Come learn how to Stand Up Paddleboard and experience what the sport has to offer. Whether it be site seeing, work out or even just a mode of transportation it's a great way to see the world!
Bellingham Washington is one of the best places to learn to paddleboard (also know as SUP'ing) in the Pacific Northwest. From Seattle to Vancouver BC, people choose to come to us to for SUP instruction in our protected and beautiful waters.
Our shop is located right on the water in Squalicum Harbor where calm conditions usually exist. No wake, no wind waves, no boat traffic. We have an area of the marina that is not utilized by boats that makes for the perfect place to learn right out the front door of the shop into Squalicum Harbor!
Lessons are led by an experienced paddler, and cover the basics of balance, standing up, paddling, turning, and safety. Lessons include the use of wetsuits to keep you comfortable.
Lessons are approximately 2 hours with at least 1 hour of on water paddling time.
As you add more people to the lesson, the price per person goes down.
Maximum group size is 6 people, but we are happy to do one on one lessons as well.


An inspiring lifestyle showcase that epitomises sophistication, prestige and the art of good living, delivering the inside story on the fashion of food, lifestyle and people, wine and foodie travel, with a restaurant guide included.
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text:
Spyker buys Saab in last-minute deal from GM for a reported $400 million
Saab, the Swedish carmaker that used the tagline "Born From Jets" but whose recent performance had taken the company into a severe tailspin, has been purchased by Spyker, the small Dutch sportscar manufacturer.
[ad#post]
Saab owner General Motors announced the deal without financial details. Several Internet reports, without quoting sources, said the purchase price for Spyker was $400 million, with $74 million in cash. The remainder of the purchase is reportedly in deferred stock shares.
Saab is seeking to borrow $564 million from the European Investment Bank, a loan that Sweden announced it will guarantee. Sweden said the EIB and European Commission were still reviewing the loan.
Despite a loyal following appreciative of its distinctive style reminiscent of the Jets the manufacturer original made more than 50 years ago, the Swedish carmaker has failed to make money for about two decades.
General Motors, which originally purchased half of Saab in 1989, was unable to improve Saab's global appeal.
"General Motors, Spyker Cars, and the Swedish government worked very hard and creatively for a deal that would secure a sustainable future for this unique and iconic brand," GM Vice President John Smith said in a statement.
Spyker, which only produces several dozen handmade sports cars a year, hopes to benefit from Saab's technical resources and distribution network. Saab will get funds to survive and an injection of entrepreneurial spirit.
Spyker employs about 100 people, Saab has some 3,400. While Spyker made 43 luxury cars last year, Saab's annual sales exceed 90,000.
According to a Reuters report, GM was on the verge of winding Saab down, a move that would not only have killed the brand but also would have devastated the southern Swedish town of Trollhattan, where Saab is based.
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redpajama_set_name: RedPajamaCommonCrawl


A weekend well spent brings a week of content.
And what better way to spend the weekend by brunching.
This time our selected location was the award-winning Modern Pantry in Clerkenwell, dining on the first floor of this bright, spacious and contemporary restaurant.
This brunch menu is different from many others out there, offering an enticing extensive and diverse range of options which makes it very difficult to choose. The descriptions of each dish have your mouth watering before you have even ordered the bubbles. I think I changed my mind a least three times before finally settling on the toasted English muffin, two poached eggs, yuzu hollandaise, hazelnut and dukkah with chilli, ginger and tamari braised Portobello mushrooms.
The dishes are generous, heartwarming and satisfying. I need to know where they source their English muffins from as they are much bigger than the ones I find in the supermarket! The popular dish of choice for our table was most definitely the tower-high muffins and having three different topping options is a winner. I mean how can you choose between hot tea smoked salmon, Kashmiri masala marinated pulled pork or the chilli, ginger and tamari braised Portobello mushrooms which I chose?!
Of course, brunch isn't always about eggs and coming from an egg addict that's saying something! The menu includes various pastries, fruits, grains, seeds and waffles. I would like a return visit to be able to sample their Blueberry & ricotta pancakes with berry and liquorice compote, they sound amazing.
It's a great gathering place catering well for groups of all sizes with a relaxed vibe and friendly atmosphere, an extremely Instagrammable location perfect for popping open the bubbles.
A top choice for weekend brunch!
Have you tried any new brunch locations lately?


