyway… At 10:00, we gather ourselves, do the nighttime routine of lights off, dogs out, make up washed, and we hang out in bed. Lately Tomas has been reading to me which I LOVE and feels so romantic. We're in Lord of the Rings right now (#nerdcouple), and we talk about our days and how we're doing. It's lovely to have time to just unwind, not be staring at a screen, not be talking over the kids or each other, and round up our day.
This is yet another incredible post by SaraDear. I think you take after me. 🙂 Ok.. so you created your incredible path, found your amazing gifts and talents nestled within yourself, and ran with it all, never looking back. That is the whole truth, and the other whole truth is… I am one blessed mama. I love you with every little piece of my heart.


I have completed my Bachelor's degree.I am currently not working at present and I lives in Machilipatnam. I comes from a middle class, joint family background with traditional values.
I am self-employed with a Higher Secondary Education currently living in Gudivada (Krishna). I belong to a middle class, nuclear family with traditional values.
I have a Bachelor's degree and I am employed in private Sector as an executive currently based in Machilipatnam. I come from a middle class, joint family background with traditional values.
I am self-employed with a Higher Secondary Education currently living in Machilipatnam. I belong to a middle class, nuclear family with traditional values.


A position of leadership does not automatically equip you to lead. Review some factors necessary to develop your leadership.
Keeping the lines of communication with your suppliers open while being transparent can help you maximize the benefits for your organization. Learn five simple steps to point you in that direction.


Thirteen-month registration of patients with gastroenteropancreatic endocrine tumours in France.
Insulin modulation of luteinizing hormone secretion in normal female volunteers and lean polycystic ovary syndrome patients.
Imaging appetite-regulating pathways in the central nervous system using manganese-enhanced magnetic resonance imaging.
Transcriptional analysis of estrogen effects in human embryonic neurons and glial cells.
Thyroid hormone homeostasis in brain: possible involvement of adrenergic phenomenon in adult rat.
Pituitary changes involved in prolactin secretion induced by mifepristone and naloxone during late pregnancy.


text:
How to write a bibliography apa style - ashleysixto.com
How to write a bibliography apa style
At the same time, any student's paper can be a how to write a bibliography apa style source itself, and their bibliographies are https://nnngo.org/cause-and-effect-essay-layout priceless Just as in a References or Works Cited list, the works you list in your MLA style bibliography should be in alphabetical order with the author's last name first, then a comma, then the first name followed by a period. Your working bibliography should be kept separate from 2. Popular Styles. essay book bibliography In the APA style citation there are five main levels of headings, and each level serves a specific purpose. Include the author name first (the last name goes first, then a comma, then the first http://www.tweetsicles.com/blog/free-bus-driver-resume-sample name of the author). 1. Quotation (Wright as cited in Bragdon, 2013, p. It also gives credit to authors you have consulted for their ideas. Create an APA Reference for Each Source. J Immigr Health. Contact Us. Click at the end of the sentence or phrase that you want to cite A how to write a bibliography apa style paper written in APA style pays close attention to mechanical details and is typed using a legible, 12-point font, usually Times New Roman. Hit it off and slog your cursor from left to right crossways the whole citation underneath the style heading Creating Annotated Bibliographies Based on APA Style Annotated bibliographies are not specifically addressed in the Publication Manual of the American Psychological Association (APA) (6 th ed.).
Feb 12, 2020 · Briefly examine and review the actual items. Tip: If you cite a new source, add it to the bibliography by clicking anywhere in the bibliography and selecting Update Citations and Bibliography Because you're citing specific information, you will need to write a regular APA Style author–date citation. It also covers the treatment of numbers, statistical and mathematical data, tables and how to write a bibliography apa style figures Feb 03, 2020 · If you have only 1 citation the title should http://www.tweetsicles.com/blog/science-homework-answers-8th-grade be Reference. This example is based on the APA style guide, but your …. Website Example. 3. Create a bibliography, citations, and references Put your cursor at the end of the text you want to cite. This is called a running head Apr 14, 2015 · There are several formats extensively available in academic writing. Add the title of the work you are referencing, and underline this title APA Citation Examples. free essays for literature When discussing citation methods, APA refers to a method developed by this organization to give credit to sources used in a paper. In-text citations are citations within the main body how to write a bibliography apa style of the text and refer to a direct quote or essays on musical analysis tovey paraphrase. How to Cite a Print Source in APA Style | Webucator. It can also be used to locate particular sources and combat plagiarism General APA Guidelines Your essay should be typed and double-spaced on standard-sized paper (8.5" x 11"), with 1" margins on all sides. You should use a secondary source only if you are unable to find or retrieve the original source of information Sep 13, 2017 - Explore soniaramberger's board "APA style writing", followed by 149 people on Pinterest. The reference list should start on a separate page at the end of your paper. Important Tips for APA Style Reference Pages Your references should begin on a new page.
Before getting start to this style of referencing, you must consider the basic layout All the references should be how to write a bibliography apa style arranged in a proper alphabetical order. You can provide us with a small write-up of the source but that is not necessary. These contain the general rules for each citation type along with specific examples covering books, articles, videos and more. List the last name, followed by a comma and the publication year. Go to References > Bibliography , and choose a format. How to Write an APA Format Bibliography Start Your Bibliography on a New Page Gather Your Sources Create an APA Reference for Each Source Create an Annotation for Each Source How to Write an APA Format Bibliography www.verywellmind.com/apa-format-bibliography-2794836 Was this helpful? End the title with a period inside the quotation marks. One Author or Editor Two Authors or Editors. APA in-text citation style uses the author's last name and the year of publication, for example: (Field, 2005) There are several steps you must take to prepare a new document for APA style before you start writing your paper: Make sure the paper size is 8.5″ x 11″ (known as 'Letter' in most word processors). 223) Wright's report (as cited in Bragdon, 2013) stated, "Obesity research indicates people need to drink more water" (p. You may opt to write the title after you have made your annotations. Sort all of your references alphabetically by last name. You should use the author's full last name and then their first and middle (if … Views: 381K APA Format: 12 Basic Rules You Must Follow https://www.verywellmind.com/general-rules-for-apa-format-2794840 Important Tips for APA Style Reference Pages Your references should begin on a new page. 4. The title should be centered across the top of the page. Parenthetical.
People also ask How to cite a print source in APA style? It's got lots of rules (e.g., within a parenthetical citation, use an ampersand (&), but. Your annotated bibliography depends on your writing style. Dear APA Style Experts, I'm a computer science major, and my favorite blog is called Gödel's Lost Letter and P=NP, written by two how to write a bibliography apa style esteemed computer science experts.Can I cite a post from that blog? Chicago. Jan 28, 2020 · Typically, a citation can include the author's name, date, location of the publishing company, journal title, or DOI (Digital Object Identifer). Enclose the last name and date in parentheses. You should use a secondary source only if you are unable to find or retrieve the original source of information Just as in a References or Works Cited list, the works you list in your MLA style bibliography should be in alphabetical order with the author's last name first, then a comma, then the first name followed by a period. They correspond to a reference in the main reference list Cite Anything and Everything in APA Format. All APA in-text citations require the same basic information: Author's last name (no first names or initials). It must be a separate page at the end. How to Create an Annotated Bibliography: Use the university library to find the required number of scholarly sources for your project.
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text:
require_relative "setup"
require "json"
require "patchboard/schema_manager"
require "patchboard/action"

