Welcome to Week 2 and the review of Chapters 1 and 2 in the "Ask and It is Given" Book. The topics are "The Power of Feeling Good Now" and "We are Reminding You of Who You Are." I encourage you to read through the entirety of Part I in the book, even though we are reviewing a small amount at a time. It will be easier for you to go back and understand the full breadth of information offered this way. It is just a suggestion, find your own unique way of practicing if that feels right for you.
Do you know that you are the creator of your own experience?
Are you enjoying the evolution of your desire?
Do you feel the freshness of the new desire pulsing through you?
The Law of Attraction states that we attract to our lives what we focus on whether wanted or unwanted.
When we are focusing on pain and the suffering in our lives and in the world we attract more pain into our lives. When focus on appreciating good people and appreciating the blessings in our lives we receive more blessings.
Unfortunately due to years of negative thinking and being raised with beliefs like "Life is a struggle" and "No pain no gain" we tend to focus more on the negative aspects of our lives.
Every thought is powerful and sends out a message to the universe. The universe does not differentiate whether you like the object or emotion- it merely gives you back what you focus on.
To manifest our goals using Law of Attraction and to live peacefully we need to move our focus away from negative thoughts (move away from what we do not want) and focus on positive thoughts like gratitude, love and our goals (what we do want).
However it is not possible for us monitor all our thoughts because we have so many thoughts in a day.
There is a simpler way of doing it using the Emotional Guidance System.
During the day you need to be aware of which emotion you are experiencing from the Emotional Guidance System. When you are experiencing the positive emotions you are helping in the co creation of your goals.
When you feel a negative emotion you are blocking yourself from your source and blocking abundance. You then have to shift that negative emotion to better feeling emotion on the scale.
Use your power of deliberately focusing your thoughts and feelings this week to positively influence and create the goals and intentions you have set forth for yourself. You are the only one in charge of your life… and your vibration!
"My Most Important Relationship Is With My Source… There is no relationship of greater importance to achieve than the relationship between you, in your physical body, right here and now, and the Soul/Source/God from which you have come. If you tend to that relationship, first and foremost, you will then, and only then, have the stable footing to proceed into other relationships. Your relationship with your own body; your relationship with money; your relationship with your parents, children, grandchildren, the people you work with, your government, your world will all fall swiftly and easily into alignment once you tend to this fundamental, primary relationship first." YES!
What are your values in life? What are your values in your practice?
Are they the same or different and why?
self-respect or respect others. If you have a value that is not listed, you are more than welcome to put it on your list. Now do the same exercise for your practice. Are they the same or different? Please explain the differences.
Next – Now chose an important person in your life. It could be a friend, relative, or a famous person such as a movie star or a political figure. Tell me how this person has influenced your life and what changes they made in your life.
Make two sentences with three different adjectives in each sentence. One sentence should describe you at your best and one sentence at your worst. Just look, don't judge.
This Guided Meditation is designed to ignite the power of your creativity and connect you to the sacred center of creative life force energy– the heart. Enjoy!
OM-Work: Prepare for next week's lesson by Reading Chapters 3-4 and Processes 3-4. Thank you for taking the journey with us!
Spiritual Uplifter- Inspire Empowered Strength- Radiant Vibrant Health- Live Light Love Joy- Harmony Integrity Grace Ease.
My core values: Living Life in a balanced way, with a spacious, vital presence. Living with passion, integrity and wisdom gathered through experience. Being open to intimacy, love, inspiration and inter-awakening as shared transmissions come through us, each of us having unique perspective of the whole.
I am Aware. Of my physical and non-physical being and my positive impact on everything and everyone.
I am Creative. In all things I experience and engage.
I am Compassionate. I feel deeply for all things.
I am Radiant. Like the Sun.
I am Patient. I seek understanding when the time is right for me.
I am Experienced. I strive to master my practices and become a beacon of inspiration and knowledge.
I am unconditionally loving. I seek to be less walled off from those I love that that love me.
Fantastic– thank you for posting and sharing!
I am a guided devoted Leader.
Kindness, humor, compassion, patience, pure exuberance and joyfully feeling connected to others balance my inner nutrients.
I am open to mystery, magic, magnificence!
Just saying this is big. I am in recovery from reluctance.
My person of influence is Terry Sendgraff, teacher, inventor of low flying trapeze and credited as the mother of aerial dance. Her authenticity and huge heart showed me how you don't have to be a diva to shine a light!
Integrity, Honesty, clarity, joy, love, peace,abundance, balance, empathy, family, and understanding.
Bill: He calls me out when I'm not honest. Helps me see what is important in a situation.
I am at my best when my heart is open, I am loving and at peace with myself.
I am at my worst when I am nervous, anxious and preoccupied.