text:
Rachel Eliza Griffiths is a multimedia artist, poet, and writer. Griffiths is the author of Miracle Arrhythmia (Willow Books 2010), The Requited Distance (The Sheep Meadow Press 2011), Mule & Pear (New Issues Poetry & Prose 2011), which was selected for the 2012 Inaugural Poetry Award by the Black Caucus of the American Library Association, and Lighting the Shadow (Four Way Books 2015), which was a finalist for the 2015 Balcones Poetry Prize and the 2016 Phillis Wheatley Book Award in Poetry. Her most recent book, Seeing the Body, is a hybrid of poetry and photography (W.W. Norton and Company).
INTERVIEW WITH Rachel Eliza Griffiths
Monday, 15 June 2020 by Rachel Eliza Griffiths
Courtesy of Rachel Eliza Griffiths
FWR: I'd like to start with the titular poem, "Seeing the Body". In it, you write into grief and how that grief can bifurcate the life of the living. In your visualization of grief, you create imagery (such as "flowers/falling from her blood" and "bale of grief on my back, opening/ into something black I wear") that seems resistant to more common depictions of grief. (I'm thinking of poems like Auden's "Funeral Blues" or the gothic imagery of Edgar Allen Poe, which have become synonymous with writing about loss). Did you find yourself resisting cliche, or writing through images that you had read from others, when you first began these poems?
Rachel Eliza Griffiths: The engine of "Seeing the Body" relies on how breathing happens through a poem as much as it is also about how breath stops or is altered by grief. There is the involuntary tension of trying to sustain an image or to construct a narrative about a beloved's life or one's self, only to find all is ruptured.
Auden's wonderful poem is after something very different than "Seeing the Body" insomuch as Auden's poem calls for a moment of silence that feels quite public in its address of ordinary life. My own poem wants intimacy, to address the earth and the private echo of silence where there is the sense of falling through one's body, one's birth and death through the body of the mother. My mother. This poem hurt me the entire time I worked on it. Years. I've never been attracted to clichés, visually or otherwise, so I don't think about resisting them. What has startled and provoked me is the immediate emotional connection I feel wherever I share these poems. I'm writing about a "common" experience yet it is anything but common for me.
I can never read this poem as it should be read. That was intentional. Each time I enter the earth of this poem I am further away from its original grief. I am somewhere else in my body and can't get back to the woman who braced herself against the initial impact of loss. Whenever anyone experiences this poem I hope there is an intimacy of reading that does not exclude our bodies. Through language, I'm aware of forcing myself to stop in the middle of something that has neither beginning nor end.
Listen to "Seeing the Body" read by Rachel Eliza Griffiths
http://fourwayreview.com/wp-content/uploads/2020/06/Griffiths-Seeing-the-Body-2.mp3
FWR: Seeing the Body includes a section ("daughter: lyric: landscape") composed of your photography, which is alluded to in other poems ("For years I photographed myself/ in a white dress", from "Husband"). You write in your Author's Note that these photos serve "as a map of the self and of the greater world in which [you] are both visualized and invisible". Had you planned on incorporating photography from the beginning, or how did that process develop?
Griffiths: In the beginning, I didn't plan to use any images at all in the book except I began to think about the types of photographs I had created in Mississippi just before she died. I had to go back and consider what I was "making" when I was unmade by her death. Then I also remembered the deliberate focus I gave photography immediately after her death. I clung to the machine, my camera, like a life raft. I began to perceive my own body as an urgent conduit of my grief, which meant I couldn't leave my body outside of any landscape on the page.
Perhaps the only way now that I can truly see my mother's body again is through studying my own. This time was weird and messy because I couldn't read books. I had a hard time using my camera. All these tools were nothing to me. When I began to write about my mother, it was very difficult because it felt like language was forcing me to accept elements of her death I couldn't bear.
Perhaps the only way now that I can truly see my mother's body again is through studying my own.
FWR: Did this impact your understanding of or play with syntax? (I'm thinking here of the poems "As" and "Good Questions").
Griffiths: "As" and "Good Questions" are fragmentary or function as what I might call a "collage of the lyric" — the rhythm and imagery bleed together in an attempt to both isolate language and to hold the visible language intact as grief itself opens through the body of the page. Photographs offered me a way to be grounded in the world, to remember there had been a world I loved before her death and that I could and must return to it. Finally, it was transformative, after so many years of being diligent that these mediums lived in separation, to ask them to touch each other and hold me.
FWR: "Color Theory and Praxis (I)" is a poem concerned with the body, but also the body in art. Specifically, it considers the painting "Open Casket" by Dana Schutz, which depicts Emmett Till. The poem questions who has the right to the body, particularly a body of color, and after death. I wonder if this influenced your own writing, as some of your poems see you imagining the voice of your mother, as in "Comedy": 'Yeah don't go and write about me like that/ she says. I already know you will.'
Griffiths: I'm ambivalent about my relationship to placing myself inside the voices and bodies of others. I've done it, whether by persona or in certain photographic series, and it can feel tense for me. Issues of permission and imagination fascinate me. I'm not interested in policing anyone but I do have the right to challenge, to question, and to critique certain things, especially when it comes to visual arts and representation. There is a lot at stake for me even when it feels like people want artists to shut up when their work is confrontational. I read an interview where Schutz said the painting was about a conversation with Till's mother. I disagreed with her perspective and the "terms" of this unreal, fantastical conversation, which placed the mutilated body of a black mother's son as its focal point, as its medium. There is a photograph of Mamie Till at her son's casket. I don't feel like Schutz's painting could ever listen to, or tell Mamie Till's truth. The artist has a right to do whatever she wants but I tried to understand what and where that right was located. I mean, there's a painting of hers that features Michael Jackson's body on an autopsy table. Again, do what you want but do it well. Also, I noticed she didn't use Trayvon Martin's image, or Sean Bell's, Tamir Rice's, or Eric Garner's, or Jordan Davis', or Philando Castile's, or Mike Brown's, or Ahmaud Arbery's, or…or…
I'm tired. There isn't enough canvas, enough pigment, enough bones in this country for black artists to address the violence and harm done to our bodies, our communities, by the imaginations or institutions that can't bear for us to live. It isn't our job or our art's job to do that work either. Why is America afraid that we dare to imagine ourselves as anything but dead?
My mother and I would go back and forth about my writing. Sometimes she'd ask me when I was going to write her story. Other times she worried about my imagination. None of the poems in "Seeing the Body" ever enter my mother's body and use her voice. I never wanted to do that. The dialogue in "Comedy" was exactly what she said.
It isn't our job or our art's job to do that work either. Why is America afraid that we dare to imagine ourselves as anything but dead?
FWR: In "Good Questions", you write, "when did the final arrangements begin? / At her birth. Inside of wet rock. When my birth began." Throughout the text, I was struck by your exploration of inheritance, whether of womanhood or illness, and how grief lives in the body (as in "Signs"). Would you speak to the development of this thread?
Griffiths: I'm in a more explicit stage of my life where I want to think of myself within a greater dimension, in conversation with beings that arrived before me, and those who are already arriving after me. I think about what I can share with the living and the dead. I'm constantly aware that the earth is different in her temperament since I was born. I've been astonished by how quickly some of our geographies have reverted and have healed during the pandemic without the presence of human abuse.
At this point, my work lends me an expansive way to think about how I might, as an artist, establish or assert my own lineage or claim inheritance in ways that don't necessarily include children. I'm constantly thinking about how remarkable it is to begin to really take into consideration the manners, culture, trauma, resilience, joys, and ways-of-being that I have inherited. These things I hold have come from my family but they have come from a larger consciousness. They also come from within me.
I'm in a more explicit stage of my life where I want to think of myself within a greater dimension, in conversation with beings that arrived before me, and those who are already arriving after me. I think about what I can share with the living and the dead. I'm constantly aware that the earth is different in her temperament since I was born.
FWR: Seeing the Body explores the shifting ownership of the female body and how language can free, as well as constrain. In "Ars Poetica", you write of imagining becoming a writer or a woman like your mother, before the neighbor and his friend interrupt your daydream: "his friend braked hard,/ barking like a dog… Hey, Bitch, he said". In "My Rapes" your mother asks, "why/ I listened to white girl shit. How could alternative music/ hear a black cry like mine?" Can language free us from the body?
Griffiths: It depends on so many things – whose language, which bodies, whose freedom, whose history, or memory. "Ars Poetica" speaks about some of the ways that violence can interrupt one's dreams or one's work. The poem is also asking questions about how we, especially black women, can afford our dreams and our work. How the world consistently fails to appraise our contributions even while our bodies and cultures will be taken as commodities, as resources. The second poem you mentioned is about some of the ways your own family will refuse to allow you (and by extension, your body) to live in songs (and bodies) that they believe are dangerous. I listened to a lot of Tori Amos because of what had happened to me. I listened to Fiona Apple, Ani DiFranco. I listened to them because my mother wouldn't hear my truth. She couldn't bear the thought of violation because she loved me so much.
Listen to "Arch of Hysteria, Or, the Spider-Mother
Becomes A Woman" read by Rachel Eliza Griffiths
http://fourwayreview.com/wp-content/uploads/2020/06/Griffiths-FWR-Hysteria.mp3
FWR: Building off of that question, you thread myth through your poems. For me, the inclusion of Athena, Arachne and Eurydice roots your experiences in grief and voicelessness within a larger historical and human story of being a woman. And the poem "Myth" speaks of "the literature/ of blood the black face gasps in air. No… / the black boy's face merely insists/ it is a face to begin with", which, to me, seems reminiscent of the commodification of bodies of color not only in commerce, but also in art. Can you talk a bit about the inclusion of these figures?
Griffiths: This question feels similar to the earlier question about Till. In some parts of the book, I found myself returning to stories about daughters who were powerful but seemed unable to overcome their roles in a larger "myth" or story. These stories would often place women inside of cruelty and violence – rapes, murders, or "transformations" that altered or punished their bodies, or drove them mad. The poem "Myth" is about my rage as well as my grief that murders of black men persist in a cycle that renders them faceless, whether that is through death or incarceration. And there is a spectrum of micro-massacres between those extremes. Their humanity is erased.
FWR: Were there poets or writers you turned to for guidance as you wrote through your grief? (Lucille Clifton's "oh antic god" springs to mind). Or, are there poets or poems you love to teach or share?
Griffiths: Yes, I return often to Ai and Lucille Clifton! I'm thrilled at the forthcoming publication of a selected, How to Carry Water (BOA Editions Ltd.), edited by my dear sister, Aracelis Girmay. It will be a feast! When my mother died, Aracelis shared a poem with me by Joy Harjo, our current National Poet Laureate. It's called "Remember" and I read it aloud often. If I were brave enough to get a tattoo it would feature lines from this poem.
Published in home, Interview, Uncategorized
ON THE PHOTOGRAPH: AN INTERVIEW with Rachel Eliza Griffiths
from FWR Poetry Editor Nathan McClain:
While at Cave Canem, I had the opportunity to chat with, and interview, poet and photographer Rachel Eliza Griffiths on the functionality and nature of photography and, more specifically, how aspects of the gaze and engagement contribute to a photo's overall work. Her responses were far too wonderful and in-depth to distill, so I've provided Rachel Eliza's responses, in their entirety, for your perusal. Rachel Eliza, too, provided us with a photo essay, which I've embedded in her response, as I sense the two are in conversation.
A poem, or a photograph, after it leaves you, is a virus that exists in the world. It replicates itself and, despite its framing, it cannot be contained. My hope is that Rachel Eliza's photos and responses affect, or maybe more so infect, you…
NM: How would you say the photograph directs the gaze in a way the poem may not?
REG: I want to be careful to not make any sweeping statements, as your questions are so interesting and fluid to me. I'll think of these questions for years. I admit that I feel the photographer in me resisting my efforts to verbalize or theorize the parts of me where my visual alphabet works in terms of imagination and politics. There is obviously as much nuance within photography and photographers as there is amongst poets and the tools/language they employ to shape, light, and to shadow their work. For me, there are shared spaces between imagery and vocabulary and other spaces where neither can help, witness, direct, or translate the other.
The presence of tension and intuition, whether in a poem or photograph, is critical for me in terms of process. When I think of process, I think of my body and of its systems. How I experience my body, as I am writing, is distinct from the sensations I experience when I'm using my camera. For both, landscape – where I am and with whom and where, the specific geography – becomes literal, internal, spectral, exterior. I don't resist these contradictions. I get away from squares, unless they are pages or viewfinders. For a while, all shapes are doors, stairs, and windows. After photographing, I feel my work in my muscles, my back, hips, and arms. They're sore. When I write I have to remember my body. I look up and hours may have passed without me even getting up for a glass of water.
In a photograph, I have to meet myself as an "I" in ways that I'm unable to articulate in a poem. But I don't see this as a failure. The mood or space where tension exists comes from the same vulnerability, the same power. In a poem the "I" is working at something, so interior, that the photograph can barely perceive it, much less reveal it in its entirety to my own gaze.
For example, many of my self-portraits included here incorporate blurring. If I take an image of myself and I seem too still in it I feel as if I'm dead somehow. I get freaked out. Blurring helps me see how spiritual I am and reminds of how the past, present, and future can function in a two-dimensional portrait of one's self. I don't necessarily need narrative but I often like to sense movement in the environment, which is also living and moving.
When I'm looking at myself I'm hoping for discovery. I accept the outside and reject the outside. I accept the inside and reject the inside. I use language and I subvert language. Texture, color, light, shadow, frame/composition, sound, absence, voices, and faces become surrogates for what I cannot say. Recently I began to incorporate my body in photographs. That space is difficult to metastasize, or offer in my poems because of how freighted and unstable language can be. I think of alchemy, authority and permission, and how those relate to photographers and to poets. Sometimes I think of the gaze and I think about beauty and desire and violence. I think about how a poem about my body might be received if it were placed next to an image of my body. I try to let the work say it because the work knows it better and more honestly than grammar. People will say a photograph does not lie but, of course, photographs lie too.
But photographs and poems also become glyphs – they're 2D. I'm not. I have to push at them, break them, to give them bones and flaws and flesh that can outlive me. There is a relationship that must happen immediately, structurally, thematically, and psychologically between the poet and the reader. Mortality happens between the poet and reader. The photograph itself happens immediately and then, if the photograph is strong enough, it will reverberate and live, sometimes hidden for years, inside of the gaze where it was first experienced.
Time in a photograph also splices and freezes an experience in a way that I feel a strong poem can also transform its reader. For example, consider the past and the future. I don't know if the present tense exists in photographs but it does, often, in poems. When I invoke the past or the future in a poem I don't see it with the same lifespan a photograph holds. Photographers can photograph or intuit the future but the implication of doing that almost goes against the common intention of most images, which are snapshots, which is to convey what Reality is/was like. With the "likeness" being accurate enough to the real. Being 'accurate' in a poem has little value or meaning unless it is part of the poem's truth. It is easier for us to accept a photograph or dismiss it as, 'that's not real' in a way that does not happen easily in a strong poem. Poems make us believe in ways that photographs aren't necessarily concerned with – and this calls into light the places where the air thins between these ideas.
Our world is so visually conscious of itself. While certain types of cropping or manipulation, lack of credit, laws of fair use, etc. in a photograph can be egregious sites of outrage, manipulation in a photograph is usually not as averse to our reaction to feeling manipulated by a poet. Is there more at stake when we, in our roles as "readers", are manipulated?
Most of the time we assume that the photograph we are seeing has been revised, edited. And a photographer is more likely to have a photograph plagiarized or appropriated (without much consequence) than a poem. Some photographers are okay with this because of how democracy, amongst photography, works in its contemporary republic. Most people would never quote or use a poet's work without providing some attribution or credit. But photographers expect this and as such, there are photographers who make their living by selling 'stock' images. 'Stock poetry', wherever it appears, is usually derided. As viewers, we are more likely to be impressed and admire a skilled photographer's manipulation of an image than we might necessarily be if we were to witness a certain type of cleverness or verbal pyrotechnics in a poet's toolbox. We might be dismissive of that poet for being 'experimental' or 'too much' or find such dazzling attempts as distractions from the work itself.
There's The Gaze too. I don't have enough space to go into that! But reciprocity is part of this conversation. We must speak of what is private and public within the context of the gaze. What is authorized. What is banned. What is legislated and outlawed. Do we judge the photographer for immorality or ethical trespass in the same way we might apply such concepts to a poem or a poet? When a photographer has the opportunity to 'take the shot' (always this hyper-aggressive vocabulary of taking, shooting, capturing), what is at stake? What is at stake for a poet who gives voice to those who cannot speak? What is at stake for a photographer, who looks, makes visible the necessary moment, when the world will not see or would not see otherwise? What is at stake when the poet executes that identical gesture? How do we compare the notion of silence and speech when it occurs in either poem or photograph?
Depending on who is looking, the photographer is as much the object and subject as the production of the final image. For example, consider celebrity photographers whose celebrity will sometimes be noted and lauded before any actual attention is given to the work. I believe that this happens, but a bit differently, with poets. The notion of a photographer as 'author' can be as expansive as the poet's task. But there are other elements to examine for both poet and photographer including accountability, anonymity, privilege, intention, politics, ethics, and of course, imagination. Again, it depends on the type of photographer. War photographers need different tools than underwater photographers or wedding photographers. I don't have any judgment about this. I believe it's about the way you feed your eyes, what you must look at and what you need to see and every wound of gray in between.
NM: Is there a way in which we engage with a photo that we do not with a poem?
REG: There are many ways! I think about this all of the time so I don't have a static answer. We engage poems differently, even amongst ourselves, as readers of poetry. We assign value (and outrage) in dynamic terms when it comes to photography in ways we might not when we are reading. We engage photographs differently when they appear in museums, advertisements, family albums, or social media. Many of us are curating various narratives and lifelines with our 'smart' devices. There is also a global coherence that is happening now, irreversibly, because of technology. This is complicated, revolutionary, amazing, and dangerous.
If I read a poem written in English it possesses a distinct fluency because my first language is English. In which language(s) do we experience photographs? Many of my favorite photographers are not American. But how can you look at photograph and immediately discern its author's identity or where that photographer is from? How does the concept of universality relate to a photograph beyond the image itself and for its own sake?
With poems, it's interesting. If I'm reading a poem that was originally written in French, I'm likely to look at several translations or ask friends for suggestions for the most informed version. I'll be looking for the best version, the closest version. I have to do more work because I want to experience the language of the poem as closely to its original text as possible. All translations are not equal but how would that notion manifest in photography?
Intimacy is also something I often think about in relationship to both poetry and photography. The intimacy I might share in a photograph is neither identical nor lateral to the intimacy I share in a poem. Both forms engage different threads of the gaze. These forms are often contradictory in relation to the acceptance or rejection of the gaze. The shapes of the gaze in either medium are relative to my content and intention. For me, any attempt to answer this question only provokes questions. Who is the We? How do we, as individuals and public citizens, understand, maintain, and define 'literacy'? Personally, I've had numerous experiences where there is concerned.
Photography's functions are not identical to poetry's processes and forms. Perhaps poetry and photography are fraternal twins. If I look at a photographer's work my dialogue with that work happens in a matter of seconds. I find an opening, a narrative (however fragmented or fractured), a visual seduction or rhythm, an emotion that is persistent. Visceral. I find what fails in its complete articulation to be verbal or knowable.
Four Way ReviewmonthlyNathan McClainPhoto EssayRachel Eliza Griffiths
Published in Interview, Series
TWO POEMS by Rachel Eliza Griffiths
Wednesday, 29 October 2014 by Rachel Eliza Griffiths
I pick you up
& you are a child made of longing
clasped to my neck. Iridescent,
lovely, your inestimable tantrums,
I carry you back & forth
from the underworlds
where your giggles echo,
grow into howls.
Your alphabet wraps itself
like a tourniquet
around my tongue.
Speak now, the static says.
A half-dressed woman named Truth
tells me she is a radio.
I'm going to ignore happiness
& victory.
I'm going to undo myself
with music.
& the naked trees lean
into the ocean where you arrived,
shaking chains & freedom
from your head.
No metaphor would pull you
out of your cage.
Light keens for the dead.
& I'm troubled
by my own blind touch.
Did the ocean release
my neck? Did the opal waves
blow our cries to shore?
You don't feel anything
in the middle of the night.
ANOTHER WOMAN'S COAT
for J.H.
Alone with snowfall & pockets
of silence beneath shining streetlamps,
I pull her coat closer, finding spaces
in its arms. These seams do not belong
to me. And I won't know this yet –
slipping down snowy Remsen. I stop
on the promenade, I'm solitary again
& stare at the city edging
the East River. Air blowing stings,
stinging, I pull the hood down,
burrow inside her wordless
flesh. Alive from dancing
with friends, & the music
of that. Pulled over me
like an eyelid of glitter.
As much as Manhattan
glares, can its insect
windows make me out
here on the other side?
Gatsby's green heart
of a wish. Or whatever
was above me
that looked at my mouth
& said, Yes, it's enough, isn't it?
Blinking, immeasurable
in snow that needles
like fire, I'll walk,
a Siamese with ten shadows,
amongst dense brownstones.
Heart, what telescope do you inscribe?
Snow light growing the shadows
of sycamores & fire hydrants
into giants. The bare pine seller
stands. The streetlights change
for nothing. When I get to my door
I'll reach for a key
that opens & returns me
to myself like a rune. Then I see
I'm wearing a coat
that isn't mine. Her syllables
& smiles & the wit of another
woman's neck lingering
in the lining. Sweetness
& irony & how you couldn't
tell, in the dark, you could wear
something so intimate
& otherwise? Hearing her
hands & breasts & ribs
murmur inside of the down.
The feathers you now
warm with your own
body. Inseparable
as the music we shared
as we danced,
the holiday like flecks
of tinsel caught under
the god's tongue. Julie,
I hope you'll forgive
me for wanting to
verse your instrument,
& how, when Brooklyn
wasn't looking, I made
angels against the air,
our skin, like words slipped back
beyond midnight & knowing
I have no other way
to bear my life, you
laugh at the café
& tell me
our coats back
with wonder
for ourselves
that the dance
was so lovely
your legs hurt
in the morning.
Issue 6 Contents NEXT: Stack of Brightness by Rosalynde Vas Dias
Four Way ReviewRachel Eliza GriffithsTwo Poems
Published in Issue 6, Poetry