def media_type(name)
  "application/vnd.gh-knockoff.#{name}+json"
end

api = PatchboardTests.api
schema_manager = Patchboard::SchemaManager.new(api.schemas)

MockClient = Struct.new(:schema_manager, :http, :api)
Resource = Struct.new(:context)
http = Minitest::Mock.new
client = MockClient.new schema_manager, http

describe "Patchboard::Action with request body required" do

  before do
    @action = Patchboard::Action.new client, :create, {
      :method => "POST",
      :request => {
        :type => media_type("user"),
      },
      :response => {
        :type => media_type("user"),
        :status => 201
      }
    }
  end

  it "initializes" do
    assert_equal "POST", @action.method
    assert_equal 201, @action.status
    assert_equal media_type("user"), @action.headers["Content-Type"]
    assert_equal media_type("user"), @action.headers["Accept"]
  end

  describe "processing input for requests" do
    before do
      @content = {:email => "x@y.com"}
    end

    it "raises an error when content is not supplied" do
      assert_raises RuntimeError do
        @action.process_args []
      end
    end

    it "accepts objects as content" do
      options = @action.process_args [ @content ]
      assert_kind_of String, options[:body]
      assert_equal @content.to_json, options[:body]
    end

    it "accepts strings as content" do
      options = @action.process_args [ @content.to_json ]
      assert options[:body].is_a? String
      assert_equal @content.to_json, options[:body]
    end
  end

  describe "preparing request options" do

    it "works" do
      url, content = "http://api.thingy.com/", {:email => "x@y.com"}
      options = @action.prepare_request(Resource.new, url, content)
      assert_equal "http://api.thingy.com/", options[:url]
      assert options[:headers]
      assert_equal media_type("user"), options[:headers]["Content-Type"]
      assert_equal media_type("user"), options[:headers]["Accept"]
      assert_equal content.to_json, options[:body]
    end

  end

  describe "receiving an error from the API" do
    before do
      http.expect :request, Hashie::Mash.new({ status: 403, body: {}, headers: {} }), [Object, Object, Object]
    end

    it "raises the correct error type" do
      url, content = "http://api.thingy.com/", {:email => "x@y.com"}
      assert_raises Patchboard::Action::ResponseError do
        @action.request(Resource.new, url, content)
      end
    end

  end

end

describe "Patchboard::Action with no request body" do

  before do
    @action = Patchboard::Action.new client, :get, {
      :method => "GET",
      :response => {
        :type => media_type("user"),
        :status => 200
      }
    }
  end

  it "initializes" do
    assert_equal "GET", @action.method
    assert_equal 200, @action.status
    assert_equal media_type("user"), @action.headers["Accept"]
  end

  describe "processing input for requests" do

    it "raises an error when content is supplied" do
      assert_raises RuntimeError do
        @action.process_args [{:foo => "bar"}]
      end
    end