I hadn't taken much notice of the man until he spoke to me, because he was rather repulsive. I should feel some sense of shame in stating that so openly, but the immediate gut reaction to the figure who would sit on the seat opposite me on the bus each evening was extremely hard to shake.
The man's physical scars were bright and could certainly not be missed. His skin was pale, sickly and sallow, with a grotesque yellow-white shade to it, and flaked excessively around the man's forehead and shoulders, peeling to hang like tattered newspaper from his head. Around his neck hung many tumorous lesions, bulbous outgrowing sacks of flesh which oozed vile orange pus. I wanted, more than anything else, to feel sorry for the man. I lived in Portsmouth, once proclaimed as the greatest naval city on England's south coast, but in the recent decades certain natural erosion had taken place. With budget cuts after budget cuts, health care had stumbled, struggling to keep up with an aging population and many in the city's health had started to suffer from poor health treatment. If anything, the man's obvious condition should have elicited sympathy from me, or perhaps concern for him as a victim of a non-compassionate society.
Instead, it did not. To quote my beloved Edgar Allen Poe, I think perhaps it was his eye. A single one, his right, and the one nearest to the side of the bus which I sat on as I rode back from work every day. It was clear, with a dull shade of mottled blue, and resolutely refused to dignify me with a blink. Lacking a pupil, I could never be certain if this eye was staring directly at me, or if its gaze was turned away at the near-distance, but whenever I would take my seat on the bus I would always feel the man's eye upon me. The sensation would not, I think, have ever been enough to drive me to the extremes of Poe's 'The Tell-Tale Heart', which I studied extensively as part of my bachelorhood in literature, but I would certainly be left with a deep chill any time I would encounter the man – and those encounters occurred daily, on the bus home from work, without the slightest hesitation or fail.
I was content for the most part to ignore the man entirely. As I had mentioned, I assumed that he simply suffered from medical neglect and poor care, and despite my gut instinct of revulsion, I thought that perhaps he could be best supported by medical care and attention. For each time I boarded the bus to arrive at the quay station, I satisfied myself to bury my nose in a book and know in confidence that I would not be disturbed so long as I did not draw the man's attention.
So it was that I did not give the man any reason to speak to me, and I did my best to avoid any such indication that I wished to engage him in conversation. This lasted for the better part of three months, until one April evening. It was raining heavily, and I had stayed within the shelter of the bus station, waiting for my coach to arrive. The man had stayed not too far from where I stood, and when the bus did indeed arrive, I hurried quickly aboard and took my seat. I read quickly from my well-thumbed book, a small paperback copy of one of Lee Child's many numerous action adventures, when the man with the weeping sours leaned over from his seat and mumbled something to me.
I had no idea what the man was referring to, and didn't give the question much in the way of thought. I put it out of my mind almost immediately, and didn't think about it again until the next day, when I saw the man once again on the bus. He had, I think, some kind of meaning in choosing me out of all the people on the bus that he could have asked the question to. Each time I would board the bus, I would be reminded of his question – and each time I would disembark, I would leave the question behind, unanswered.
When I began to experience the nightmares, I changed the bus that I would get. The change in my journey added a half hour to my return home in the evenings, but I felt compelled to take the change to make sure I would not encounter the strange figure further. Sure enough, I never again saw the man in the flesh, but the dreams persisted. They became a regular feature, experiencing them perhaps three times per week. When I began to start to lose sleep on a regular basis, I made the decision to do what I could to locate the source of this supposed Yellow Sign.
The search to discover exactly what the yellow sign was did not take too long. Thanks to the internet, I quickly traced the question that my nightmare screamed at me to a short story in Robert Chambers' collected works, a book titled "The King in Yellow".
I ordered a copy of the book from a website, surprised to find that it was still in print. In truth it appeared that Robert Chandler's work had fallen into the public domain due to the century that had passed since its initial publication. The website offered me the option to simply download the book but, stickler for the physicality of a print publication as I was, I was compelled to order a hard copy of the tome, which I was informed would arrive within the next few days.
The book did indeed arrive on time, although I passed that time with substantial research into the myths surrounding the work. The title of the book, "The King in Yellow", was a reference to a play that Chambers wrote about within his collected stories – a play that, his stories supposed, possessed the capacity to drive the audience of the play's second act into a fit of frothing madness. I found the idea quite entertaining on its own, but I struggled to find any true means in which the fictional play was connected to the often-mentioned yellow sign. If indeed there was a direct connection, it was one that Chambers didn't care to elucidate on.
Instead, most of my research fell onto works that was attributed to Howard Phillips Lovecraft; an entirely different author who was born five years after "The King in Yellow" was published by Chambers. I was quite aware of Lovecraft's collection of work – one can barely study the works of Poe without hearing comparisons with those whose works he had clearly influenced. It was Lovecraft who, I learned, made reference to Chambers' work and drew it to popular attention again, by referencing elements of Chambers' stories – specifically, a being (or perhaps a place – Chambers was unclear on this point) by the name of Hastur. This name, in turn, was one that Chambers had procured from an earlier work by Ambrose Bierce, who references a god of shepherds by the same name. Bierce also referenced a fictional city by the name of Carcosa, which I would grow to understand was an important location within the apocryphal play.
It was around this point that my study became confused and frantic. I struggled to bring much of the myths and legends together, and I began to feel a sense of hopelessness in the entire endeavour. For all the fictional cities and deities, I was no closer to discovering the source of this supposed yellow sign, nor what it truly meant. This continued even when Chambers' book did indeed arrive. I read each of the stories with rapt attention, noting as each word that I had uncovered would be mentioned and given context, but still the vital clue that seemed to connect the entire mystery together eluded me. In one of the stories, "The Repairer of Reputations", we are left with the idea that the sign will in some manner grant its possessor into the control of the King in Yellow, but the narrative feels so fragmented and the narrator is so unreliable that it renders this meaning dubious at best. From what I could determine from both this and Lovecraft's work, I realised that the King in question was the shepherd deity Hastur that Bierce had mentioned, and the sign in some manner a sigil or badge of heraldry.
As my work progressed, I became convinced that my copy of Chambers' work was insufficient. He had drawn influence from Bierce in creating (or recreating) both Hastur and this city of Carcosa, so I theorised that he may have drawn reference in creating his titular play "The King in Yellow" as well. An author by the name of Blish had, I discovered, created a short story by the name of "More Light", which documented (albeit in an abridged and fractured manner) the play itself, and it was there that I found my biggest clue to date that would lead to my locating the yellow sign.
By this stage, I had all but forgotten the disfigured man who had haunted my bus journeys. I did not travel much on the bus any more – I had spoken to my manager at work and taken my annual allotment of holidays in one series of consecutive weeks. This was mainly due to the fact that I was struggling to sleep. My days felt muggy and discordant, and I spent most of my time by lamplight sitting at my computer or pouring over books, noting down as much information as I could find. My eagerness was focused solely and without distraction on the yellow sign. I had reached the point where, in the few peaceful hours of fitful slumber that I could grasp, I could swear to myself that I could almost catch sight of the symbol – almost, but never quite.
I thought for a moment, one evening, that I had experienced a breakthrough. A man by the name of Kevin Ross had created, during the 1980s, a facsimile of the sign, for use in a game based on Lovecraft's work. It was a notable attempt, but I knew immediately upon seeing it that it was not quite correct. The dimensions of it, the curve of the lines, none of them quite matched the symbol that danced so frantically at the boundaries of my mind's eye. No, I had to search elsewhere – but by now, I knew exactly where I had to look. Blish had given me that clue in his short story, "More Light". In his recreation, a character described only as the Stranger is present. The Stranger wears a pallid mask, white and without features, and the Stranger's true identity is unknown to any other within the play. Could he be Hastur (or could that be, in fact, the entire land that the play takes place upon?), or perhaps the King in Yellow? I am unsure – all I know for sure is that when he is asked to remove his mask, he responds by stating that he wears no mask at all! That is curious enough, and was certainly the climactic announcement within Chambers' rendition of the play, but Chambers may have neglected to mention one very important element to my quest – that the Strangers robes themselves bare the mark of the yellow sign! My work was set out before me – I had to locate and procure a copy of the original text of the play that Chambers had so clearly based his stories upon.
Locating a copy of the play was to prove to be an arduous task. Chambers was phenomenally tight-lipped on the name of the play's original author. Through extensive research, I learned that the play had been translated into French in a time recent to Chambers, by a gentleman named Thomas de Castaigne, and I believe that it is this French translation that Chambers based his stories upon. The copies were, I understand, seized and destroyed by the French government, amidst rumours of both the play's madness-inducing qualities and the grotesque nature of its second act. I theorise that it is this translation and its forbidden nature that caused Chambers to cloak the play in the pretence of being fiction. I was wise to these games, and I couldn't be dissuaded easily – I knew that the play was real, and that I had to find it if I wanted answers.
I put in a few phone calls to some antiquarian bookshops in London in the hopes that they may yield some results, and although a few of the more obscure and esoteric ones promised that they would set their minds to the task, I didn't hold out much hope. Instead I turned my attention for the next twelve or so days to tracking down as many books as I could on the King in Yellow. I read anthologies, I read short stories and Lovecraft pastiches, I read fan-made recreations of the play, I read gaming material, and I read wiki pages and all I read I found no true luck. I was growing into despair. Everything I uncovered was new tales, stories built on the shoulders of other stories, but nothing that could shed some light far enough backwards into the darkness of history. When at last I heard back from one of the London booksellers, I did not stop to question the authenticity of their claim of what he offered me – a first edition of the play itself!
I should have been dubious, naturally enough. But having endured for so long without any progress in my research, I was almost fanatical in my urge to obtain this. The offered price, almost six hundred pounds, was a considerable amount of my monthly wage, but I informed the antiquarian that I would make the deal without any hesitation and booked a train ticket for London the very next day.
I barely slept that night, my excitement keeping my perpetually on edge. During the train ride, my weariness caught up with me, and I only awoke when the carriage ground to its final stop in London. I dreamt during the journey, my mind floating back to the face of the wretched creature that had begun this obsession of mine, the weeping sores on his flesh, the bleakness in his dead eye. In my fevered dreams I heard his words, garbled and rasping, "Have you found the yellow sign?" As his voice grew louder and angrier, I knew the answer that I was about to present – not yet, but soon!
I worked my way through the city's heaving streets until I had managed to cross to the bookshop in question, situated not too far from the British Museum. When I arrived at the shop, my suspicions began to rise. The décor was entirely lavish, resplendent with all manner of conventional pieces of esoteric artworks. The heavy odour of incense bloated the air, and I soon navigated through the maze of displays offering tarot cards and tomes on Wicca until I located the shop's assistant, who greeted me with beaded hair and a warm smile. I explained who I was and the nature of my business, insisting that I inspect the book as soon as possible. I did not care for the store, did not care for the light and free-hearted way it foisted its theatricals upon the focus of my attentions. I wanted to leave, to collect the play and take it home and never have to worry again. She fetched the book, and my heart sank. I read the cover, and just to be certain, I read it again. It was "The King in Yellow", by Robert Chambers.
It was not the play. It was the novel. A crisp, delicately-wrapped copy, over a hundred years of age, but it was still the novel nonetheless. I thanked the girl, and left the shop, leaving her sputtering her questions of whether I wished the book at all. I let the door swing shut behind me as I stepped into the street, and all I could feel was hopelessness. The object of my quest eluded me, would continue to elude me, as if it was content simply to watch me stumble blindly after it; all the whilst the damnable play simply sat back and mocked my every move.
Pacing through the streets, my shoulders bumping against the others in the crowd, I felt bitterly angry at myself. Had I wasted the entire day, the cost of the train fare? My mind was still on the book, its cover faded and musty but nonetheless a pristine copy. Perhaps, I thought, it would be worth a purchase after all, if for nothing more than a curiosity. I decided that I would find a cup of coffee to settle my nerves, and make my decision over that. By the time I stopped walking, I found myself near a small coffee shop located opposite the British Museum. I took a seat inside and, over a tall mug of hot mocha, considered what my next course of action should be.
My eye kept wandering towards the window of the coffee shop, gazing out towards the British Museum. It occurred to me that it had been some years since I had visited, and so when I finished my mocha I decided to take a stroll through its vast Egyptian wing. Being in the presence of such aged and revered artefacts had always inspired me in the past, and had the unique ability to leave me feeling significantly more at peace with myself. When I climbed the stone steps of the museum, I was surprised at how quiet it was on that very day, whereas the museum is usually entirely packed with students and tourists eager to see the sights. Unique objects, such as the statue of Amenhotep, Ramesses, or the Rosetta stone, drew vast crowds on the better days, but on this day I found the crowds to be relatively at ease. Entering the central hallway of the museum, I looked up at its vast domed ceiling when the idea – no, more of a compulsion – grasped me. The museum's reading room, legendary in its own right, stood before me at the centre of the great court. I knew some of the reading room; its vast collection included works by history's greatest authors, my own beloved Edgar Allen Poe amongst them. In its heyday, access to the books was restricted to ticket holders and registered researchers, who could make use of the time to peruse the works of Wilde, Kipling, Browning, Dickens, Marx or Conan Doyle as they so desired. But in the last decade, access to the reading room had been sporadic at best – its space lent heavily to use as an exhibition area. On my first visit to the British Museum, it was the reading room that had played host to China's Terracotta Army – on my most recent; it had hosted artefacts of the reign of Montezuma.
I entered the reading room and, to paraphrase Virginia Woolf, the swing doors swung open, and there I stood under the vast dome, as if I were a thought in the huge bald head which was so splendidly encircled by a band of famous names. I knew that I was at a significant disadvantage – my quest didn't even have an author's name, and I had so recently come close to abandoning my quest altogether. I thought for certain that the document, pursued by the French government upon its release in that country, would have certainly been consigned to the fires here as well.
I found it tucked in a small shelf, wedged between two large tomes of contemporary fiction. It was a thin book, so thin, it seemed so delicate; I couldn't bring myself to believe it when I found it. The cover read simply "Le Roi en Jaune", and I knew it for what it was at the first moment my eyes encountered it – The King in Yellow.
I found my way to one of the empty reading desks. My legs were shaking, and I was clutching the slim volume tighter than I should have done. Nothing – nothing – had prepared me for this, for the casual innocence in which the document had simply sat there, on the shelf. That I had longed for it so deeply, that I had dreamed for it, and found it with such luck. I held it in my hands – not a fan-produced replica, not a recreation, not anything other than what I knew it to truly be; the real, the legitimate, the honest and the true document. My breathing was staggered, I knew, and I could hear my heartbeat pounding in my ears. Had people noticed my excitement? Would they think me strange? I didn't care – how could I? I sat. I placed the book in front of me. I inhaled. I opened the first page. I met my fate.
The yellow sign was printed on the first page.
I knew immediately that it was the real one. Not a recreation, not an indistinct artistic rendering or a prop for a game, not a stylised representation for use in the play. No, this was the true yellow sign. I knew it immediately, I knew it without any doubt, and because it was unlike any image I had seen before. The ink with which it was placed on the page did not remain still, and I could not see the full shape before me with my eyes – it felt as though I was looking directly at only a part of the sign, much like when you see only part of a sentence when you stare at a single letter. It did not obey the laws of structure of any sign rendered on a flat sheet of paper, it drew me towards it. It was not, I think, even accurate to describe it as yellow in colour – it had a colour, but none that exist natively on this planet. It drew me forward, pulling me closer, inwards, into the sign.
I fell closer. I fell upwards. I fell.
The sign clutched my mind as I tumbled down (or was it upwards? Yes, upwards!) into it. The sign enveloped me, pervading my senses. It grew thick, tar-like in its viscosity. It permeated my mind, choking it. I drowned in it. I opened my mouth to scream, but could only gasp for air. My eyes stung in the darkness; I wept, but the tears vanished into the inky eternity around me. I floated, clutching for breath, for life, for sanity.
And then a hand latched around my wrist.
In that moment I felt myself being pulled upwards, roughly hewn out from the void. I broke the surface, and realised that I had been under water. The cold and black waters had blinded me, and my initial breaths burned my throat as if I were a newborn baby. I couldn't even see, not yet, images only returned to me fleetingly as I blinked down hard, pushing the lake's water from my eyes. It was, I realised, indeed a lake – one as alien and unknowable as any world I had only dreamed of before. My eyes turned to look around, and I recognised the location around me – the stars above were black, the twin suns hung eternally setting in twilight behind the dim towards of the city. Oh, the city!
I looked up to the figure that had rescued me – my mind refusing to accept where I was now located – and recognised that my wrist burned. The figure's grip on it was tight, I realised, because his fingers seared into my skin. The tips of those fingers were little more than claws, long and terrible needles, and when the figure had pulled me free of the lake, he had severed the skin and cut right to my bone. I tried to pull my arm free, but the figure's clasp on me was resolute, unshakable. My wrist bled, but not as much as I had thought that it would. I didn't want to look at the figure, even as the tatters of his yellow robes invaded the periphery of my vision.
The King held a pallid mask in his other hand. I tried to cry out as he pressed it to my face, but the mask had no hole for a mouth, and so my cries grew dim, and then silenced.
When light returned to my senses, it was hazy and painful – my eyes felt heavy and dull, as if they hadn't been used in months.
An older man was leaning over me, asking if I was alright. He told me that I had hit my head when I had collapsed. With dim recognition, the focus of the British Museum's reading room swam back to me. The older man asked if I was epileptic, maybe, and if I needed a doctor or something.
I stumbled to my feet, leaning heavily on the table. I didn't want to answer the old man, my tongue felt swollen and unfamiliar to me. I struggled to recall where I was, what I had been doing here. I thought of the play – it wasn't on the reading desk. Somehow, that didn't feel important to me anymore. The old man stepped back, recognising that I was well enough to stand under my own power. I rubbed my fingers against my forehead, finding readily a heavy throbbing ache on the left side.
As I tried to leave the museum, I found that the back of my neck ached. I rubbed it. The skin felt uncomfortable, itchy and unfamiliar to me. It took me a few moments to realise that my strides had become laboured, as if I wasn't at full ease with them. I scratched at my neck, determined that the sensation would pass. I didn't want to think about what I had seen – the lost city of Carcosa, perhaps? The King in his yellow tatters? I couldn't linger for too long on those thoughts. I stumbled down the museum's steps and across the courtyard, into the street outside.
The sun was starting to crawl its way downwards towards the horizon, I noticed. I knew that I would need to get back to the train station, or at least I was dimly aware of this requirement, but the action of doing so simply did not feel entirely important to me. My feet shuffled ahead of me, taking one loping step before another. Before long, I had crossed into the narrow streets of Soho, and made my way through the evening crowds.


