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Home / Events / The Delaware State Party's Constitution Day Celebration
The Delaware State Party's Constitution Day Celebration
On September 17, 2021, join us for our first annual event to celebrate and honor the US Constitution and the freedoms that it protects. The patriotic celebration will feature inspiring speeches, Constitutional experts, and guests to create a memorial tribute to our country and what it means to be an American. Everyone is invited to join us for an extraordinary evening. The celebration includes dinner, a cash bar, games, and prizes.
The event will be held at the Modern Maturity Center in Dover, Delaware. The cost is $50.00 per person and will include dinner. The event will start at 5:30 with cocktails; dinner is at 6:15. Sponsorships are available by calling our office at 302-668-1954.
Our Featured Speaker is Amy Swearer, a Legal Fellow at the Heritage Foundation's Edwin Meese III Center for Legal and Judicial Studies, where her areas of scholarship include Second Amendment, overcriminalization, originalism, and mental health policy.*
The money raised on this first event will help Republican Candidates to win their election in 2022.
*For identification purposes only.
Tickets Choose an optionSponsorAttendContribute Clear
The Delaware State Party's Constitution Day Celebration quantity
SKU: Sponsor Category: Events Tags: Amy, Amy Swearer, constitution day, Events, heritage
This first annual event will celebrate and honor the US Constitution and the freedoms that it protects.
Our Featured Speaker:
Amy Swearer is a Legal Fellow at the Heritage Foundation's Edwin Meese III Center for Legal and Judicial Studies, where her areas of scholarship include Second Amendment, overcriminalization, originalism, and mental health policy*.
She has testified before Congress and numerous state legislatures, and her scholarship is featured in major law reviews. Her viral 2019 testimony before the House Judiciary Committee against a ban on so-called "assault weapons" remains one of the most-watched Heritage Foundation videos of all time. She has been featured on the cover of Time Magazine, and her expert analysis is sought by an array of outlets ranging from C-SPAN and NPR to the Dr. Oz Show [and everything in-between].
Amy is a former co-host of the Heritage Foundation podcast SCOTUS 101 and currently runs the Foundation's Defensive Gun Use Database, a first-of-its-kind interactive map to help Americans understand the importance of the right to keep and bear arms. Amy received her law degree from the University of Nebraska College of Law.
Sponsor, Attend, Contribute
A Tribute to Pete duPont
365 & Counting: 2022 Election Kick-off Party
Delaware State Republican Beach Party


Use our job search to find the career you've been looking for.
Let us help you find a career you'll love.
Submit your resume and we'll contact you about positions that match your skills.
Effective leaders are the pioneers of our time, searching for new opportunities and looking to the future.
This priority of focusing on the future often distinguishes good leaders from ineffective ones. Yet these forward-thinking leaders cannot trail blaze by themselves – it can be easy to lose sight of where the company is headed. Founding principles and values of a company can slowly begin to erode without caution and a shared vision.
Why a shared vision? Because with the leader, comes the whole crew. It expresses to others how their values and interests will be served by a long-term focus on the future. With a reciprocal goal, the day-to-day work is naturally more compelling, a higher level of motivation is sustained, and ultimately more challenges are met. This might seem like a basic principle in becoming an effective leader, but would we be ready to iterate our company's values if asked? When was the last time someone verbally expressed or reinforced the company's shared vision?
So what is your vision/ the company's vision?
What are the patterns in ideas or themes?
What do you most want people to envision every time they think about the future?
What are some ways that you can maintain the vision of your company?
Make it known, make it seen. It is valuable to rejuvenate and remind everyone involved of what they are here for. The more personal, the better.
Read the vision statement at the end-of-the-year review, and discuss.
All of these ideas are taken from The Leadership Challenge written by Kouzes and Poszner, Copyright © 2012. Emerald Resource Group does not claim any rights to this work.
Our knowledgeable consultants work hard to match professionals in the Information Technology field with opportunities that benefit both the candidate and the client.
Copyright Emerald Resource Group © 2014. All rights reserved.