    it "is happy when no content is supplied" do
      options = @action.process_args [ ]
      assert_nil options[:body]
    end

  end

end

redpajama_set_name: RedPajamaGithub


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tamounte.trek@gmail.com
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Factors requiring consideration are: (1) present caries activity; (2) past caries activity; (3) parent /sibling caries activity; (4) sugar consumption; (5) oral hygiene; (6) fluoride exposure; (7) teeth morphology; (8) Streptococcus mutans levels; (9) saliva characteristics cheap 20 mg tadalafil free shipping, flow rate purchase tadalafil 5mg amex, and consistency. Factors (1)-(7) will become clear when a full history and examination are carried out; while (8) and (9) will only come into play if there is rampant caries, which the dentist cannot explain from the history (Fig. The operator must keep this to a minimum, consistent with complete caries eradication. Every time an operator places a restoration, he or she destroys more of the original tooth structure, thereby weakening the tooth. Even though the occlusion in a young person changes as growth occurs and teeth erupt, it is important to realize, that when the operator places restorations, he or she must replicate the original occlusal contacts in the tooth. Although, it may be tempting to keep the restoration totally out of the occlusion, teeth will move back into the occlusion, which will thereafter be slightly different and the cumulative effect of a lot of little changes can severely disrupt the occlusion in the long term. When treating an approximal lesion on one tooth with an adjacent neighbour, the operator will almost certainly damage the latter. The important surface layer of the neighbouring tooth, which contains the highest level of fluoride is the most resistant, so damage inflicted increases the chances of the adjacent surface of the neighbouring tooth becoming carious. It also creates an area of roughness on that surface, which in turn will accumulate more plaque, thereby increasing the risk of further decalcification. When placing an interproximal restoration it is inevitable that there is some damage to the periodontal tissues. There is the transient damage caused by placement of the matrix band and wedge, and there is also an enduring effect caused by the presence of the restoration margin. The very presence of the new restoration results in a contour change of the interstitial space. However smooth the operator attempts to make it, the altered state will increase plaque accumulation. Key Point Every time a restoration is placed, more of the original tooth structure will be destroyed, thereby weakening the tooth. There is little evidence to suggest that remineralization occurs in lesions already into dentine. The rate of caries progression is usually slow but can be rapid in some individuals, particularly younger children. In general, the older the child is at diagnosis of a carious lesion the slower the progress of the lesion, assuming constancy of other risk factors. Small restorations are generally more successful than large, so a balance has to be struck, allowing preventive procedures adequate time to function, against the risk of lesion enlargement. The progression rate of approximal caries can vary from tooth to tooth within the same mouth. Remineralization sources available are: • fluoride rinse, • fluoride varnish, • chlorhexidine thymol varnish, • oral hygiene measures, • adjacent glass ionomer restorations. Determination of the most effective method to retard the progression of approximal caries requires not only identification of the most effective remineralizing agent but also the frequency with which to employ it. Key Point The remineralized tissue of early caries is less susceptible to further caries. Existing studies indicate that fluoride varnishes, solutions, and toothpastes all provide a significant effect on the progression of approximal caries in permanent molars when assessed radiographically. It would be interesting to know what happened after the completion of the studies and poses the following questions: • Would the lesions have developed to the restorative stage? Progress of caries through the enamel seems to be fairly slow but once the dentine is reached it accelerates. So as a rule of thumb, restore approximal surfaces once the lesion reaches the enamel/dentine interface. Where there is no overt or open cavity, diagnosing the status of a discoloured or stained fissure can be incredibly difficult if not impossible on occasions. These include: • visual methods (dry tooth); • probe/explorer; • bitewing radiographs; • electronic; • fibre optic transillumination; • laser diagnosis. When two or three methods are used in combination, there is greater accuracy and higher rates of detection of caries. The most widely used combination is visual inspection under a good light, to examine a dry tooth for stains, opacities, etc. Drying the tooth to be examined is essential as early lesions will only become visible, where the demineralization is minimal, when there is a dry surface. Different recommendations are made for the timing of bitewing radiographs and these are discussed in Chapter 3414H. Bitewing radiographs will show dentinal caries in teeth that are designated as clinically sound but there will also be teeth visually designated as carious in which there are no radiological signs of caries, hence the need for more than one method of diagnosis. In making a diagnosis of caries, the operator has to decide, not only that there is a lesion present but also: • Whether or not demineralization is present. Measurements of electrical conductance and laser fluorescence have the potential to chart lesion progression/retardation as they provide a quantitative record, which if repeated over several appointments will demonstrate whether the lesion is active or arresting. However, it should be remembered that the electrical conductance and laser fluorescence methods would incorrectly interpret hypomineralization as caries and that similarly the laser-based instrument will routinely interpret staining to be caries.
Dexamethasone after antibiotics chair order tadalafil 20mg mastercard, but the Romberg test is not able to be performed C proven tadalafil 5mg. Eosinophilic myofasciitis ing college, and she has always attributed her headaches to C. She also had weakness in the extraocular muscles, aches occur about seven times monthly. She estimates that which is described to you as "googly eyes" with repeat ex- the headaches occur >90% of the time on the right side and aminations. She has no aura before the onset double vision almost exclusively when she watches televi- of a headache but describes occasional visual disturbance sion in the evening. The she frequently develops sensitivity of her scalp on the side patient denies any other past medical history and has a of the headache with associated paresthesias. Formal psychiatric evaluation vertigo that resolved over the course of several hours in as- B. Serum anti-acetylcholine receptor antibodies work because of headache, but feels like her productivity is D. Slit-lamp examination aches include red wine and aged cheese, which she has restricted from her diet for this reason. A 37-year-old man is witnessed by his family to have minophen, and naprosyn sodium have no effect on the du- a generalized tonic-clonic seizure at a party. Physical exam- for a maternal aunt with classic migraine headaches with ination shows no skin abnormalities and no stigmata of aura. The physical examination is normal without any evi- chronic liver or renal disease. His white What is the most appropriate next step in evaluation and blood cell count is 19,000/µL, hematocrit 36%, and plate- management of this patient? Which next step is most appropriate in this cluding consistent sleep-wake cycle and regular ex- patient's management? Which of the following cranial nerve physical exam- from the female parent except ination techniques represents the correct approach to the patient with suspected neurologic disease? Trigeminal nerve: Examine the motor territories on head-on motor vehicle collision. The patient is unrespon- each side of the face by testing jaw clench, eyebrow sive even to painful stimuli and is apneic; however, he elevation and forehead wrinkling. Accessory nerve: Check shoulder shrug and head ro- would exclude a diagnosis of brain death? Cardiovascular, gastrointestinal, and skin examina- reddening of the right eye as well as nasal stuffiness. What is the most ap- most likely diagnosis of this patient's headache is propriate treatment for this individual? The most common cause of a cerebral embolism is of incapacitating facial pain lasting from second to minutes A. Referral to Otolaryngology for surgical cure disk herniation than the straight leg raise. A 26-year-old man presents to the emergency room pain referred from visceral organs. The straight leg raise test is positive if there is re- noticed a feeling of weakness in his legs with difficulty climb- stricted