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Many Year 11s will have received their mocks grades and some may be in a bit of a panic about how much revision they have to do in order to increase these grades by the real GCSEs in June. Yes, time is running out, but is it too late to get on track and make effective progress with revision? The good news is that there is still enough time to make a real impact on grades and to develop a strategy to get sufficient revision done.
Do a stocktake – It's important to know where you are in terms of understanding and capability for each of your subjects and for each of your topics within those subjects. Go through your syllabus and code each topic either green, amber or red based on your confidence and knowledge of the material. Use this for the basis of prioritising your work. Focus on the red topics first, then amber, then green.
Make a plan – Love them or hate them, having a realistic and achievable revision schedule can make all the difference to your productivity. Make sure that the timetable takes into account all your weekly commitments and that you schedule in enough downtime to avoid stress and burnout. Be specific when filling in your subjects to revise in individual timeslots. For example rather than writing BIOLOGY, break it down into a specific topic such as CELL STRUCTURE. You could also go one step further and include how you are actually going to revise the topic eg. Revision guide, YouTube clips, class worksheet, past paper or making flashcards, posters or mindmaps.
Make sure your revision methods and varied and interesting – There is nothing more demotivating than sitting for hours on end with your head in a text book copying out large chunks of material or spending time highlighting loads of keywords. These are the least effective revision methods. Add variety and interest to your revision by incorporating different revision methods you may not have tried before. By revising with more active methods you will be able to complete more revision in less time – and enjoy it more in the process.
Ask for help – Your teachers are one of the most powerful resources at your disposal. Ask them for feedback on your mock papers, ask them for advice on how to get to grips with a particular topic, ask if they have any worksheets, resources or materials you could use.
Make short term sacrifices for long term gain – When time is limited it's important to use it effectively. Think about small sacrifices you could make over the coming few months to free up time for revision. Playing less X-Box, spending less time on your phone, watching a few episodes less on Netflix and not going out quite as much could make all the difference to how long you can spend on preparing for your GCSEs. Just think, after June you will have so much free time on your hands!