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My car has 25,500 miles on it, i've always had a full service done on it in the dealership where i bought it...and they still want me to pay for it...Kia are willing to pay €1,500 but i'm supposed to pay the other €1,000 which i don't think i should as I didn't do any wrong to the car. Can anyone please tell me in your opinion why a crank shaft goes and should this go with the mileage i have. Hope someone can shed a bit of light as i'm without a car now the last 2.5 weeks as they won't give me a replacement car coz it was out of bloody warranty.
Last edited by Erniedaisy; 10-26-2007 at 04:42 AM.
Is your concern about why a crankshaft goes or is it really the cost? 25K miles is low for a crank failure but I'll address the cost as a crank can go for several reasons despite the service history and would be very long winded.
It's a touchy subject and regardless of what's said/suggested, someone always gets the wrong idea. Regardless, I'll wade in.
First it must be remembered or at least realized a warranty is a contract. Once the contract expires, the warranty is no longer valid.
However, it appears, from your comments, that Kia is willing to pickup over 1/2 of the bill. These goodwill gestures are not to be taken lightly and in this case, mileage is likely part or most of the reason for them offering anything.
During my 35+ years of service and fleet maintenance, I wrote warranty claims for almost 20 of those years. During this time period I went to bat for the customer, when I thought it was appropriate, amd won more than I lost because I usually had "just cause".
How you got your goodwill gesture you didn't state and is important. If it was done thru your dealers service department, odds are you should take what was offered. In this case the odds are fairly high that if you fight it and ask for more, the inital offer might be rejected & you'll then end up spending a whole lot more on lawyers and in the big picture loose whatever you've already gained. This is something I've seen in the past.
As per a loaner, again, the warranty contract has expired.
Until I have a great deal more info, the above is all I can say.
I'm suspicious about your crank problem !
Its just too much of a coincidence that you have a problem just after the service. Now only one of a few things is possible here. You had a problem before the service anyway. Or -the dealer (mechanic) did something during the service. Its possible that the guy doing the change was distracted and started engine up with the new oil not added to engine.This is dead easy to do. Phone call, coffee, fire alarm practice -you name it. I know it sounds remote, but modern engines and oils mean a crank problem (bearings) is quite rare. However if you are the type of person who treats an engine with lack of respect, very hard driving, very high prolonged revs, you may just have over stressed it anyway ? These Kia engines are quite tough and forgiving.
So only you can comment, but its such a close timing of service and problem to be unconnected don't you think ? - But you will never prove anything I guess. Maybe go with the offer and cut your losses - but change dealer anyway 'Once bitten twice shy.
Interesting reply from otnacip4. Two things I will learn from this; 1. Take my car in at least two months before the warranty runs out. (If the dealers are honest, they will tell you, if they are not, or they have wrecked your car, you have time enough to discover it. 2. If I have a problem and take it to the local dealers and they say nothings wrong, I will take it to an independent dealer to verify the diagnosis. Unfortunately, Erniedaisy, you have been the loser in all this.
Good point as this I do with every car I've owned that I had planned on running for a couple/few more years. Usually I'll get it handled during a mandatory safety inspection.
I also suggest this to many of my customers and most of them follow thru.
Can someone clarify this? Has KIA sorted the design fault regarding the crankshaft or are new cars such as mine likely to face the same problem down the line? Erniedaisy, how are you proceeding with your plight? Flingo.
Hi Thanks a mil for your replys...I have gone to my solicitor already...Kia have said as its only 25,000 miles thats why they will pay for 70% but I paid over €400.00 on my service in Aug and the most expense now is labour from the dealership like i'd have no prob paying €320.00 for parts but they want me to pay over €600.00 on labour.. Its more the principle of the thing like I don't drive hard I haven't even got it three years yet well not til November. I always brought it for a service to them rather than go to a local mechanic so I thought that would be better. I'm getting an engineer in for them to have a look ...like they haven't explained to me why this happens I've been told oil is a problem but they put oil in on the last service...It wasn't jumping or losing power before I went in for a service.
Connected Hi Scan diagnostic tool. No faults recorded. Checked timing found to be incorrect. Resetting timing noticed found wear on crankshaft pulley and crankshaft.
The wear resulting in vehicle timing to be incorrect, Causing the lack of power.
Just to let you know tha Kia have now paid for the full works on my car. Which is great. Thanks for all the replys but its good to keep at the rather than let thigs lie.
Well that's good. Being persistent, with courtesy will usually pay off. In your case fault was found so it all worked out.