range of motion of the affected limb. A 37-year-old woman complains of headache and the ensuing days, his weakness has progressed such that he blurry vision that have been present for a year and are feels like he is tripping when he walks on flat surfaces and slowly getting worse. In addition, obtained and shown below: he now states that he is having difficulty lifting his arms above his head to comb his hair and twice dropped a bottle of soda on the floor due to a feeling of weakness in his arms. Three weeks ago, he was treated for dehydration in the emergency room for food poisoning with diarrhea, abdominal pain, and low- grade fevers. This resolved within 2 days, and he had been feeling in his usual state of health prior to the onset of the current symptoms. On physical examination, he appears breathless, has difficulty completing sentences, and is using accessory muscles of respiration. His vital signs show a respiratory rate of 32 breaths/min, a heart rate of 95 beats/min, a blood pressure of 112/76 mmHg, and a temperature of 37. Oligodendroglioma family history is significant for similar symptoms of weakness in her brother who is 2 years older. All but which of the following statements regarding who is 58 years old, was diagnosed with mild weakness epilepsy are true? The incidence of suicide is higher in epileptic pa- On physical examination, the patient's face appears long tients than it is in the general population. Her speech is mildly dysarthric, and the palate is than it is in age-matched controls.
Efforts must be applied to all of these areas to attempt to provide the optimum conditions for future tooth survival buy discount tadalafil 5 mg on line. These risk factors and preventive measures are addressed in other chapters purchase 20mg tadalafil, such that the authors can confine themselves to appraisal of methods of treatment of caries in the young permanent dentition. They cannot hope to completely cover every aspect of operative treatment in one chapter; there are other texts that should be read to give a fuller account of the available techniques (see sections 9. The idea of a caries risk assessment for each child patient is to ensure that the chosen diagnostic tests, preventive treatment, and any provided restorations, are geared specifically to the need of that patient. Factors requiring consideration are: (1) present caries activity; (2) past caries activity; (3) parent /sibling caries activity; (4) sugar consumption; (5) oral hygiene; (6) fluoride exposure; (7) teeth morphology; (8) Streptococcus mutans levels; (9) saliva characteristics, flow rate, and consistency. Factors (1)-(7) will become clear when a full history and examination are carried out; while (8) and (9) will only come into play if there is rampant caries, which the dentist cannot explain from the history (Fig. The operator must keep this to a minimum, consistent with complete caries eradication. Every time an operator places a restoration, he or she destroys more of the original tooth structure, thereby weakening the tooth. Even though the occlusion in a young person changes as growth occurs and teeth erupt, it is important to realize, that when the operator places restorations, he or she must replicate the original occlusal contacts in the tooth. Although, it may be tempting to keep the restoration totally out of the occlusion, teeth will move back into the occlusion, which will thereafter be slightly different and the cumulative effect of a lot of little changes can severely disrupt the occlusion in the long term. When treating an approximal lesion on one tooth with an adjacent neighbour, the operator will almost certainly damage the latter. The important surface layer of the neighbouring tooth, which contains the highest level of fluoride is the most resistant, so damage inflicted increases the chances of the adjacent surface of the neighbouring tooth becoming carious. It also creates an area of roughness on that surface, which in turn will accumulate more plaque, thereby increasing the risk of further decalcification. When placing an interproximal restoration it is inevitable that there is some damage to the periodontal tissues. There is the transient damage caused by placement of the matrix band and wedge, and there is also an enduring effect caused by the presence of the restoration margin. The very presence of the new restoration results in a contour change of the interstitial space. However smooth the operator attempts to make it, the altered state will increase plaque accumulation. Key Point Every time a restoration is placed, more of the original tooth structure will be destroyed, thereby weakening the tooth. There is little evidence to suggest that remineralization occurs in lesions already into dentine. The rate of caries progression is usually slow but can be rapid in some individuals, particularly younger children. In general, the older the child is at diagnosis of a carious lesion the slower the progress of the lesion, assuming constancy of other risk factors. Small restorations are generally more successful than large, so a balance has to be struck, allowing preventive procedures adequate time to function, against the risk of lesion enlargement. The progression rate of approximal caries can vary from tooth to tooth within the same mouth. Remineralization sources available are: • fluoride rinse, • fluoride varnish, • chlorhexidine thymol varnish, • oral hygiene measures, • adjacent glass ionomer restorations. Determination of the most effective method to retard the progression of approximal caries requires not only identification of the most effective remineralizing agent but also the frequency with which to employ it. Key Point The remineralized tissue of early caries is less susceptible to further caries. Existing studies indicate that fluoride varnishes, solutions, and toothpastes all provide a significant effect on the progression of approximal caries in permanent molars when assessed radiographically. It would be interesting to know what happened after the completion of the studies and poses the following questions: • Would the lesions have developed to the restorative stage? Progress of caries through the enamel seems to be fairly slow but once the dentine is reached it accelerates. So as a rule of thumb, restore approximal surfaces once the lesion reaches the enamel/dentine interface. Where there is no overt or open cavity, diagnosing the status of a discoloured or stained fissure can be incredibly difficult if not impossible on occasions. These include: • visual methods (dry tooth); • probe/explorer; • bitewing radiographs; • electronic; • fibre optic transillumination; • laser diagnosis. When two or three methods are used in combination, there is greater accuracy and higher rates of detection of caries. The most widely used combination is visual inspection under a good light, to examine a dry tooth for stains, opacities, etc. Drying the tooth to be examined is essential as early lesions will only become visible, where the demineralization is minimal, when there is a dry surface. Different recommendations are made for the timing of bitewing radiographs and these are discussed in Chapter 3414H.
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Tamounte Trekking est une agence organisatrice de circuits et séjours touristiques, créée en 2003. En berbère, "tamounte" signifie "ensemble". C'est justement ensemble, avec vous, notre équipe, nos partenaires que nous organisons des circuits dans le désert du Sahara marocain, dans les montagnes et plateaux de l'Atlas ou sur les côtes Atlantiques. Le Maroc est un pays que vous pouvez découvrir toute l'année. En hiver, nous vous conseillons les randonnées sahariennes au sud de Ouarzazate, d'octobre à mai. Le grand sud avec ses gorges, ses vallées, ses palmeraies sont une révélation inattendue pour le voyageur qui descend vers le désert.
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Matthew Shea
You are here: Home / Ensemble, Fellows, Staff & Board / Matthew Shea
Ensemble Member
mshea@singlecarrot.com
Matthew is a Baltimore-based actor, writer and director, originally from Lancaster, PA. He moved to Maryland to study acting at Towson University, where he graduated with a Bachelor of Science in Theatre Arts. In 2011 he was a presenter at the Making Tomorrow's Theatre conference at the Grotowski Institute in Wroclaw, Poland, where he demonstrated the Rasaboxes training technique. After graduating from Towson, Matthew served as the Company Management Intern at Center Stage during their 50th Anniversary Season. He has worked as an actor and playwright in both Baltimore and Washington DC ever since. Matthew made his Single Carrot debut in 2015 as Jeremiah in Jen Silverman's Phoebe in Winter.
SCT Production History
Jeremiah – Phoebe in Winter by Jen Silverman
Season X
Ensemble – Savage/Love by Sam Shepard & Joseph Chaikin
Ensemble – A Short Reunion
Ensemble Creator – Promenade: Baltimore
Co-Director – A Public Reading of an Unproduced Screenplay About the Death of Walt Disney by Lucas Hnath
Ensemble – Putin on Ice by Lola B. Pierson