Bar charts are used to predict where a price might be going based upon where it has been and what it is doing at the present. Our exclusive training system will teach what the parts of the bars mean and how to use them. Inside and outside day bars can indicate TREND REVERSALS. We teach you how to draw trend lines and how to trade the breakouts.
The gives you the ability to reinforce your learning. Use it over and over again to make the concepts second hand knowledge.


Whether we are designing and building hospitals, schools, airports, sports facilities, or any number of other marquee projects, Kirlin defines the value of the project through the experience it provides the user. Take a look at our projects and see how we bring value to those we serve.
We are craftsmen. It shows in the quality of our work and the professionalism of our people. The following projects illustrate the technical level of expertise and the value we provide to our clients and their customers.


text:
Nominate an alum
Since the mid-1980s, North Central has been honoring successful school graduates with its "Distinguished Alumni" awards.
There are two criteria for receiving the award:
1. The honoree must have made an outstanding contribution to N.C. or have achieved recognition in his/her field regionally or nationally.
2. The honoree must be a positive role model for N.C. students.
The Alumni Association committee reviews nominations and selects one to three alumni to receive the award every spring at a student convocation at NC. Recipients also receive an individual plaque which is placed in the school entrance hallway.
Please complete the form To nominate an alum today
Distinguished Alumnus/Almuna Nominee: *
Distinguished Alumnus/Almuna Nominee:
Year of Nominee's Graduating Class:
List contribution(s) the nominee has made to NC after graduation: *
List career accomplishments the nominee has achieved:
In what way(s) is the nominee a positive role model for NC students?
Person Submitting Nomination: *
Person Submitting Nomination:
Email Address of Person Submitting Nomination: *
Needed for follow up questions or notification
History of Award
In 1985 Mike Caldwell, NC choir director, created the Distinguished Alumni award. One of his former choral students, Karen Beardsley, had made a name for herself in the NYC music scene, and Mike was searching for a way that NC could honor her accomplishments. A NC wood shop student created a plaque that was mounted on the wall outside the theatre with Karen's name listed on it as the award's first recipient. Two years later, Ryne Sandberg, an all-star major league baseball player, was added to the plaque.
For nearly a decade no other alum received the award.
In 1996 the Leadership Class revived the award as a class project. A committee selected five more recipients, and in the spring of 1997, recipients came to the school to be honored at a student convocation. The award has been presented to one to three NC graduates in the same fashion nearly ever year since.
In 2006 all past winners of the award received individual plaques, which were posted along the walls of the school's west entrance hallway. As part of NC's 100th year celebration, the Alumni Association took over the financing and maintenance of the individual plaques in 2008.

redpajama_set_name: RedPajamaCommonCrawl


text:
L.T.C bills passage "disappointing," Amnesty International
Speaker of the House Leaupepe Toleafoa Faafisi. (Photo: Anetone Sagaga)
Fanua ma Suafa
By Sapeer Mayron, 16/12/2020
Amnesty International has expressed disappointment that Samoa has passed three pieces of legislation despite widespread local and international concern they will erode human rights in the country.
Amnesty International Pacific Researcher, Kate Shuetze, told the Samoa Observer on Wednesday that the laws remain highly problematic, and maintains they were written and passed too quickly.
The Land and Titles Bill, the Judicature Amendment Bill and the Constitution Amendment Bill were passed during a on Tuesday. Forty one voted for and four voted against the bills after an all-day Parliament session.
Together, the three bills fundamentally alter the structure of the country's judicial system and experts both in Samoa and abroad have said the bills stand to undermine democracy in Samoa if passed.
In May, Ms. Schuetze highlighted her concerns with the bills, and seven months later those concerns remain the same.
"The bills in themselves were quite problematic from a human rights perspective and in terms of what it means for justice in the country," she said. "They carve out a new and separate court system in the Land and Titles Court. They take away constitutional protections of human rights and they are not consistent with international standards on the independence of judges and lawyers.
"It's disappointing to see that in spite of the wide range of opposition and concerns raised by these bills, not just domestically but internationally, those concerns don't see to have been considered and addressed in the passing of these laws which significantly undermine the rule of law and human rights protection in the country."
Ms. Schuetze said for any country, it is never too late to reverse or amend laws that risk human rights. She said she hopes the Government will "change its tune" in the near future and strengthen the judiciary rather than weaken it.
Political will in the Parliament of the day is essential for this, but "strategic litigation" is also an option, she said.
Already, prolific lawyer and former Attorney General Taulapapa Brenda Heather-Latu has written to the Attorney General notifying her of an upcoming legal challenge to the bills.
The Samoa Observer understands there may be several other challenges mounted against each of the three bills, even as Government moves to have them signed off by the Head of State.
In a press release by the Office of the Attorney General released on Wednesday, the Government describes the bills as "transformational," and say they give "appropriate recognition to the status of the Land and Titles Court.
"Samoa has its own form of democracy, defined by our Constitution, and influenced by Christianity and our Samoa customs and traditions. Our democracy does not subordinate our Samoa culture, it thrives because of it."
But Ms. Schuetze is not convinced these laws are safe.
"Essentially by carving out the separate land court it creates a quasi-feudal legal system around land ownership where human rights are not a part of that," she said.
"Human rights are by their very nature indivisible, universal, they apply to everyone and that is what we would like to see happen here."
Asked whether there could be international backlash against Samoa for persisting with these new laws, Ms. Schuetze said it is likely.
Next year Samoa will undergo its Universal Periodic Review with the Office of the United Nations High Commissioner for Human Rights.
Ms. Schuetze said she expects that among other things, the review will look at the U.N.'s previous commentary on the three bills, including criticism from the Special Rapporteur on the Independence of Judges and Lawyers.
In May, Special Rapporter Diego Garcia-Sayan wrote to Samoa to say the constitituional changes should be withdrawn.
"I am concerned that the proposed amendments to the Constitution, the Judicature Ordinance and the Lands and Titles Act would, if adopted, fall short of international standards relating to the independence of the judiciary and the separation of powers," he wrote.
"I am also worried at the wide discretionary powers that the executive power, through the Head of State, retains in relation to the appointment and dismissal of the Chief Justice, the President of the LTC, and ordinary judges."
Ms. Schuetze said that as well as the international actors making their views known, Samoans need to rally together and have their voices heard.
"People within Samoa need to challenge this and say their human rights need to be recognised and to be heard at the political level," she said.
"That requires a lot of people coming together to make their voices heard on those issues.
"There will be further international scrutiny and condemnation of the steps Samoa has taken to undermine the rule of law in the country and I would like to reiterate that it is never too late for the Samoan government to change its tune and decide that human rights protection can be upheld by changing these laws."
In Parliament, Prime Minister Tuilaepa Dr. Sailele Malielegaoi gave a resounding speech in support of the bills, and called Tuesday's session a "monumental day for the Parliament of Samoa.
"Why? Because it has been 6- years since our forefathers have wanted us to do this; to protect our country through the village council and also our lands and chiefly titles."
He said he believes the framers of Samoa's Constitution expected future leaders to cement the role of land, culture and chiefly titles in due time.
Ms. Schuetze said it is entirely appropriate to review old laws to ensure they still serve people, but the three new bills do not do this.
"What he is talking about here is a regression in terms of human rights protection in the country.
"You need to create the best legal and judicial system that protects the rights of the most vulnerable persons and people that don't hold the power in that dynamic.
"It is appropriate to revisit law and policies over time and make sure they are doing their job in terms of upholding fundamental human rights but this is not a question of these laws protecting human rights, there are very serious concerns that it can be used to undermine human rights."
N.Z. trade union slams Govt over vaccines
A trade union in New Zealand has lashed out at their government over reports Samoa will take delivery of its first batch of COVID-19 vaccines next month.
By Hyunsook Siutaia 18/01/2021
P.M. defends matai sa'o limits
The Prime Minister, Tuilaepa Dr. Sailele Malielegaoi has assured that limitation of paramount chiefs (matai sa'o) will not apply to those who already hold such a position, and announced he will not let the opposition mislead the nation without a fight.
Vaiusu wharf project claims disputed
Claims that villagers opposed the proposed building of an international wharf at the Vaiusu Bay have been strongly denied by the Faleata West M.P. Lealailepule Rimoni Aiafi.