Big Bug Lunch Book Giveaway!
Big Bug Lunch is a children's book written by Skaie Knox and dedicated to her cousin Sierra. Sierra has diabetes…for more about Sierra's story go here. Skaie sent me a copy of the book which comes with a fantastic sing along CD. My first grader loves reading the book and listens to the CD nearly every night before bed…while dancing! She has graciously sent another signed book to giveaway to one of my readers.
To enter the giveaway leave a comment with the title of your favorite children's book.
Do 1 of the above and come back and leave a comment for an additional entry. Do 2 of the above and come back and leave 2 separate comments telling me. If you do all 3 of the above, make sure to leave me 3 separate comments telling me what you did. You have 4 opportunities to win. If you don't have a blog, just make sure to leave your email…so that I can contact you if you win.
I will be using random number generator to pick a winner on Saturday, October 31st…HALLOWEEN! Good Luck and if you don't win…you can buy the book here.
It looks like a book my kids would enjoy! I subscribed to the newsletter.
What a great giveaway! I am now a fan on Face Book.
I'm a fan on facebook. Thanks for the chance to win! My favorite children's book is Goodnight Moon!
My favorite children's book is The Giving Tree.
I became a fan on FaceBook. My favorite book when I was a child was Stuart Little.
My favorite book as a child was Stone Soup.
I am following KlunkersKnews on twitter (ForwardFamily) !
Our favorite of the moment is: Lemons are not red.
I'm a fan of Skaie Music on Facebook!
I just became a fan of Skaie Music on FB! The book looks really cute!
I have subscribed to receive the newsletter.
My favorite children's book right now is: 'Dora's First Trip.' Our favorites change rapidly around here. We also love 'Silly Tilly.' Fun read!


MSK061C-0600-NN-M1-UG0-NNNN is one of the several variations of MSK061C motors designed by Bosch Rexroth. They are a reputable company in the world of motors and accessories, so let's take a look at what this particular unit brings us.
Like other models from the IndraDyn S series, the motor seems versatile. The unit has a maximum torque of 32 Nm while the continuous torque at a standstill is set at 8 Nm. The maximum current is 34.7A while the continuous at a standstill 60K is 7.7A.
Although it seems more powerful than some other models in the same series, MSK061C manages to maintain a relatively low noise level. It shouldn't pass 75 dB[A] under normal operating conditions.
The motor utilizes an optical encoder with an absolute position recording within 4096 motor revolutions. The system accuracy is within 80 angular seconds, and the axis' absolute position remains when the voltage is turned off.
The product doesn't come with a holding brake as the manufacturer didn't deem it as necessary for this unit. As for the motor cooling system, it uses the so-called natural convection cooling. It is nothing else than a way to cool itself gradually after usage. The heat will slowly dissipate, but keep in mind that the effectiveness of this motor cooling system depends on the tidiness of the motor.
This variant of the MSK061C uses a plain shaft with sealing ring. Since they are rubbing seals, you should know that they can produce and wear frictional heat. That is why you should make sure to clean the sealing point regularly and lubricate the seal. The good news is that the materials should be very resistant to chemicals and oils.


Grant J. Mabie | Missouri & Illinois Attorney – Hein Schneider & Bond P.C. Grant J. Mabie | Missouri & Illinois Attorney – Hein Schneider & Bond P.C.
Grant Mabie is a trial attorney whose practice areas include commercial, real estate, title insurance litigation, landlord-tenant, bankruptcy, collections, and general civil litigation. Grant regularly represents national title insurance underwriters, homeowners, lenders, businesses, landlords, and governmental entities throughout Missouri and Illinois. He has litigated cases in over 35 Missouri counties, in over a dozen Illinois counties, and in the district and bankruptcy courts in the Eastern District of Missouri, the Western District of Missouri, and the Southern District of Illinois. Grant litigates cases including quiet title, reformation of instruments, adverse possession, easement rights and disputes, insurance coverage disputes, breach of contract, lease disputes, unlawful detainer, rent and possession, mechanic's liens, lien priority disputes, fraud, negligence, trespass, ejectment, zoning and municipal matters, partition, declaratory judgment, breach of warranty, unjust enrichment, indemnity, slander of title, condemnation, eminent domain, abuse of process, injunctive relief, replevin, bankruptcy adversary actions, executions, garnishments, and suits on account. Grant also regularly represents commercial and residential landlords, commercial tenants, medium and small businesses, home buyers, and home sellers with leasing, purchasing, and selling both commercial and residential real property. Grant is a licensed Missouri Real Estate Broker, and a member of the St. Louis Association of Realtors®. Grant has been with Hein Schneider & Bond P.C. since 2010. He previously practiced with a St. Louis law firm in the areas of civil litigation and real estate matters.
Grant Mabie secures judgment for his client, a commercial landlord, at trial.