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Where I grew up there was a variety of languages spoken. The languages were far removed from the Queen's Standard English. On my block alone people spoke Indian, Punjabi, Arabic, Jamaican patios and patios from other Caribbean Islands. All were united under the English language. But come to think about it those with immigrant parents intertwined the Standard English with the native language they learned from their parents. It was a normal thing to hear a child of an immigrant naturally switch from one language to another during a conversation. Anyway, the language that I intertwined with Standard English while growing up was the Jamaican patios.
For this prompt I decided to write something that is a lesson in one of Ross Jeffries Speed Seduction course. It is written entirely in Jamaican patios. I took the liberty of providing a short tutorial about Jamaican patios so that you can at least know what it sounds like.
Di first lesson inna seduction dat yuh need fi kno dat yuh should tek di attitude dat tere no such ting as love, passion, attraction, chemistry, lust. wi as humans experience dem yah states; dem processes dat tek place inside di human mind an body wich a tel yuh dem cya be summoned an directed at will.
dat a theoretical suh mi a guh give yuh an example wah every oman dream of; falling inna love.
an sey har name to yuhself 2 to 3 times; yuh dance round di house an yuh bring har name up inna every conversation.
Di point \"love\" a process people duh to demselves it nuh a ting yuh trip ova or a hole yuh fall inna.
di dumb process yuh use pon yuhself cya now be use to mek har fawn all ova yuh repeatable an predictably.
Did you understand what you read? I'll translate it all one day.
As usual with comedy some of the skits that I saw were not that funny and some went on too long, but some of the ones that I saw have their moments.
You were fortunate to grow up around people speaking/using other languages and to be able use one yourself, some of us were not so fortunate.
Thanks for taking time out to look at my stuff….
I would like to recommend adding the Search widget to your blog so that people can search for posts on your blog by keywords which can make it easier for people to search for specific posts, enabling the drop-down option on your Archives widget to save space because it will continue to take up more space every month if you do not, adding the Category widget with the drop-down option enabled to save space, adding the Recents Posts and Recent Comments widgets, and maybe adding the RSS Links widget for those who want to follow your blog using RSS feeds and the Google Translate widget for those who need to translate your blog to another language to read it.
You are welcome, and thank you True George.