Looking for a panasonic lumix dmc lx3 10 mp digital camera black with leica lens or other digital camera related items? Please find the latest items available right now below. New or used panasonic lumix dmc lx3 10 mp digital camera black with leica lens we aim to help you target the very best deals! We list a wide range of products from every manufacturer that changes fast.


After weeks of scouring the Los Angeles garment district we found the softest. stretchiest, sexiest black rib jersey knit ever made! This luxury fabric is buttery and cozy with a beautiful drape, and this skirt features flattering ruching and a covered waistband of soft elastic.


Life can be unexpected, and we understand this means that your travel plans may change. As soon as your booking is completed, we automatically reserve your tickets with the operator using the details you have provided. So you, and Rome2rio, are immediately bound to the ticket conditions. If you would like to change or cancel your tickets, please follow the instructions specific to your operator.
If you want to change the date or time of your journey, you must first cancel the original trip with us and then make your new booking online. If your ticket is refundable, please send an email to [email protected] with your booking details and cancellation request.
Important: If your payment card for ticket collection is lost/expired/cancelled, please contact our customer support team at least 72 hours before departure and we will reach out to the train operator on your behalf. We will try our best to assist, but due to strict operator regulations, there is no guarantee that they will be able to find a solution, and you may need to forfeit your ticket.
Step 1: Select 'Modify Trip' on the top menu and type your 6-character Amtrak reservation number, and your email address. Then click 'Find Trip'.
If you want to change the date or time of your journey, you must first cancel the original trip with us and then make your new booking online. If your ticket is refundable, please send an email to [email protected] at least 4-hours before departure with your booking details and cancellation request.
If you want to cancel a Base or Ordinary ticket, please send an email to [email protected] with your booking details and cancellation request.
Step 1: Visit the 'Manage your ticket' section of the Trenitalia website by clicking here.
Step 2: Select 'I have the PNR/Ticket code' and enter your email address and the 6-character PNR or 9-digit ticket code provided on your e-ticket. Then click 'Search'.
Step 3: Select 'Manage your ticket'.
Step 4: Select which passengers you would like to change, and then click 'Change Booking (date/time of departure)'.
Step 5: Choose your new travel date and time, click refresh, and follow the remaining prompts.
Please note: Economy tickets can only be exchanged by visiting a Trenitalia station in Italy before departure. Changes cannot be made online or by calling Trenitalia, and we are unfortunately unable to make any changes on your behalf.
At this stage, all National Express fares available on Rome2rio are non-refundable and non-amendable. If you are no longer able to travel, or if you've purchased the incorrect date/time, you will need to re-book and forfeit your original ticket. However, in case of travelling from or to an airport your ticket is valid for 12 hours after the departure time stated on the ticket.
If you have purchased a non-refundable "Escape" fare, amendments can only be made by calling VIA Rail directly on +18888427245. Any changes will incur a 50% fee (minimum CAD$20) plus any fare difference.
If your Eurostar ticket is refundable, please send your cancellation request to [email protected] with your booking details.
Alternatively, ticket exchanges can only be performed at a Eurostar Station (Paris Gare du Nord, London St Pancras International, Bruxelles Midi, Ebbsfleet International, Ashford International, Calais-Frethun).
Currently only 'Flexible' fare tickets are able to be refunded or amended without incurring a fee. All other ticket types are non-refundable however they can be amended prior to the departure date for a fee of USD 20 per ticket. The origin and destination of the ticket cannot be changed.
Refunds or amendments can only be made at a Greyhound station or by calling Greyhound customer service on +1-214-849-8966 between 5 am – 11 pm Central Time.
Currently only 'Flexible' and 'Reduced' fares are able to be amended. A fee may be incurred if you decide to amend the ticket within 48 hours of the original departure date.
Only 'Flexible' fares are able to fully refunded minus the booking fee as long as there is more than 2 hours before the departure time. Please send your cancellation request to [email protected] and we will also issue out any applicable refunds.
'Minimum' fares although they provide the greatest value are strictly non-refundable and non-amendable.
If you would like to amend a Flexible or Reduced fare please refer to the below instructions.
Step 1: Go to https://www.movelia.es/en/index.html and click the 'Ticket Management' tab at the top of the screen.
Step 2: Enter your booking and ID/Passport number into the two boxes. Please ensure that when entering your booking number it is done in lowercase.
Step 3: Your ticket details should appear below. Please select the ticket you wish to amend and click 'Change Ticket(s)'.
Step 5: This page will allow you to change the departure date, click the blank departure box and enter the date you wish to travel on and then click 'confirm'.
Step 6: Select the new time that you wish to travel on for that day. If you see the word 'Plazas Disponibles' this means that seats are available. Click the pricing box to select the time then click 'continuar'.
Step 7: If you would like to change seats click the X button at the bottom of the page which says 'Delete'. Any seats which are green can be selected. If done correctly a new seat number will generate in the text box. Once done click 'continue'.
Step 8: Your new ticket details will now be shown alongside the original and new ticket price. Please be aware that if your new ticket is more expensive than the initial fare you will have to pay the difference. Click 'continue' to go to the payment screen.
Step 9: If your amended ticket is the same price as the initial fare then you just need to tick the 'I have read the purchase conditions' box and click continue. If your new ticket(s) are more expensive than the original fare you will be prompted to pay the difference.
Step 10: You will now be on the confirmation page. An email will shortly be sent to you with your new e-ticket.


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Ascension 1934 Kgv 1s Black & Carmine. Sg 28. Sc 30.
Ascension 1938 Kgvi 5s Black & Yellow - Brown Perf 13 Mlh. Sg 46a. Sc 48.
Ascension 1938 Kgvi 2s6d Black & Deep Carmine. Sg 45c. Sc 47.
Ascension 1938 2d Black&red - Orange Sg 41 H.
Ascension Gv1 1938 1d Black&green P13. 5 Sg 39 H.
Ascension 1924 Kgv ½d Grey - Black & Black. Sg 10. Sc 10.