text:
Wal-Mart, Sears to stop selling Confederate flag merchandise
(Reuters) - Wal-Mart Stores Inc and Sears Holdings Corp said they would stop selling products bearing the Confederate flag, a week after a white gunman shot nine dead at a historically black South Carolina church.
The move by the major retailers came the same day South Carolina Governor Nikki Haley called on lawmakers to take down the flag, considered by opponents to be a symbol of slavery and racism, at the state capitol grounds.
The accused white gunman posed with the flag in photos online. Supporters, who fly the flag or wear it on clothing, see it as a symbol of the South's history and culture, as well a memorial to the Confederate casualties during the 1861-65 Civil War.
A Wal-Mart spokesman said the company does not want to offend anyone with the products it offers.
"We have taken steps to remove all items promoting the confederate flag from our assortment – whether in our stores or on our website," spokesman Brian Nick said in a statement.
Wal-Mart's website still showed the flag and other merchandise carrying the flag available for purchase.
Nick said Wal-Mart has a process in place which helps them decide the merchandise they sell. Still, at times, items make their way into their assortment improperly. "This is one of those instances."
Sears, which operates Sears and Kmart stores, does not sell confederate flags at its stores and has decided to remove sales of such merchandise by third parties on its online marketplace, said spokesman Chris Brathwaite.
"We are in the process of scrubbing our marketplace to pull those items down," Brathwaite said.
A check on Target Corp's website did not show any flags being sold. A spokeswoman said she is checking with the company's merchandising team.
A search on Amazon.com found Confederate flags and merchandise featuring flag designs sold by third parties on Amazon's website and some shipped by Amazon on their merchants' behalf. Amazon itself did not appear to be selling the flags or related items.
The company did not immediately respond to requests for comment.
Rival Ebay Inc listed over 1,000 Confederate flags and related items offered by third-party sellers on its web site. The company could not be immediately reached for comment.
(Reporting by Nathan Layne, Nandita Bose in Chicago and Mari Saito in San Francisco; Editing by Lisa Shumaker)
Apple confirms this missing iPhone 13 feature isn't coming back
Last fall, Apple launched the iPhone 13. The new iPhones offered a number of exciting new features, including the Super Retina XDR display with an adaptive refresh rate up to 120Hz, three new cameras, the A15 Bionic chip, and support for up to 1TB of storage. Apple also decreased the size of the notch, which … The post Apple confirms this missing iPhone 13 feature isn't coming back appeared first on BGR.


text:
// Copyright (c) Microsoft.  All Rights Reserved.  Licensed under the Apache License, Version 2.0.  See License.txt in the project root for license information.

using System.Linq;
using Microsoft.CodeAnalysis.CSharp.Symbols;
using Microsoft.CodeAnalysis.CSharp.Syntax;
using Microsoft.CodeAnalysis.CSharp.Test.Utilities;
using Roslyn.Test.Utilities;
using Xunit;

namespace Microsoft.CodeAnalysis.CSharp.UnitTests
{
    public class ImplicitClassTests : CSharpTestBase
    {
        [Fact]
        public void ImplicitClassSymbol()
        {
            var c = CreateCompilationWithMscorlib(@"
namespace N
{
    void Foo()
    {
    }
}
");
            var n = ((NamespaceSymbol)c.Assembly.GlobalNamespace.GetMembers("N").Single());
            var implicitClass = ((NamedTypeSymbol)n.GetMembers().Single());
            Assert.Equal(0, implicitClass.GetAttributes().Length);
            Assert.Equal(0, implicitClass.Interfaces.Length);
            Assert.Equal(c.ObjectType, implicitClass.BaseType);
            Assert.Equal(0, implicitClass.Arity);
            Assert.True(implicitClass.IsImplicitlyDeclared);
            Assert.Equal(SyntaxKind.NamespaceDeclaration, implicitClass.DeclaringSyntaxReferences.Single().GetSyntax().Kind());
            Assert.False(implicitClass.IsSubmissionClass);
            Assert.False(implicitClass.IsScriptClass);

            var c2 = CreateCompilationWithMscorlib45("", new[] { c.ToMetadataReference() });

            n = ((NamespaceSymbol)c2.GlobalNamespace.GetMembers("N").Single());
            implicitClass = ((NamedTypeSymbol)n.GetMembers().Single());
            Assert.IsType<CSharp.Symbols.Retargeting.RetargetingNamedTypeSymbol>(implicitClass);
            Assert.Equal(0, implicitClass.Interfaces.Length);
            Assert.Equal(c2.ObjectType, implicitClass.BaseType);
        }

        [Fact]
        public void ScriptClassSymbol()
        {
            var c = CreateCompilationWithMscorlib(@"
void Foo()
{
}
", parseOptions: TestOptions.Script);

            var scriptClass = ((NamedTypeSymbol)c.Assembly.GlobalNamespace.GetMembers().Single());
            Assert.Equal(0, scriptClass.GetAttributes().Length);
            Assert.Equal(0, scriptClass.Interfaces.Length);
            Assert.Equal(c.ObjectType, scriptClass.BaseType);
            Assert.Equal(0, scriptClass.Arity);
            Assert.True(scriptClass.IsImplicitlyDeclared);
            Assert.Equal(SyntaxKind.CompilationUnit, scriptClass.DeclaringSyntaxReferences.Single().GetSyntax().Kind());
            Assert.False(scriptClass.IsSubmissionClass);
            Assert.True(scriptClass.IsScriptClass);
        }

        [Fact, WorkItem(531535, "DevDiv")]
        public void Events()
        {
            var c = CreateCompilationWithMscorlib45(@"
event System.Action e;
", parseOptions: TestOptions.Script);

            c.VerifyDiagnostics();

            var evnt = c.ScriptClass.GetMember<EventSymbol>("e");
            Assert.NotNull(evnt.Type);
        }

        [WorkItem(598860, "DevDiv")]
        [Fact]
        public void AliasQualifiedNamespaceName()
        {
            var comp = CreateCompilationWithMscorlib(@"
namespace N::A
{
    void Foo()
    {
    }
}
");
            // Used to assert.
            comp.VerifyDiagnostics(
                // (2,11): error CS7000: Unexpected use of an aliased name
                // namespace N::A
                Diagnostic(ErrorCode.ERR_UnexpectedAliasedName, "N::A"),
                // (4,10): error CS0116: A namespace does not directly contain members such as fields or methods
                //     void Foo()
                Diagnostic(ErrorCode.ERR_NamespaceUnexpected, "Foo"));

            var tree = comp.SyntaxTrees.Single();
            var model = comp.GetSemanticModel(tree);

            var namespaceDecl = tree.GetCompilationUnitRoot().DescendantNodes().OfType<NamespaceDeclarationSyntax>().Single();
            var methodDecl = tree.GetCompilationUnitRoot().DescendantNodes().OfType<MethodDeclarationSyntax>().Single();

            Assert.Equal("A", model.GetDeclaredSymbol(namespaceDecl).Name);
            Assert.Equal("Foo", model.GetDeclaredSymbol(methodDecl).Name);
        }
    }
}

redpajama_set_name: RedPajamaGithub


Our Independent Community Pharmacy based in Scotforth Road, Lancaster, is proud to serve our local community and surrounding areas.
We are happy to be an independent pharmacy focused on our community and patients' satisfaction at all times because we firmly believe that our patients always come first. We know that our pharmacy is probably the first and easiest point of contact to an healthcare professional for a patient nowadays, for this reason our team, including our pharmacist, are always happy to discuss and to help you from the smaller to the bigger problem in a professional manner that could avoid you waiting too long. Providing you with the best treatment is our goal because at Higher Greaves Pharmacy we believe that everyone deserves to be heard and helped when it comes to their health and well-being.
Our dispensing service includes a drop of prescription service where you can wait, call back or have your medication delivered to your address, or if it is easier for you, we can collect your prescription and dispense your medication and you can collect it when it is ready or we can delivery it to you with our daily free delivery service.We are also active on the new Electronic Prescription Service where it could speed up the process on getting your medication from the local surgeries.
The fact that we are an independent pharmacy gives us the strength to be closer to our patients and fulfil your needs from a twice daily free prescription collection service from all the surgeries in Lancaster and surrounding areas to our customised free delivery service for prescriptions and our shop items.
We strongly believe in what we do that our commitment to a personal service and attention to details are reflected in the services we offer and the time we take to get to know and help everyone who comes through our door.
We collect prescriptions from all the local surgeries in Lancaster and surrounding areas including Rosebank Surgery, King Street Surgery, Queen Square Surgery, Meadowside Surgery, Dalton Square Surgery, Owen Road Surgery and also from Galgate Healthcentre , Knott End-On-Sea, Over Wyre Medical Centre and much more everyday. If you want to check if this service is available for you just give us a call and ask our staff for more information, we will do our best to help you.
We have a private consulting room where we can discuss in a confidential way any questions and/or problems you may have regarding your medication or a health condition, where we can deliver our free NHS Medicine Use Review and New Medicine Service.
Also we offer a wide range of other NHS and private services, Flu Vaccination, Travel Clinic, Erectyle Dysfunction, Hair Loss, Salbutamol inhaler, Emergency Hormonal Contraception, Contraception, Smoking Cessation, Weight Loss. We can offer all these services in our premises or through our online doctor service, please just ask our staff for more information.
We have created this website to help our patients to find more information regarding our premises, range of services we provide onsite and online, reorder your prescription, find useful information leaflets and much more. We also provide an online pharmacy shopping service for items that can be delivered directly to your address.
Please feel free to come to visit us today or call us for more information on 01524 63795.
We look forward to meeting you soon, looking after you and assisting you in every way possible.