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Seen but not heard... Polaris Plastics joined headliners at Glastonbury
Organisers of the recent Glastonbury Festival opted for Polaris Plastics' eco-friendly, compostable refuse sacks in its quest to collect and hold the waste as efficiently as possible. Over 100,000 sacks were used throughout the Festival, at all waste locations across the 900 acre site.
The sacks have been provided by the same Polaris distributor for the last two years and conform to the international environmental standard EN 14342; giving the organisers the assurance that the sacks will fully compost along with the waste in the sack. The compostable sacks are tested to compost naturally and in industrial composting facilities as well as anaerobic digestion facilities.
Polaris Plastics has a proven track record of providing eco-friendly refuse sacks to major events; the company provided compostable and other sacks for the London 2012 Olympics and the Commonwealth Games in Glasgow in 2014.
"We are delighted to have provided the refuse sacks for another high profile event," says Paul Wilkes, business development director of Polaris Plastics. "These events are consistently choosing to compost their waste and our compostable sacks are ideal because of the performance and environmental certification We are increasingly being seen as our distributors' preferred choice for major events."
www.polarisplastics.co.uk

redpajama_set_name: RedPajamaCommonCrawl


Support Magnum Foundation Fellow Pete Pin and see his work on LightBox!
Pete Pin, a Magnum Foundation Fellow, has been photographing Cambodian communities across the United States. He is now raising funds to continue this work. Support his Kickstarter project here, and come out to see Pete speak at the Half King on Sept. 18.
See more of Pete's work on LightBox.


San Antonio Zoo transforms into Zoorassic Park with more than a dozen prehistoric creatures will fill the zoo, challenging guests to rethink extinct! Come face-to-face with life-sized dinos for an engaging and memorable experience for the entire family. Stare into the eyes of a full-grown Tyrannosaurus rex and learn how dinosaurs teach us about today's wildlife and the threats they face.
Purchase an annual membership for only $35 to enjoy Zoorassic Park all summer long.
ADD TO YOUR ZOORASSIC EXPERIENCE.
Get up close to one of nature's largest mammals! You even get the opportunity to feed our hippo during this truly unique behind-the-scenes interaction.
Plus, our resident animals representing 750 species.
When a tortoise sticks its neck out, does it make a sound? Find out during this awesome behind-the-scenes interaction with some of the zoo's oldest residents.
Get an exclusive up-close look at one of the coolest animals at the San Antonio Zoo. Plus, you will have the chance to interact with one of Africa's rarest species.
© 2018 San Antonio Zoo. All Rights Reserved.


Last major update issued on July 17, 2011 at 05:55 UTC. Minor update posted at 08:40 UTC.
The geomagnetic field was quiet on July 16. Solar wind speed ranged between 346 and 462 km/s.
Solar flux measured at 20h UTC on 2.8 GHz was 93.8 (decreasing 5.3 over the last solar rotation). The planetary A index was 6 (STAR Ap - based on the mean of three hour interval ap indices: 5.9). Three hour interval K indices: 11111222 (planetary), 12221211 (Boulder).
Region 11252 decayed and could soon become spotless.
Minor update added at 07:40 UTC on July 17: Region S1108 is developing very quickly and could produce C flares (the classification is currently CAI). Additionally there is an active region at the northeast limb which could be capable of C class flaring.
The geomagnetic field is expected to be quiet during the first half of July 17, there's a chance a high speed stream from the northwestern part of CH466 could reach Earth later in the day and cause quiet to active conditions. The southern part of CH466 likely will cause unsettled to minor storm conditions on July 19-20.


text:
Q: In Eve, how can you store the user's password securely? If you put a debugger in the run file, you will see that the user's password is hashed, but when you look in the mongo collection, the user's password is stored in plain text. How do you save the user's password as a hash?
Here are my files:
run.py:
from eve import Eve
from eve.auth import BasicAuth

import bcrypt

class BCryptAuth(BasicAuth):
    def check_auth(self, username, password, allowed_roles, resource, method):
        # use Eve's own db driver; no additional connections/resources are used
        accounts = app.data.driver.db["accounts"]
        account = accounts.find_one({"username": username})
        return account and \
            bcrypt.hashpw(password, account['password']) == account['password']

def create_user(*arguments, **keywords):
    password = arguments[0][0]['password']
    username = arguments[0][0]['username']
    user = {
        "password": bcrypt.hashpw(password.encode('utf-8'), bcrypt.gensalt()),
        "username": username,
    }
    return post_internal("accounts", user)

app = Eve(auth=BCryptAuth)
app.on_insert_accounts += create_user

if __name__ == '__main__':
    app.run()

settings.py:
API_NAME = "gametest"

CACHE_CONTROL = "max-age=20"
CACHE_EXPIRES = 20
MONGO_DBNAME = "gametest"
MONGO_HOST = "localhost"
MONGO_PORT = 27017
PUBLIC_ITEM_METHODS = ["GET"]
RESOURCE_METHODS = ["GET"]

accounts_schema = {
    "username": {
        "type": "string",
        "required": True,
        "unique": True,
    },
    "password": {
        "type": "string",
        "required": True,
    },
}

accounts = {
    # the standard account entry point is defined as
    # '/accounts/<ObjectId>'. We define  an additional read-only entry
    # point accessible at '/accounts/<username>'.
    "additional_lookup": {
        "url": "regex('[\w]+')",
        "field": "username",
    },