Alberta's economy was one of the strongest in the world, supported by the burgeoning petroleum industry and to a lesser extent, agriculture and technology. In 2013 Alberta's per capita GDP exceeded that of the United States, Norway, or Switzerland, and was the highest of any province in Canada at C$84,390. This was 56% higher than the national average of C$53,870 and more than twice that of some of the Atlantic provinces. In 2006 the deviation from the national average was the largest for any province in Canadian history. According to the 2006 census, the median annual family income after taxes was $70,986 in Alberta (compared to $60,270 in Canada as a whole). In 2014, Alberta had the second-largest economy in Canada after Ontario, with a GDP exceeding C$376 billion.


text:
High-Rise Security and Fire Life Safety
Authors: Geoff Craighead
Publisher: Elsevier Science & Technology Books
Size: 7.25" wide x 10.25" long x 1.00" tall
Geoff Craighead is Vice President of High-Rise Services for Pinkerton, a Securitas Company. He has been involved with the security and life safety operations of high-rise facilities for over twenty years. He has been the security and fire safety director of a 62-story skyscraper and has conducted extensive security surveys and training, developed security policies and procedures, and written building emergency plans. He is certified by the Los Angeles Fire Department to provide high-rise life safety services and is Board Certified in Security Management (CPP) by ASIS International. He currently serves as President of the Professional Certification Board that administers certification…
programs for security professionals throughout the world, and Co-Chair of the BOMA Greater Los Angeles Security and Emergency Preparedness Committee
Foreword to the Second Edition
Foreword to the First Edition
High-Rise Building Definition, Development, and Utilization p. 1
High-Rise Assets and Security and Fire Life Safety Threats p. 21
Security and Fire Life Safety Uniqueness of High-Rise Buildings p. 27
Security and Fire Life Safety Surveys p. 49
Security Systems and Equipment p. 97
Fire Life Safety Systems and Equipment p. 177
Security Policies and Procedures p. 231
Management of the Security Function p. 261
Investigations p. 293
Building Emergencies p. 307
Building Emergency Planning p. 409
Laws, Codes, and Standards p. 475
Liaison with Law Enforcement and Fire Authorities p. 513
Apartment and Residential Buildings, Hotels and Motels, and Hospitals and Health-Care Facilities p. 521
Index p. 529
Table of Contents provided by Blackwell. All Rights Reserved.


text:
Q: Swift package manager - Bundle.module alongside Bundle(for:) I have an external library where I should access embedded resources. This library should be accessible via SPM as well as framework (direct linking, Carthage or Cocoapods for example).
The problem is to access these resources, I must call Bundle.module when the library is used as a swift package and Bundle(for:) when used as a framework.
Is there a mean to check if I'm compiling the library as a swift package or as a framework, like a preprocessor condition maybe ?

A: Bundle.module will be synthesized with internal access level whether your package contains any resources. It's only visible when opening the Package.swift manifest file, trying to access it in the other ways results in an error.
Swift Package Manager doesn't depend on a .xcodeproj so you're just good to go.
Cocoapods, Carthage doesn't have that favor so you have to synthesize your own Bundle.module, here is a solution.
//
//  Bundle+Resource.swift
//  DateTimePicker
//
//  Created by Duy Tran on 10/9/20.
//

import Foundation

private class MyBundleFinder {}

extension Foundation.Bundle {

    /**
     The resource bundle associated with the current module..
     - important: When `DateTimePicker` is distributed via Swift Package Manager, it will be synthesized automatically in the name of `Bundle.module`.
     */
    static var resource: Bundle = {
        let moduleName = "DateTimePicker"
        #if COCOAPODS
        let bundleName = moduleName
        #else
        let bundleName = "\(moduleName)_\(moduleName)"
        #endif

        let candidates = [
            // Bundle should be present here when the package is linked into an App.
            Bundle.main.resourceURL,

            // Bundle should be present here when the package is linked into a framework.
            Bundle(for: MyBundleFinder.self).resourceURL,

            // For command-line tools.
            Bundle.main.bundleURL,
        ]

        for candidate in candidates {
            let bundlePath = candidate?.appendingPathComponent(bundleName + ".bundle")
            if let bundle = bundlePath.flatMap(Bundle.init(url:)) {
                return bundle
            }
        }

        fatalError("Unable to find bundle named \(bundleName)")
    }()
}

It seems many developers are looking for a solution, I am going to publish a Medium article for help.

redpajama_set_name: RedPajamaStackExchange


Adventism has a really strange and twisted road they travel to even try to make it to a resurrection.
"Death Is a Sleep. Death is not complete annihilation; it is only a state of temporary unconsciousness while the person awaits the resurrection."
That statement doesn't even make any sense. What is "incomplete annihilation"?
To say, "the person awaits the resurrection" is equally disingenuous. What "person"? What, actually is awaiting the resurrection?
Awaiting implies anticipation. Anticipation is a function of consciousness requiring a conscious existence. Both are impossible during death according to SDA doctrine. No one and no thing dead "awaits" the resurrection.
According to SDA doctrine, how does a dead person exist? And if they don't exist, then the resurrection can have nothing to do with any person who has lived and died, but is the creation of another being altogether.
Furthermore there can be no such thing as "eternal life" for all persons who die. No other persons created in the image of the formerly living, even the exact same image, can bring them back.
Ellen White, in Great Controversy, page 588, also states that "immortality of the soul" is one of the "two great errors ... Satan will bring the people under his deceptions."
How then can Seventh-day Adventism even have a resurrection?
22We know that the whole creation has been groaning as in the pains of childbirth right up to the present time.
23Not only so, but we ourselves, who have the firstfruits of the Spirit, groan inwardly as we wait eagerly for our adoption as sons, the redemption of our bodies.
53 For the perishable must clothe itself with the imperishable, and the mortal with immortality. 54 When the perishable has been clothed with the imperishable, and the mortal with immortality, then the saying that is written will come true: "Death has been swallowed up in victory."


text:
Anadarko increases share-repurchase programme
Published by Lydia Woellwarth, Editor
World Pipelines, Tuesday, 10 July 2018 14:00
Anadarko Petroleum Corporation yesterday announced its board of directors has authorised an expansion of the company's share-repurchase programme to US$4.0 billion, representing a US$1.0 billion increase. The company completed the first $3.0 billion of this program on 29 June 2018. In addition, Anadarko announced a US$500 million increase to its debt-reduction programme, bringing the total planned to US$1.5 billion. These measures raise the aggregate equity and debt-buyback programmes to US$5.5 billion, in addition to the recent increase of approximately US$400 million (annualised) to the company's common dividend. The board authorisation extends through the end of June 2019, and share repurchases will be made in accordance with applicable securities laws from time to time in open market or private transactions, depending on market conditions, and may be discontinued at any time.
"Today's announcement further reinforces our commitment to our durable strategy of delivering attractive, capital-efficient growth and applying our free cash flow in a balanced manner to fund the repurchase of stock and debt, along with dividend increases over time," said Bob Gwin, Anadarko Executive Vice President, Finance and CFO. "We aggressively completed the previously announced US$3.0 billion share-repurchase programme in just over nine months. We also retired US$100 million of debt at maturity in May with an additional US$900 million expected to be retired upon maturity in the first half of 2019. Combined with healthy, returns-focused growth, these actions materially enhance debt-adjusted per-share performance and create meaningful shareholder value."
Anadarko Petroleum Corporation's mission is to deliver a competitive and sustainable rate of return to shareholders by exploring for, acquiring and developing oil and natural gas resources vital to the world's health and welfare. As of year-end 2017, the company had 1.44 billion boe of proved reserves, making it one of the world's largest independent exploration and production companies.
Read the article online at: https://www.worldpipelines.com/business-news/10072018/anadarko-increases-share-repurchase-programme/