What Sadie Did: And I'm back from my Easter weekend in Auckland!
I picked the boyfriend up from the airport on Good Friday at 3pm and by 6pm we were back at the airport to fly to Auckland for the weekend! It was great to have company again and he'd bought me some gorgeous gold bangles and a pair of hand made camel skin slippers (I will take pics and post them soon!).
We were away for 4 days and I took many a photo so I will not bombard you with them all at once!! We stayed at the Sky City Hotel. The Sky Tower is NZ's tallest building - you can sky dive off it, walk around the edge of it, or do as we did - eat in its revolving restaurant. The Sky City also has numerous restaurants, casinos and bars - a bit like a mini Vegas really!
Looking pretty shiny and new in comparison to the others!
I did some great shopping - I love these little tin badges and can't wait to put them on a blazer or something!
I actually wore flats!! And my feet still killed from all the walking!
I was brave and stood on the glass!
A quick shot of what I wore to dinner!
This is the second time I've eaten at the restaurant. I love it there!!
Amazing views from the table!
great photos love the tiffany bracelet so cute and it looks really pretty there would love to visit one day! oh and you look GORGEOUS!!
Freakin cute bracelet!!! Also, it is GORGEOUS there! Jealous!
Sounds like a great holiday, Sadie. If you couldn't be with family at least you had a wonderful trip with your botfriend.
The charm for your bracelet is Lovely!! I even love the little box, but Tiffany blue is such an amazing color!
I've been there. Wow... amazing shots bring me back.
I'd love to go to Auckland...yet another to add on my list of places to visit!
your bf sounds like the sweetest bringing you gifts back and taking you to tiffanys - that i love you heart is just the cutest :-) looks like you had an amazing amazing time - i'm so jealous, it looks great there! and i love your outfit for the rooftop meal. the sign about the glass being just as safe as a normal floor made me giggle too - i would be so worried about it.
oh and my mums fireplace was first like that at christmas a few years back, and she just loved it so much she kept it like that. she adds things and changes things still.
sorry for the really long comment here!
Yah! Auckland is such a fun city to visit:) Looks like you guys had such a great time.
aww lovely tiffany bracelet you got, and nice pictures, looks like you had a great easter!!
Looks like you all had an amazing time. Great photos!
love the bracelet, what a nice surprise!


text:
Jerusalem Post Opinion Columnists
Untangling the Web: 8 great news apps for Android
It's not all bad news for news junkies who don't have iPhones – there are some great applications out there.
By elana kirsh
(photo credit: Screenshot)
While discussing ideas for an upcoming column with family recently, a cousin suggested reviewing an iPhone application called Flipboard. The social magazine app, originally designed for the iPad and released for the iPhone in December, amalgamates content shared on social networks and presents it with an appealing interface. Having seen and appreciated the original version, I whipped out my phone and looked it up in the Android Market. Nothing. While it would be inaccurate to say that this happens all the time, it is definitely frustrating for Android users, especially given the 50 percent market share the Google operating system boasts.
But it's not all bad news for news junkies with Android smartphones. There are some fantastic free apps out there – both directly from news outlets and wires themselves and aggregate apps – and many more in the pipeline. After almost six months wielding the Samsung Galaxy S2, these are my favorites so far.
This aggregate application is definitely my favorite for when I have a few spare minutes to catch up on articles other than hard news. The combination top-to-bottom and side-to-side strip navigation allows for maximum content display without overcrowding, meaning users can look into the sections and choose as much or as little as they want.
The app offers a selection of traditional media outlets, including the likes of Time magazine and The New Yorker and relative newcomers like Epicenter and Mashable, alongside new media sections such as a strip of content shared by Facebook friends, and the latest news videos on YouTube.
Another successful feature is the excerpt that each icon links to, followed by a link to the full article. This minimizes issues jumping from app to app, and gives users a taste of the article before booting them out to the host site.
AP mobile The AP mobile app
The Associated Press mobile application is simply designed, with news categories displayed in a horizontal bar, or masthead, across the top of every screen. Users can customize the app's front page, choosing which sections will be displayed and how many stories are featured in each.
The AP mobile widget is also a happy addition to any news junkie's phone, though be warned: It has a tendency to chew through the phone battery. Set it to update manually (by tapping the refresh symbol on the widget) for a happy medium.
Though not essential for keeping up with the news, inputting your postal code on setup will pull up local weather, and the app also has nicely integrated Facebook and Twitter elements.
Time mobile
Time magazine's Android app has received many glowing reviews in the US; one quick look and it's not hard to see why. Individual categories, ranging from hard news to interactive sections such as most-read and most-shared, are displayed both in a sideways scrolling masthead and a smooth drop-down menu.
The big draw card is definitely the quality of Time's content – nothing new here. The drawback is the fact that it's a bit heavy on the images which can make the app slow to load.
The News Republic appNews Republic
The News Republic aggregate application accumulates mainly news wire pieces, making it a fitting tool for reporters and editors. It has a fantastic "related news" function, giving users the option to jump smoothly from one term or topic to another, Wikipedia-style. This functionality, dubbed TagNav, also provides a "tag bubble" for every topic which is pretty but to be honest, fairly useless.
The share features on this app are up there with the best, in terms of both social media and email. Check out the hashtag function especially for Twitter.
Like The Guardian's website, the British daily's app boasts a clean, easy-to-read layout which aptly features both hard and soft news. Users can choose which sections interest them most and which order they want them to appear in.
The home screen is long and clear, and sections run horizontally, apart from the multimedia section which has a unique layout with a sideways scroll function.
Again, the big draw card here is content, but the design succeeds in showcasing it well. If you like reading The Guardian on your computer then you'll enjoy this app.
ABC News The ABC News app
ABC has put together an app with a simple but elegant design, with an excellent one-tap move from text to video. The sideways scrolling navbar across the top allows users to find what they're looking for quickly and easily.
Each section features three stories at the top with a nice big picture. In short – it loads fast and it looks good.
The Huffington Post app's design mimics the parent website's distinct branding in a mobile-friendly format. The customizable sideways scrolling masthead allows for maximum content display without overcrowding, allowing users to flip through Huffpost's long list of sections including Politics, World, Religion, Weird News and Divorce and select the order that interests them most.
One of this app's main achievements is the way it has converted content intended for desktops and laptops such as pictures, videos and slideshows into a mobile format which loads fairly quickly and looks good on the small screen.
Ynet (He The Ynet appbrew or English)
Last but not least, the best Israeli news app. It's pretty simple – if you like Ynet, you'll like the Ynet app. The advantages on Android are the same as those on the website – it's fast, it's clear, and it always seems to strike the balance of news and entertainment that sucks Israelis (and wannabe Israelis) right in.
The weather icon at the top of the home screen uses GPS to give you updates for your location, and the news ticker loads quickly and smoothly.
Like the site, the design doesn't really do it for me, but it works.
These reviews all point to the same thing: News apps should be simple, load quickly, avoid overcrowding and stick to the same design philosophy as the parent site where relevant. If Web users skim, mobile users super-skim, which means striking the right balance of text and pictures is crucial to whether or not the eye can move smoothly down the screen.
The writer is The Jerusalem Post's Internet desk manager


Are you interested in teaching but are unsure what major to choose?
The Elementary Education Program prepares teachers from a variety of majors to become K-5 educators. We strongly recommend that you major in content areas that are related to what you will teach every day in an elementary classroom—mathematics, literature, science, and social studies. We also recommend considering combined majors such as American Studies and Integrated Science Studies, as these majors give students a breadth of content across a variety of subject areas.
The Teacher Education Program has a specific partnership with PS 28 in Paterson as one option for students interested in becoming elementary teachers. This course and experience focuses on introducing our students to a variety of reading and writing strategies and then implementing those with PS 28 students.
In addition, we place students in a variety of schools to complete the requirements of Literacy Theory and Practice.
Your final hands-on experience will be student teaching for a semester. Ramapo has many connections to assist in student teaching placement in the Bergen County area, but also encourages students to conduct their student teaching in a district closer to their hometown if they wish.