text:
Batman: Arkham City is the ultimate Brit-made superhero game
David JenkinsWednesday 12 Oct 2011 3:52 pm
All-American heroes seem to be made in Britain at the moment, even in the gaming world, so it's no surprise that the UK's Rocksteady Studios have produced possibly the best Batman yet with Batman: Arkham City.
Batman gets more city to patrol in the upcoming game Batman: Arkham City
You can hardly picture a more all-American hero than Superman. Except in the Man Of Steel sequel currently being filmed, he's being played by The Tudors' Henry Cavill . Or there's New York's friendly neighbourhood Spider-Man, who in next year's reboot is played by one-time Doctor Who bit-part player Andrew Garfield (he's lived in Surrey since he was three).
Another superhero currently as British as warm beer is Batman: Christian Bale , cinema's current Bruce Wayne, is British; director Christopher Nolan is British; and so are most of the co-stars from Gary Oldman to Michael Caine .
Many of the Caped Crusader's comic creators are home-grown – including noted scribes Grant Morrison, Alan Moore and Mark Millar. Then there's London video-game developer Rocksteady Studio.
Its 2009 Batman: Arkham Asylum shocked the gaming world, not just because it was a good superhero title (most through the years have been pretty awful) but because Rocksteady was almost unknown at the time.
'We spent around a year cutting our teeth on the new technology [Xbox 360 and PlayStation 3] and developing a number of original concepts,' says game director Sefton Hill. 'But when the opportunity came to create a new Batman game we couldn't resist.'
But if other superhero games, including many Batman tie-ins, have been disappointing, why take such a risk?
'Batman is a perfect video-game character,' claims Hill. 'He balances power and vulnerability that makes him unlike most characters. There are the awesome gadgets, his incredible and brutal fighting ability, his detective and problem solving skills and the ability to move without being detected. However, underneath all of his training and weaponry, he is human, only a few gun shots away from death.'
Batman: Arkham City will be released on October 21 and is set to be the biggest game this Christmas not to feature first-person terrorists. The plot has the pschiatric facility of Arkham Asylum becoming so filled with criminals that a section of Gotham City has to be annexed to house the excess.
What this means in game terms is a giant virtual city to roam around in, filled with iconic villains such as the Joker, Penguin, and the Riddler. As well as Batman, for the first time you get to play as Catwoman and even Robin on selected challenges.
'When we finished Arkham Asylum, we knew we wanted to take Batman into his spiritual home – Gotham City,' says Hill. 'But we know that if we were to deliver the true Batman experience the player would need to have complete freedom to go anywhere and everywhere and that every square inch of the city would need to be realised with the same care and attention to detail as the asylum.'
But why the domination of British creativity on the modern Batman mythos?
'I really don't know. I have a genuine love for this character and his universe. From there, we just set out to make the Batman game that we would want to play.'
So next time you complain about Robert Downey Jr playing Sherlock Holmes or Russell Crowe as Robin hood, think of it as a cultural exchange of fictional heroes.
Arkham CityBatman
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Home › Entertainment › Gaming


text:
Джоді Лукокі (, 15 листопада 1992, Кіншаса — 9 травня 2022) — конголезький та нідерландський футболіст, фланговий півзахисник.

Ранні роки
Джоді Лукокі народився 15 листопада 1992 року в Заїрі, але через війну в країні він разом з батьками і братом-близнюком Маджером переїхали в Нідерланди. З десяти років Джоді грав у футбол за дитячу команду «ВВА/Спартан» з Амстердама, а вже через гарлемський «Янг Бойз» він потрапив в юнацький склад амстердамського «Аякса».