Norman Lamb has accused the Conservatives of "betrayal" for abandoning a pledge to introduce a cap on care costs, meaning many older people in North Norfolk will end up paying thousands of pounds more for their care.
As minister in the Coalition Government, Norman introduced a cap on care costs to protect older people against catastrophic costs experienced when someone ends up with a condition like dementia.
Within weeks of winning the election in 2015, the Conservatives announced that they were postponing the introduction of the cap, despite committing to it in their manifesto. While Norman said at the time that this amounted to an abandonment, the Government insisted that the cap would be implemented in 2020.
Today, the 2017 Conservative Manifesto confirms that the cap has been abandoned.
Renowned economist Andrew Dilnot, who chaired the long-term care commission that originally proposed the cap, said that the Conservatives' plan to make homeowners pay more for their care will leave "many people worse off" and "completely on their own" to deal with care costs.
"This is an outrageous betrayal of people who work hard all their lives, end up with a condition like dementia and will now be saddled with catastrophic costs to pay for their care.
"All those with care needs in North Norfolk now face losing most of what they've worked for.
"The Conservatives claimed they had merely delayed the cap on care costs, now they have abandoned it. It is completely shameful.
"We could have made such a difference to people's lives, allowing them to plan for old age with the knowledge that the cap on care costs would have protected them. Now, it is gone for good. That's what happens with the Conservatives without any opposition or without controls over power.


Aims.We compute the chemical evolution of the Galactic bulge in the context of an inside-out model for the formation of the Milky Way. The model contains updated stellar yields from massive stars. The main purpose of the paper is to compare the predictions of this model with new observations of chemical abundance ratios and metallicity distributions in order to put constraints on the formation and evolution of the bulge.
Methods.We computed the evolution of several α-elements and Fe and performed several tests by varying different parameters such as star formation efficiency, slope of the initial mass function and infall timescale. We also tested the effect of adopting a primary nitrogen contribution from massive stars.
Results.The [ α/Fe] abundance ratios in the Bulge are predicted to be supersolar for a very large range in [Fe/H], each element having a different slope. These predictions are in very good agreement with most recent accurate abundance determinations. We also find a good fit of the most recent Bulge stellar metallicity distributions.
Conclusions.We conclude that the Bulge formed on a very short timescale (even though timescales much shorter than ~0.1 Gyr are excluded) with a quite high star formation efficiency of 20 Gyr-1 and with an initial mass function more skewed toward high masses (i.e. 0.95) than the solar neighbourhood and rest of the disk. The results obtained here are more robust than previous ones since they are based on very accurate abundance measurements.


*The artist will not be in attendance at the opening.
The Public Trust is pleased to present Printed Matters, a solo exhibition featuring editioned work of renowned artist Shepard Fairey. Printed Matters, is a continuous series of exhibitions, which focuses on the importance of printed material in Fairey's art. Each exhibition highlights this significance by incorporating a variety of Shepard's printed material; including serigraphs on paper, editions on wood, editions on metal, and fine art collage; with new works added for each venue, making each Printed Matters exhibition a unique experience. Beginning in 2010, the Printed Matters platform was first presented in Los Angeles and for its next installment will exhibit in Dallas, Texas at The Public Trust and will be on view from September 15-October 20, 2012.


Cocopod Club is a Filipino podcast directory.
We are home to the podcasts of current and future thought leaders who talk about their chosen fields with zest, fun, and passion.
Among us, we have video gamers, financial analysts, storytellers, and many more Pinoys who have found podcasting to be a medium where they can be themselves and share their message to the world.
At heart, Cocopod Club is a community of creators with the same goal: to share their message to a global audience.
We aim to help passionate people develop their voice, while providing them opportunities to talk about what they love to the niche market they want to reach.
We hope to bring creative individuals together so they could share their ideas with other open-minded creators and have a support group to help them along the way.


Air Operator Certificate (AOC) if applicable.
Operations Specification (Ops-Spec) if applicable.
Certificate of Airworthiness (Special Flight Permit or Limited Certificate of Airworthiness).
Intended flight route & dates.
Handling Agent in Iceland, if applicable.
Insurance documents in compliance with EC 785/2004, including third party liability.
Also, please note that when the aircraft is operating on a Special Flight Permit, or limited Certificate of Airworthiness, ICETRA charges a handling fee in the amount of ISK 29.740.- Please provide a credit card number.
For more detailed information, please check AIP for Iceland and Ferry flights.
Note - This does not apply to aircraft registered in EASA Member States with Permit to Fly issued on EASA Form 20a or 20b.


Parents of elementary school students in Jacksonville, Fla., are suing the county school board over a new policy that allows certain school employees to carry concealed guns.
The lawsuit, filed Thursday in state court, is backed by Giffords Law Center and the Southern Poverty Law Center and claims the Duval County School Board adopted an illegal program that puts tens of thousands of children in harms way at more than 100 elementary schools.
After the February mass shooting at a Parkland, Fla., high school, which killed 17 students and staff, the state passed a law that requires districts to provide a "Safe-School Officer" at every school.
Attorneys in the lawsuit argue that nothing in the law requires those officers to carry guns, and no provision allows school guardians to do so.
The program adopted by the Duval Country School Board allows inadequately trained individuals who are not law enforcement officers to carry guns while policing public schools, according to attorneys.
"While perhaps a well-intended effort to comply with a new state school safety law, the program is based on an incorrect interpretation of—and is contrary to—law," the attorneys wrote in their lawsuit.
The legal groups are asking a Florida state court to issue an order permanently blocking school safety assistants from carrying firearms in, or on the property of, any school in the county.
Adam Skaggs, chief counsel of the Giffords Law Center, said in a statement Thursday that the Florida legislature made a mess of the school-safety legislation that was demanded in the wake of the Parkland shooting and failed to give Florida counties adequate resources to create safe, healthy learning environments.
"Duval County's response, while perhaps well-intentioned, made a bad situation worse and created a dangerous and unlawful policy that will traumatize young children, put them at risk of injury or worse, and will fail to prevent the kind of tragic shootings that have become commonplace in America," he said.