    # We also disable endpoint caching as we don't want client apps to
    # cache account data.
    "cache_control": "",
    "cache_expires": 0,

    # Finally, let's add the schema definition for this endpoint.
    "schema": accounts_schema,
    "public_methods": ["POST"],
    "resource_methods": ["POST"],
}
games_schema = {
    "game_id": {
        "type": "objectid",
        "required": True
    },
    "title": {
        "type": "string",
        "required": True
    },
}

games = {
    "item_title": "game",
    "schema": games_schema,
}

orders = {
    "schema": {
        "game": {
            "type": "objectid",
            "required": True,
        },
    },
    "resource_methods": ["GET", "POST"],
}

DOMAIN = {
    "accounts", accounts,
    "orders": orders,
    "games": game,
}

A: There were a few major things in your run.py that were preventing you from authenticating:

*

*In your create_user event hook you were generating a salt with bcrypt.gensalt(), but you weren't saving the salt anywhere. Salts are useful for preventing rainbow table attacks, but you need to save them so that when you try to hash the password again you get the same result.

*You're using the on_insert_accounts event hook to modify the document before it's posted, but then returning a post_internal instead of letting the event hook run its course. This might work, but I feel like you should just use the event hook as it was intended.

Here is the modified run.py:
from eve import Eve
from eve.auth import BasicAuth

import bcrypt

class BCryptAuth(BasicAuth):
    def check_auth(self, username, password, allowed_roles, resource, method):
        # use Eve's own db driver; no additional connections/resources are used
        accounts = app.data.driver.db["accounts"]
        account = accounts.find_one({"username": username})
        return account and \
            bcrypt.hashpw(password.encode('utf-8'), account['salt'].encode('utf-8')) == account['password']

def create_user(documents):
    for document in documents:
        document['salt'] = bcrypt.gensalt().encode('utf-8')
        password = document['password'].encode('utf-8')
        document['password'] = bcrypt.hashpw(password, document['salt'])

app = Eve(auth=BCryptAuth)
app.on_insert_accounts += create_user

if __name__ == '__main__':
    app.run()

There were a few typos in your settings.py, so I'm including a working version here for good measure:
API_NAME = "gametest"

CACHE_CONTROL = "max-age=20"
CACHE_EXPIRES = 20
MONGO_DBNAME = "gametest"
MONGO_HOST = "localhost"
MONGO_PORT = 27017
PUBLIC_ITEM_METHODS = ["GET"]
RESOURCE_METHODS = ["GET"]

accounts_schema = {
    "username": {
        "type": "string",
        "required": True,
        "unique": True
    },
    "password": {
        "type": "string",
        "required": True
    }
}

accounts = {
    # the standard account entry point is defined as
    # '/accounts/<ObjectId>'. We define  an additional read-only entry
    # point accessible at '/accounts/<username>'.
    "additional_lookup": {
        "url": "regex('[\w]+')",
        "field": "username",
    },

    # We also disable endpoint caching as we don't want client apps to
    # cache account data.
    "cache_control": "",
    "cache_expires": 0,

    # Finally, let's add the schema definition for this endpoint.
    "schema": accounts_schema,
    "public_methods": ["POST"],
    "resource_methods": ["POST"]
}
games_schema = {
    "game_id": {
        "type": "objectid",
        "required": True
    },
    "title": {
        "type": "string",
        "required": True
    }
}

games = {
    "item_title": "game",
    "schema": games_schema
}

orders = {
    "schema": {
        "game": {
            "type": "objectid",
            "required": True,
        }
    },
    "resource_methods": ["GET", "POST"]
}

DOMAIN = {
    "accounts": accounts,
    "orders": orders,
    "games": games
}

A: I made something like this to store my users password securely and block admin creation without authorization key:
class TokenAuthCutom(TokenAuth):
    def check_auth(self, token, allowed_roles, resource, method):
        payload = decode_token(token)
        # check if payload is valid and if allowed_roles is not empty check if role is valid
        return payload and (not allowed_roles or payload['roles'] in allowed_roles)

def before_insert_user(documents):
    body = request.get_json(force=True)
    admin_key = body.get('admin_register_key')
    for document in documents:
        password = document['password'].encode('utf-8')
        document['password'] = bcrypt.hashpw(password, bcrypt.gensalt()).decode('utf-8')
        document['roles'] = 'admin' if admin_key is not None and admin_key == ADMIN_REGISTER_KEY else 'client'

if __name__ == '__main__':
    app = Eve(auth=TokenAuthCutom)
    app.on_insert_users += before_insert_user
    app.run(host=HOST, port=PORT)