Кар'єра

Клубна
В середині грудня 2010 року Лукокі був переведений головним тренером клубу Франком де Буром в основний склад «Аякса». 18 грудня вперше він був включений в заявку команди на майбутній матч чемпіонату. Дебют Джоді відбувся 19 січня 2011 року в грі з «Феєнордом». На полі 18-річний футболіст з'явився на 80-й хвилині замість Лоренцо Ебесіліо. Завдяки голам Тобі Алдервейрелда і Міралема Сулеймані «Аякс» виграв з рахунком 2:0. У лютому 2011 року Джоді уклав з «Аяксом» професійний контракт до 30 червня 2012 року, а у грудні угоду було продовжено до 2015 року.

У серпні 2013 року Лукокі був відданий в оренду на один сезон клубу «Камбюр». Дебютував за команду 4 серпня в матчі чемпіонату з «Бредою», вийшовши на заміну на початку другого тайму. У восьмому турі Лукокі забив свій перший гол за «Камбюр», вразивши ворота «Геренвена».

На початку серпня 2014 році Джоді перейшов в «Зволле», підписавши з клубом трирічний контракт і провів в команді наступний сезон.

26 червня 2015 року було оголошено про перехід Лукокі в болгарський клуб «Лудогорець». Відтоді встиг відіграти за команду з міста Разграда 19 матчів в національному чемпіонаті.

У липні 2020 року підписав дворічний контракт з турецьким клубом «Єні Малатьяспор».

У липні 2021 року перейшов до нідерландської команди «Твенте».

У збірній
Незважаючи на подвійне громадянство, Лукокі вирішив виступати за молодіжну збірну Нідерландів. Його дебют в команді до 19 років відбувся 7 жовтня 2010 року у кваліфікаційному раунді до чемпіонату Європи проти однолітків зі Словенії, який завершився перемогою «помаранчевих» з рахунком 2:0. На полі Джоді з'явився відразу після перерви, замінивши півзахисника Ола Джона, і вже на 63-ій хвилині відзначився голом. Після цього у наступній грі проти Мальти Лукокі вийшов у стартовому складі.

Протягом 2013–2014 років залучався до складу молодіжної збірної Нідерландів. На молодіжному рівні зіграв у 9 товариських матчах.

28 березня 2015 року Лукокі дебютував за збірної Демократичної Республіки Конго в товариській грі проти збірної Іраку (1:2).

Смерть
9 травня 2022 року Лукокі помер у віці 29 років від зупинки серця в лікарні в Алмере після побоїв, які завдали йому члени родини.

Титули і досягнення
 Чемпіон Нідерландів (3):
 «Аякс»: 2010-11, 2011-12, 2012-13
 Чемпіон Болгарії (4):
 «Лудогорець»: 2015-16, 2016-17, 2017-18, 2018-19
 Володар Суперкубка Болгарії (2):
 «Лудогорець»: 2018, 2019

Примітки

Посилання

Уродженці Кіншаси
Нідерландські футболісти
Футболісти ДР Конго
Гравці молодіжної збірної Нідерландів з футболу
Гравці збірної ДР Конго з футболу
Футболісти «Аякса»
Футболісти «Камбюра»
Футболісти «Лудогорця»
Футболісти «Єні Малатьяспора»
Футболісти «Твенте»
Футбольні легіонери Республіки Конго
Футбольні легіонери в Нідерландах
Футбольні легіонери в Болгарії
Футбольні легіонери в Туреччині

redpajama_set_name: RedPajamaWikipedia


Socialize with us this month at Social Sisters & Friends: Celebrating October with a local beer themed Social Sisters!
Bring a sister, friend or loved one and enjoy a beautiful fall evening enjoying Wichita's local breweries.
First stop, the Hopping Gnome Brewing Company at Douglas and Hydraulic then off to Central Standard Brewing (156 S Greenwood St, Wichita, KS 67211). We will also visit the local food trucks that will be parked outside these fun hot-spots.