There are two types of power of attorney (PoA) in England. There is a lasting power of attorney (which replaced the enduring power of attorney), and the ordinary power of attorney.
The lasting power of attorney can be used to grant someone the power to handle your financial, property and health affairs if you are no longer able to deal with them yourself due to ages / illness / reduced mental capacity.
I'm not going to talk about the lasting power of attorney. I'm writing here about the ordinary power of attorney. I'm no legal expert so make sure you consult a proper solicitor before arranging anything, but maybe my experience will help you.
Allowing a relative or trusted person to handle specific aspects of your finances if you go abroad.
To allow someone to carry out a specific transaction on your behalf.
Arranging one is very simple.
First find a solicitor. You can use the Law Society Find a Solicitor site to search for one.
You don't actually need to find one near you as there is no need to meet up with the solicitor to arrange this. In fact you may find that if you use a solicitor in a 'cheaper' part of the country you'll get a better rate than one in London for example.
Once you've picked a solicitor you should get a quote. You'll need to tell them exactly what you want by phone or email. Sometimes email has advantages for these kind of dealings as what you want is in writing, and you have a record of your communications.
You'll need to ask for something such as "an ordinary power of attorney to allow my father to arrange a lease extension for my flat".
The solicitor should be able to give you a price – and in usual solicitor fashion they'll probably quote it without VAT so you'll have to take that into account. When I arranged an ordinary PoA I was quoted a figure of £95.00 + VAT. Which is £111.63.
If you are happy with the price give the go ahead. At this point you are committed to paying for the solicitor's service.
The solicitor will need the full names and addresses of yourself, and the person whom you are granting the power of attorney to. This person is known as the 'attorney'. You should also re-state what the scope of the PoA is.
You solicitor will then prepare the document. This will take them literally about one minute to do as all they do is to fill in some gaps on a PoA template. They'll then probably post it to you.
When you get it you'll probably see it is just a single page of A4 paper. First check that all the details are correct. Then you'll need to sign it in the presence of a witness, who will also need to add their details to the form.
You'll then need to post the form back to your solicitor. They may also ask you to send them some photocopied proof of your address and identity (such as a bill, passport, or driving licence). They'll probably want your money as well at this point.
Then once they have received it they'll check that you've filled it in correctly, photocopy it for their records, and send the original one back to you.
And that's it. If the solicitor is efficient the whole process might be completed in about a week – and the only reason it takes this long is due to the posting of documents back and forwards.
It isn't difficult to arrange, you can do it all by email and post. And at the end of it you get a single sheet of A4 paper for a cost of over £100. But if that piece of A4 paper allows you to do what you need it could be worth it.
If you want a cheaper option than going with a solicitor you can get off the shelf ordinary power of attorney forms from clickdocs and Desktop Lawyer . I can't however vouch for what they service is like, or how easy their forms are to use.
Certainly if you are willing to pay the money to use a qualified solicitor arranging an ordinary power of attorney is very straight forward and quick.
I was recently sent a letter from a company I have an account with telling me that I needed to provide them with certified copies of two documents in order to verify my identity.
A certified copy is a photocopy of a document (such as passport, utility bill, birth certificate) that has been verified as being true by a person who holds a certain position of responsibility. This person could for example be a solicitor, notary, teacher, bank manager or post master.
I'd heard that it is possible for solicitors to do this service for about £2. However when I contacted three local solicitors (all in London) for quotes they all gave me a price of £70-£80 for certifying two A4 copies. Anyone know where those £2 solicitors are? Not in London it would seem.
Instead of paying these rip-off prices I found out about the Post Office Identity Checking Service. For a fee of £7 they will check up to three different documents and certify the copies of them.
Not all Post Offices offer this service so I checked online and went to one that did. When I got to the counter and asked for the service it seemed obvious that they don't provide it very often. The guy behind the counter had to study the application form carefully before he worked out what to do.
They check your documents, write "this copy is a true likeness of the original" on the copies (you need to bring your own photocopies), sign the document, and then stamp it with their standard Post Office ink stamp.
The copies are now certified and ready for whatever purpose you needed them for.
This is a useful service that I hadn't heard of until now. You may be able to certify your copies for free (if you happen to know a teacher or doctor who would be willing to do it), or for as low as £2 (if you can find a solicitor who will do the service for such a low price). However it is convenient to know that you can get this done in the Post Office without an appointment for a fixed fee.


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What is Polymer Chemistry?
Polymer Chemistry
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Industrial firms employ chemists who specialize in developing new polymers for commercial applications.
Polymer chemistry is the study and manipulation of synthetic and organic chemical substances known as polymers. A polymer is a repetitive chain of molecules that join to form what is called a macromolecule. Polymers are versatile substances, having the various properties of flexibility, lightness, hardness, and durability. Ways are found by polymer chemists to isolate and develop these properties. Additionally, they identify unique conductive and chemical properties of given polymers for industrial and medical uses.
Kevlar® fabric, which was developed by polymer chemists.
In one form or another, this branch of chemistry has been present in the realm of science since the mid-19th century. Nitrocellulose, an early polymer, was developed using the research of Henri Braconnot and Christian Schönbein, respectively. During the following years, nitrocellulose and its derivatives were used in a variety of ways, including as an effective wound dressing during the American Civil War.
Polymer chemists create the synthetic fibers used in a variety of products today.
The first manufacturing plant for synthetic fiber was opened in 1884 by a French industrialist named Hilaire de Chardonnet. It produced a polymer fabric called viscose rayon, which was used as a cheaper substitute for silk. Since that time, the field of polymer chemistry has expanded greatly, reaching a climax in the early 20th century with the development of Kevlar® and nylon. The development of these materials resulted in a great amount of interest which continues to this day. Several thousands of substances with practical applications have been produced since the early 20th century as a result of advances in polymer chemistry.
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Usage of polymers is widespread in modern society, providing essential chemical components of many of the objects people use on a daily basis. Tires, plastic bags, compact discs, and disposable contact lenses all contain materials developed by this field of science. Every year, more and more items containing synthetic and organic polymers are introduced into the market. Since most polymers are synthetic, products utilizing them generally require smaller amounts of nonrenewable resources when compared to their counterparts made of other materials.
Polymer chemistry research is a multi-billion US Dollar industry in and of itself. This is due to its extensive applicability in almost every industrial and scientific field. Often a need that may be met by polymers is first identified, and is then followed by the funding to develop a polymer that is fit for that specific purpose. Once the polymer is developed, it can then be explored by polymer chemists to find other possible applications, as well as derivatives that may have their own uses.
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Discussion Comments
mmuthuraj
Is acrylic paint a type of polymer?
jlknight65
@AnnBoleyn - There actually are scientists that develop biodegradable polymers. At the University of Massachusetts Lowell is the Center for Biodegradable Polymer Research.
Not only are they doing research, but part of their purpose is to educate officials and politicians regarding creating government policies affecting this technology.
So many people and countries are concerned about the environment that I am sure this field will continue to grow.
@AnnBoleyn - I don't think it really counts as tampering - rather it's more that natural substances are used to further their potential to create polymers. It's a shame that polymers that are plastics generally don't degrade very well. I can see how some uses are valid enough, such as Kevlar vests, which serve an important purpose, but many other plastic products only have a single and very short life span.
AnnBoleyn
The concept of polymer science makes sense to me but reading about combining organic and synthetic materials is quite fascinating. I wonder how recyclable these new substances are or how much longer they take to decompose when compared to the original organic source. Could it be construed as tampering with nature (albeit, for the greater good)?
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Łucznictwo na Letnich Igrzyskach Paraolimpijskich 2012 w Londynie rozgrywane było między 30 sierpnia – 5 września, na obiekcie Royal Artillery Barracks.

Kwalifikacje
Do igrzysk zakwalifikowało się 140 zawodników, w tym 88 mężczyzn i 52 kobiet.

Medaliści

Mężczyźni

Kobiety

Tabela medalowa

Przypisy

Linki zewnętrzne
 Łucznictwo na oficjalnej stronie Letnich Igrzysk Paraolimpijskich 2012

Dyscypliny rozgrywane podczas Letnich Igrzysk Paraolimpijskich 2012
Łucznictwo na igrzyskach paraolimpijskich

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Q: Git upload to live site after qa approved I am new to Git stuff but I know how to add/commit/push/pull changes.
Situation:
We have a git-managed project (currently on bitbucket)
Now we are setting up QA and Live places. So for example if we made feature X and pushed to QA and client approves it, we should then be able to push our changes to Live/Production site.
So here is how flow would be like:

*

*Changes made locally

*Changes pushed to QA/Dev folder

*Client okayed, changes pushed to Live/Production folder

Can somebody help how to achieve this workflow ? I am not really sure what's needed for this flow
local ---> dev ---> production

A: One of many methods to realize this workflow is to use a workflow called git flow, see this link for more details.
To summarize, in this workflow you've got a production branch - the master branch - and a development - the develop branch. Your developers are creating features based on this develop branch, implementing and testing them and merging them back to the develop branch.
If the feature set is complete for a specific release a new release branch is created where, for example, the QA can test the new release. After the QA is happy, the branch is merged back to the develop as well as to the master branch, where the client can now get the new working release.
Have a look on the link above for a more detailed explanation.