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Terrific, radiant, humble superpig
I think the best reason to applaud the ascendance of the Netflix and Amazon TV and film studios is their willingness to fund the ambitious projects of artists like the Wachowskis (Sens8), Jill Soloway (Transparent), and Aziz Ansari (Master of None) — and now Bong Joon Ho, who directed the insane, groundbreaking Snowpiercer, as well as the modern Korean classics Memories of Murder, Mother, and The Host. His latest, produced and distributed by Netflix, is Okja, a scathing sci-fi satire about greed, family, factory farming, and a giant mutant pig with a heart of gold. By Bong's standards, it's a lesser film, but better than the vast majority of films available in theaters: hilarious, sad, horrifying, poignant, and daring.
Tilda Swinton plays Lucy Mirando, the CEO of a Monsanto-like corporation founded by her sociopathic father and recently run by her similarly amoral sister Nancy. Lucy has severe platinum blonde bangs and a cheery affect and determination tinged with a cynical worldview. At the beginning of the film, she also has a slight lisp from braces. She's Karen Crowder from Michael Clayton (a role that won her an Oscar) after heaps of Prozac and a shot of adrenalin, probably synthetic. Lucy is trying to rehabilitate her company by raising superpigs who will feed the world, and in a less-than-believable way to publicize it, she's hosting a contest to see which farmer can raise the best one. The contest is hosted by Johnny Wilcox, a deranged former animal show host played with bonkers abandon by Jake Gyllenhaal.
Ten years later in rural South Korea, young Mija (Seo-Hyun Ahn) and her grandfather (Byun Hee-bong) have raised their superpig Okja by letting it roam freely around their mountain home. Okja is Mija's best friend, looking like a porcine hippo and acting like a cross between Lassie and Wilbur from Charlotte's Web. Mija thinks that her grandfather has bought Okja from Mirando, but discovers he'd lied to her after Wilcox shows up with a camera crew and takes Okja away. Enraged and resolute, Mija travels to Seoul to save Okja but she's met with Mirando's paramilitary forces and an animal rights terrorist group headed by a soft-spoken, tie-wearing man named Jay (Paul Dano). There's an epic chase scene, capitalistic machinations, and Okja ends up in New York, where multiple horrors await. But Lucy sees Mija as a way to stave off a public relations disaster, and Mija flies across the world for the unveiling of Okja as the winner of the super pig contest. Things don't go as planned for anyone; the third act is outrageous, as action comedy and as horror.
Throughout his oeuvre, Bong has threaded trenchant political commentary into genre plotting, sometimes more obvious than not. While Okja has similarities to The Host, with a young girl protagonist and a collection of clueless professionals dealing with an impossible creature, most non-Korean viewers needed to have its political references and positions explained. Okja is an obvious and contemptuous attack on the soulless cruelty of modern slaughterhouse food production and the carelessness of genetic manipulation of animals. Most American films that might have similar politics would be serious-minded Oscar-bait, like Silkwood or Norma Rae. And most animal-child buddy teams appear in G-rated family films like, well, Lassie. Okja, despite its visual style, slapstick moments, and basic plot structure, is decidedly not a kids movie. The violence, to both humans and especially to animals, is nightmarish. No studio would have allowed it, but Netflix gave Bong control, allowing him to make something shocking and profound. Okja should't be missed and Netflix should be thanked.
Directed by Bong Joon Ho
Written by Bong Joon Ho and Jon Ronson
Starring Tilda Swinton, Paul Dano, and Seo-Hyun Ahn
Rated TV-MA / R
On Netflix and in select theaters
| Bong Joon-ho factory farming Lassie Netflix Recommended Tilda Swinton
The train to nowhere is the only train
For the last year, much of the discussion of Snowpiercer focused on the public fight between director Joon-ho Bong and Harvey Weinstein, the independent film mogul and owner of the Weinstein Company, which has the distribution rights to the film in the United States. Weinstein wanted the acclaimed version film seen overseas cut and, according to some reports, a voiceover added. This immediately caused ripples among the film community, because it was the added voiceover and happy ending to the original cut of Blade Runner that enraged so many people, particularly its director Ridley Scott. And Snowpiercer, Bong's first English-language film and full of international stars, is considered by some to be as important a film as Scott's 1981 masterpiece; time will tell on that end, but those fans are not crazy to make that prediction. Bong, the great Korean director of the modern classics The Host, Mother, and Memories of Murder, prevailed, and Weinstein released the original cut to select theaters. It's an astonishing film, breathtaking in its visuals, bleak in its plot, and enraging in its refusal to do what most American audiences expect from their science fiction action films.
The film is set in 2031, 17 years after an attempt to fix global warming goes horribly wrong, freezing the planet and killing all life. All life except for those who made it onto a long, high-tech train on a constant circumnavigation of the planet. The train was built by a visionary inventor named Wilford, who predicted the environmental calamity and manages the miraculous engine that keeps the train moving and its inhabitants alive. While the train features greenhouses, a fish farm, livestock, a school, restaurants, clubs, these luxuries are available only to the riders in the front of the train.
In the back, the riders live in squalor, surviving on blocks of mysterious, rubbery protein and subject to the violent whims of Wilford's brutal security forces who steal the riders' children and freeze the limbs off riders brave enough to fight back. These tail riders are plotting a revolution at the beginning of the film, with Curtis (Chris Evans), Edgar (Jamie Bell), Tanya (Octavia Spencer), and the tail riders' de facto leader Gilliam (John Hurt) trying to find the best moment to push through to the other cars, past the security forces and their absurd, saccharine chief, Mason (Tilda Swinton). When they do, recruiting the drug-addicted engineer Namgoong (Song Kang-ho) and his daughter Yona (Go Ah-sung) to open the doors, things get very bloody, and as they pass through the various cars, very weird. As the film progresses, the critique of caste-like hierarchies and fascistic social manipulation becomes explicit and uncomfortable. Don't expect a Hollywood resolution, since Bong has always refused happy endings.
While the plot and themes are bleak and get only bleaker, Bong's trademark mix of humor and horror manage to make the process entertaining. The fights scenes are gorgeously shot by cinematographer Kyung-pyo Hong, if Bong's use of slow motion violence is perhaps clichéd at this point, even when filmed with such care and skill. The art direction of the different cars – from concentration camp filth to baroque splendor – is a marvel, and Stefan Kovacik will undoubtedly find himself nominated for various awards at the end of the year. The screenplay that Bong and Kelly Masterson (Before the Devil Knows You're Dead) adapted from the graphic novel of the same name is smart and unnerving, but it is not seemless, as the plot holes appear if you think about it for too long. The acting is more consistent. Evans gives a wrenching, horrific speech at the end of the film that towers over anything he's ever done before, while Song, the star of Memories of Murder, and Go, the heart of The Host, are both thrilling in their confused desperation. Spencer, Bell, and Hurt do great character work; it's fantastic to see Spencer, an Oscar winner for playing a vengeful maid, as an action hero. Swinton's performance, however, is the most memorable, not only because of the mannered speech and creepy dentures, but also for her communication of banal, mercenary evil.
Directed by Bong Joon-ho
Written by Bong Joon-ho and Kelly Masterson
Starring Chris Evans, Song Kang-ho, and Tilda Swinton
At Reading Gaslamp and AMC La Jolla
| apocalypse Bong Joon-ho Chris Evans class warfare global warming Go Ah-sung Jamie Bell John Hurt Song Kang-ho the snow Tilda Swinton


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– a basic choreographic research of littoral zones in Oslo's inner city harbour area.
Based alongside the sea at The Maritime Cultural Heritage Centre, Akershustranda, Oslo.
What insights of choreography in everyday life may be garnered through gaze and conversation when moving through littoral landscapes? What kinds of choreographic situations can be made when responding to this question on an everyday basis? How may these choreographic situations emerge, be practiced and conveyed to audiences?
Master students studying choreography at Oslo National Academy of the Arts: Karen Eide Bøen, Roza Moshtaghi, Shi Pratt, Simen Korsmo Robertsen, Kristian Støvind and Bente Alice Westgård.
Through their research the students have been working with the premise that their audiences and performers are anyone passing through or happening to occupy public sites. To underline this performer/spectator-relationship, the students have decided to use internet as platform for presenting the work.


Purchase 60 painted lady butterflies in individual release envelopes for your wedding ceremony from Cloverlawn Butterflies Butterfly Release Company.
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This hotel is located in Vic. The mesmerising city of Barcelona is 70 km away. The hotel lies just a short distance away from the Placa Mayor, next to the Rondas. This hotel is surrounded by ample opportunities for exploration and discovery. The hotel enjoys a charming design. The guest rooms offer a comfortable setting in which to work and rest. The rooms come well equipped with modern amenities. The hotel offers facilities and services that are sure to impress. Guests can enjoy a superb breakfast in the mornings, before setting off to work or explore the area. The hotel features 3 conference rooms for the convenience of business travellers. The restaurant offers sumptuous dishes, with a choice of local and international cuisines.


Learn about the unique charm of Glanz an der Weinstrasse with a stay in a private vacation home. This city has something for everyone. Whether you're planning a family vacation, friends trip or romantic retreat, HomeAway has a great selection of vacation homes. Many rentals come with a full kitchen and separate dining area, perfect if you need a space for entertaining.
Fly into Maribor (MBX-Edvard Rusjan), the closest airport, located 14.9 mi (23.9 km) from the city center. If you can't find a flight that's convenient for your trip, you could book a flight to Graz (GRZ-Thalerhof), which is 23.5 mi (37.8 km) away.
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Our 2019 accommodation listings offer a large selection of 47 holiday lettings near Glanz an der Weinstraße. From 25 Houses to 5 Bungalows, find the best place to stay with your family and friends to discover Glanz an der Weinstraße area.
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