Also serving communities of Pfafftown.
There are 18 Assisted Living Facilities in the Winston-Salem area, with 14 in Winston-Salem and 4 nearby.
The average cost of assisted living in Winston-Salem is $3,607 per month. This is higher than the national median of $3,346. Cheaper nearby regions include Kernersville with an average starting cost of $3,275.
To help you with your search, browse the 123 reviews below for assisted living facilities in Winston-Salem. On average, consumers rate assisted living in Winston-Salem 3.9 out of 5 stars. Better rated regions include Kernersville with an average rating of 3.9 out of 5 stars.
Caring.com has helped 13 families in Winston-Salem find high-quality senior care. To speak with one of our Family Advisors about assisted living options and costs in Winston-Salem, call (855) 863-8283.
Winston-Salem is one of the largest cities in the state of North Carolina. It was ranked as the sixth best place to retire by CNN Money and one of the top 24 best places to live in the south. Seniors who need assistance with daily living and who want to retire in Winston-Salem will find 14 assisted living facilities in the city and 33 in nearby locations like Clemmons, Walnut Cove and Kernersville. These facilities are regulated by the North Carolina Division of Health Service Regulation. There are two different types of assisted living facilities, including adult care homes and multi-unit assisted housing. Adult care home provides personal care services for two to six people, while multi-unit housing is not licensed, but they must register with the health service.
The Winston-Salem area is home to world-class medical facilities, including Wake Forest Baptist Medical Center, Novant Health Forsyth Medical Center and Novant Health Medical Park Hospital, in the event of medical emergencies or illness.
Seniors who need transportation to and from medical appointments or for errands can take advantage of the Winston-Salem Transit Authority Trans-Aid ParaTransit.
Winston-Salem has an array of community resources for seniors, including the Senior Services, Inc, an organization which helps match seniors with a variety of sources throughout the city and county, as well as at least three senior centers.
Seniors can enjoy the outdoors from spring to early winter with July highs around 88 and winter lows around 28. The city gets approximately six inches of snow per year and around 44 inches of rain.
Crime is ranked on a scale from one (low) to 100 (high). In Winston-Salem, violent crime is ranked 57.9 as compared to the national average of 31.1. Property crime is ranked 68.3 compared to a national average of 38.1.
Seniors on a budget will find Winston-Salem an excellent place to save money. Based on the national average of 100, the cost of living in Winston-Salem is 86.6. This is also lower than the state's average of 96.
Assisted Living costs in Winston-Salem start around $3,607 per month on average, while the nationwide average cost of assisted living is $4,000 per month, according to the latest figures from Genworth's Cost of Care Survey.
It's important to note that assisted living rates in Winston-Salem and the surrounding suburbs can vary widely based on factors such as location, the level of care needed, apartment size and the types of amenities offered at each community.
Winston-Salem and the state of North Carolina offer assistance paying for an assisted living facility through the state's Medicaid Plan. Eligibility is based on the federal Supplemental Security income payment and additional sources of income. The plan does not pay for a private room; however, family supplementation is accepted.
Winston Salem and the surrounding area are home to numerous government agencies and non-profit organizations offering help for seniors searching for or currently residing in an assisted living community. These organizations can also provide assistance in a number of other eldercare services such as geriatric care management, elder law advice, estate planning, finding home care and health and wellness programs.
To see a list of free assisted living resources in Winston Salem, please visit our Assisted Living in North Carolina page.
Winston Salem-area assisted living communities must adhere to the comprehensive set of state laws and regulations that all assisted living communities in North Carolina are required to follow. Visit our Assisted Living in North Carolina page for more information about these laws.


Thank you so much for stopping by! Mobile Food and Beverage Ordering at select quick-service Walt Disney World dining locations is so fast and convenient! We used it on our vacation just a few weeks ago, and it all was seamless using our credit card that's already linked to our My Disney Experience account.
Just as the Mobile Food and Beverage Ordering feature was rolled out in recent months, you can expect other features and functions to be added as the app improves. Keep your eyes on the Disney Parks Blog for news on any upcoming news about Mobile Food and Beverage Ordering updates, as I know this feature has been among one of the top requested by Guests.


text:
Missing 2-year-old girl located and returned to mother
The girl was last seen Friday at her home before being returned back home Saturday.
Missing 2-year-old girl located and returned to mother The girl was last seen Friday at her home before being returned back home Saturday. Check out this story on IndyStar.com: https://www.indystar.com/story/news/2019/03/30/police-seek-help-locating-missing-2-year-old-girl/3319661002/
Tim Evans, Indianapolis Star Published 12:34 p.m. ET March 30, 2019 | Updated 5:23 p.m. ET March 30, 2019
Crime Stoppers of Central Indiana allows Indianapolis residents to share anonymous tips with law enforcement. Here are a few things Crime Stoppers wants you to know before you call. Wochit
March 30 update: Just before 4 p.m., a missing 2-year-old was safely returned to her home and back into her mother's care, according to a statement issued Saturday afternoon by the Indianapolis Metropolitan Police Department.
The statement did not provide any specifics about her return, but it thanked "the community for the information they provided to IMPD."
"We also would like to thank the U.S. Marshalls Great Lakes Regional Fugitive Task Force for assisting in the investigation of Syncere Vertner," the statement said.
Original story: Indianapolis Metropolitan Police Department detectives are asking for help locating a 2-year-old girl allegedly taken by her non-custodial father.
The girl was last seen Friday at her home in the 1700 block of Pemberton Lane, according to a statement from IMPD. Police said she was allegedly taken by her father, who fled the area in a brown 1973 Cadillac.
The statement said the child is not believed to be in danger.
She is described as a 1-foot-10 tall, and weighing 20 pounds with brown hair and brown eyes.
Anyone with information about the child or her father should call dispatch at 317-327-3811, the IMPD missing persons unit at 317-327-6160 or Crime Stoppers of Central Indiana at 317-262-8477 or (TIPS).
Contact Tim Evans at 317-444-6204 or tim.evans@indystar.com. Follow him on Twitter: @starwatchtim
Read or Share this story: https://www.indystar.com/story/news/2019/03/30/police-seek-help-locating-missing-2-year-old-girl/3319661002/
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