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Lafayette County Inmate Records
Lafayette County
Search free Lafayette County FL inmate records.
Lafayette County Jails and Prisons maintain records on current and former inmates, making them valuable sources of information for an inmate search in Lafayette County, %state. The inmate records at Jails and Prisons are available to the public. Lafayette County inmate records contain information on a criminal's conviction and sentence, the facility where an inmate is incarcerated, and release dates. Many Jails and Prisons at the Lafayette County, FL State, and federal level provide online inmate search tools.
Lafayette County Jail Mayo FL 178 Northwest Crawford Street 32066 386-294-1301
Lafayette County Sheriffs can be a valuable resource for performing an inmate search in Lafayette County, Florida. In many locations, the Sheriff runs the county jail, and the Sheriff's Office maintains records on current and former Lafayette County inmates. The Sheriff's Office can perform inmate searches, which contain information on the facility housing the prisoner, the release date, and the Lafayette County Court that charged the prisoner. Some Sheriff's Offices provide online inmate search tools.
Lafayette County Sheriff's Office Mayo FL 231 Northwest Monroe Avenue 32066 386-294-1301
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Rare Cancer Discovered in Pennsylvania Smallmouth Bass
A smallmouth bass fish, Genoa, Wisconsin .
Joel Sartore—National Geographic/Getty Images
By Sarah Begley
May 8, 2015 10:50 AM EDT
A rare cancerous tumor was discovered on a smallmouth bass pulled out of the Susquehanna River.
The fish was caught last year, and the Pennsylvania Fish and Boat Commission confirmed the case this week. Fish are not particularly susceptible to cancer, and it's the first such case in the species in that location, though fish were previously found with sores and lesions, the Washington Post reports.
The disease may be the result of pollution, and officials want the river to be included on the EPA's list of "impaired waterways." The EPA, however, says it bases that list on water quality, not the health of species living there.
A Pennsylvania Department of Health official said that consuming fish with cancer should not pose a risk to humans, but urged fishers not to eat those with sores and lesions.
[Washington Post]
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Real Stories CAHR Defined Referendum Anti-Homeless Affidavit Reform BB Gun Repeal Acts & Laws Defense Laws Restraining Orders Onlooking Case Law
CASE LAW for CAPC 198.5 Castling Law: expanded to include NJ #159
32California Penal Code 198.5 -- Use of deadly force by any person within his or her residence against an intruder; presumption of fear of death or great bodily injury. ("Any person using force intended or likely to cause death or great bodily injury within his or her residence shall be presumed to have held a reasonable fear of imminent peril of death or great bodily injury to self, family, or a member of the household when that force is used against another person, not a member of the family or household, who unlawfully and forcibly enters or has unlawfully and forcibly entered the residence and the person using the force knew or had reason to believe that an unlawful and forcible entry occurred.") [California self-defense law]
37Judicial Council Of California Criminal Jury Instruction 3475 - Right to Eject Trespasser From Real Property. ("The (owner/lawful occupant) of a (home/property) may request that a trespasser leave the (home/property). If the trespasser does not leave within a reasonable time and it would appear to a reasonable person that the trespasser poses a threat to (the (home/property)/ [or] the (owner/ [or] occupants), the (owner/lawful occupant) may [exercise self-defense and] use reasonable force to make the trespasser leave.")
Selected Case Law
MGL c.258E Harassment Prevention Orders, effective May, 2010.
MGL c. 265, s.37: Violations of Constitutional Rights
MGL c. 265, s.43: Stalking
MGL c. 265, s.43A: Criminal Harassment; Punishment
MGL c. 269, s14A: Annoying Telephone Calls
Federal Laws
18 USC 2261A Interstate Stalking
47 USC 223 Obscene or Harassing Telephone Calls in the District of Columbia or in Interstate or Foreign Communications
Agis v. Howard Johnson Co., 371 Mass. 140 (1976). Expanded liability to cases without physical harm. Court held that "one who, by extreme and outrageous conduct and without privilege causes severe emotional distress to another is subject to liability for such emotional distress even though no bodily harm may result."
Brown v. Nutter, McClennen and Fish, 45 Mass. App.Ct. 212 (1998). Legal secretary brought action against law firm and one of its attorneys for emotional distress. Court held that while the Workers' Compensation Act barred her claim against the firm, it did not immunize the attorney from personal liability.
Commonwealth v. Alphas, 430 Mass. 8 (1999). "In order to convict a defendant under 'following' prong of stalking statute, Commonwealth is required to prove more than two incidents of following."
Commonwealth v. Richards, 426 Mass. 689 (1998). Court held MGL chapter 269, section 14A does not apply to allegedly annoying facsimile transmissions.
Commonwealth v. Wotan, 422 Mass. 740 (1996). "Term 'repeatedly' in statute making it a misdemeanor to telephone someone repeatedly solely to harass, annoy or molest requires three or more telephone calls."
George v. Jordan Marsh Co., 359 Mass. 244 (1971). Court held that "one who, without a privilege to do so, by extreme and outrageous conduct intentionally causes severe emotional distress to another, with bodily harm resulting from such distress, is subject to liability."
O'Brien v. Borowski, 461 Mass. 415 (2012). G.L. c.258E held to be constitutional. Also, prior to this case, the only review available was to seek relief from a single justice of this court under G. L. c. 211, § 3. "After the date of the issuance of the rescript in this case, all litigants seeking judicial review of harassment prevention orders issued pursuant to G. L. c. 258E are directed to the Appeals Court."
Payton v. Abbott Labs, 386 Mass. 540 (1982). Great summary of the history of the tort and its required elements.
Quinn v. Walsh, 49 Mass.App.Ct. 696 (2000). "Openly conducting adulterous affair was not sufficiently outrageous conduct to support claim for intentional infliction of emotional distress."
Copyright 2012 DeeAnna Blette


What are enzymes? Enzymes are vital proteins within the body that are necessary for all of life's functions. Without enzymes, we simply could not live. All metabolism and metabolic processes that occur within the body require enzymes for them to take place. Without them, we simply would cease to function.
Enzymes are present in foods in their natural state, but they're rapidly destroyed at temperatures above 116 degrees Fahrenheit. It's for this reason that a raw food diet is so healthy and why increasing the amount of raw foods that you consume is especially important in this age of dead and denatured foods. When we chop up a salad, juice fruits and vegetables, and chew our foods well, we're releasing the enzymes contained within those foods which aid in their own digestion.


AMAZON could soon be able to guess your favourite books, songs and movies.
The shopping giant has filed a patent that would allow its Alexa-powered smart speakers to analyse the searches you bark at it in a creepy new way.
The tool would let your Echo gadget guess the sorts of films, albums and more that you are into – and show you more of it.
It's not clear what Amazon would do with this information, but it could be used to suggest products for you to buy via the Amazon marketplace.
It could also link to your Amazon prime or Amazon Music accounts, suggesting films, TV shows or songs for you to try.
Amazon said its patent "determines user interest in media content expressed through searches of verbal media content".
This includes searches made via a new feature that would let you skip to your favourite part of a song, story or movie by quoting words or lyrics in that section.
This information would be linked to your purchase history, download history, browse history, favourite media content, preferences, other data, including your mates on social media.
Amazon would then bung all of this together to help it figure out what kind of media content you're into, and show you more of it.
The idea is just a patent for now, and is not guaranteed to reach your Alexa device – certainly not any time soon.
An Amazon spokesperson said: "Like many companies, we file a number of forward-looking patent applications that explore the full possibilities of new technology.
What do you think of Amazon's latest patent? Let us know in the comments!


A recent report suggests that deaths from a Turkish earthquake in 2003 could have been prevented if minor design changes had been made to buildings.
"Many lives could have been saved if a small number of reinforced-concrete structural walls had been in place in several of the buildings that collapsed during this event," said Julio Ramirez, a professor of civil engineering at Purdue University.
The report, recently prepared for the US National Science Foundation, details how the quake caused extensive damage to 180 buildings, including 48 schools and four dormitories in the eastern Turkey city of Bingol. One of those dormitories collapsed, killing 87 people, said Mete Sozen, Purdue's Kettelhut Distinguished Professor of Structural Engineering.
Sozen and Ramirez led an NSF-sponsored US team of researchers and engineers from Purdue, the University of Kansas and the structural engineering firm of Wiss, Janney, Elstner Associates, headquartered in Northbrook, Illinois.
"What we observed was that the school buildings that failed had a fundamental and classic flaw," Sozen said. "They had a feature called captive columns.
After one column breaks, the weight of the building is then concentrated on the remaining columns, causing them to break in series, resulting in the building's collapse.
"It progresses like a zipper, with one column breaking after another," said Sozen, an expert in reinforced-concrete structures.
The magnitude 6.4 Bingol earthquake struck at 3:27 a.m. on May 1, 2003, in a region of the world where the North and East Anatolian Faults converge. Buildings in earthquake-prone parts of the world should be constructed to endure the "lateral forces" exerted by the ground motion caused by the temblors, Ramirez said, and the likelihood of earthquakes makes this area a poor location for buildings with captive columns.
The walls would have aided the columns in supporting the weight of the building and helped control the "lateral deformation" of the columns, he said.
The report has been made available to Turkish officials in hopes that its findings will influence changes in construction practices there and in other parts of the world that are dangerously susceptible to earthquakes.


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Simon Waldman
Why Iran is risking war with Saudi Arabia and America
Although the Iranian-backed Houthi rebels in Yemen claimed responsibility for last week's attack on Saudi Arabia's Abqaiq oil processing plant, the audacious operation looks like the handiwork of the Islamic Republic of Iran. It is even emerging that the drones or cruise missiles were fired directly from Iranian soil.
Stirrings of war are on the horizon. President Donald Trump warned that a US response is "locked and loaded" and the Saudi King and Crown Prince are not best pleased.
For years, Shia Iran and Sunni Saudi Arabia have engaged in a proxy conflict. Currently, the regional rivals support different sides in the civil wars in Syria and Yemen. But why would Iran instigate a direct attack against Saudi Arabia and risk conflict not only with Riyadh, but possibly the United States as well? The attack seems especially irrational considering the timing. Just days earlier there was credible talk about a potential meeting between Trump and his Iranian counterpart Hassan Rouhani at the United Nations. Meanwhile, Trump fired his hawkish national security advisor John Bolton, indicating a willingness to ease some sanctions.
Perhaps Iran wanted revenge against Riyadh's involvement in Yemen, a civil war that has claimed 90,000 lives, including tens of thousands of civilians, and caused widespread misery, poverty and disease? However, if Iran figured that disrupting Saudi Arabia's oil revenues would push the Kingdom to retreat from Yemen, it was a serious miscalculation.
About Simon Waldman
Dr Simon A Waldman is an associate fellow at the Henry Jackson Society and a visiting research fellow at King's College London
Articles by Simon Waldman