redpajama_set_name: RedPajamaStackExchange


text:
Meet the Faculty and Staff
Heartbeat and Skip-A-Beat
Early Childhood Education Curriculum
Morning Roses
Roots and Shoots
Annual Giving 2018/19
Parent Enrichment Reading
Parent Portals
Michaelmas
Enchanted Pumpkin Path
Auction Gala
May Faire
Seventy-eight percent of eligible WSMC families from last year returned to our school for the current year. In an effort to make the re-enrollment process easier for families, WSMC has launched Continuous Enrollment, eliminating the need for families to re-enroll each year. Continuous Enrollment is a once-and-for-all process. Once a Continuous Enrollment contract is signed, parents never have to re-enroll their children again (unless family plans change).
I have no plans to change schools, and almost everybody comes back every year anyway. Can't I just stay at WSMC until I notify the school otherwise?
Before now, re-enrollment was an "opt-in" program, which meant that WSMC annually asked every family, "Are you coming back?" Because of that arrangement, the vast majority of families were penalized, in a sense, by the necessity of annual re-enrollment. Last year, for instance, 78% of WSMC's student body was retained. So EVERYONE had to go through re-enrollment for the sake of the 22% who, for one reason or another, left the school community.
Now, by signing a Continuous Enrollment contract, families will flip that script. Rather than an "opt-in" arrangement, re-enrollment will disappear and the arrangement will become an "opt-out" process. In other words, if families come back after signing a Continuous Enrollment contract, then they will never have to worry about re-enrolling again.
After this year, what will the "Enrollment Season" look like?
Once all of WSMC's families are on the "Continuous Enrollment Program," the typical re-enrollment season in March will simply be a snail-mail reminder from the office asking families who might be thinking about leaving our school to notify us before April 15, along with a notice of any increase in tuition cost for the coming year.
If last year is any indication, this change means that about 78% of WSMC families will have the convenience of reading the reminder letter and doing absolutely nothing!
I will be applying for TAP. What if I don't know my tuition payment for next year?
When you complete and submit your Tuition Assistance Program (TAP) application and supporting documents by April 15, your student's enrollment becomes contingent upon your acceptance of the TAP award. If the TAP award is not adequate and your family does not accept the TAP and chooses to withdraw, no fees will be due if written notice of withdrawal is given to the school office by May 31.
Is there an additional enrollment fee?
There is no additional enrollment fee. Tuition will be billed in ten monthly installments, beginning in July and ending in April, with the first payment due July 15, 2019. No tuition payments will be due in May or June.
What is the penalty if I break the Continuous Enrollment contract?
If a family chooses to withdraw a student(s) for the coming school year and notifies the office prior to April 15, there is no penalty! WSMC families who are enrolled but break the Continuous Enrollment contract by withdrawing a student after April 15 will be contractually obligated to pay an early withdrawal fee equal to six weeks' tuition. While the penalty may seem steep, many schools require a semester or even a year of tuition once a family is enrolled for the following year. The deadline for withdrawal without a fee has historically been July 1. WSMC is moving that date up to April 15.
So how is Continuous Enrollment different from last year's Re-enrollment?
Under the traditional re-enrollment model, families signed new contracts and paid enrollment fees every year. Continuous Enrollment is a once-and-for-all process. Once a Continuous Enrollment contract is signed, parents will never have to re-enroll students again (unless family plans change). "Set it, and forget it!" In the event that things do change, however, families have until April 15 every year to simply notify the office and face absolutely no penalty.
Additionally, the historical enrollment fee will now be included in the tuition amount and spread over all payments, hopefully representing a convenience to families and making budgeting easier.
When will Continuous Enrollment Begin?
Continuous Enrollment commenced with contracts signed for the 2018/2019 school year.
Continuous Enrollment (CE) dates at a glance:
January 1: TAP applications may be submitted to TADS Financial Aid
February 28: Tuition for 2019/2020 posted to website and in office. Reminder of Continuous Enrollment terms sent to families
April 15: Deadline for notifying office of withdrawal with no monetary penalty
April 15: Deadline for submitting a complete TAP application with supporting documents
July 15: First month's tuition due for 2019/2020
Member of the Independent Waldorf Schools of North America
The Waldorf School of Mendocino County, PO Box 349, Calpella, CA, 95418707-485-8719office@mendocinowaldorf.org


text:
8×8 and Aryaka Partner to Enhance Cloud Communications for Global Enterprises
Strategic Alliance will improve communications experience for business users worldwide
SAN MATEO, Calif. — September 20, 2017 — Aryaka®, the leading global SD-WAN provider, and 8×8, Inc. (NASDAQ:EGHT), the world's first Communications Cloud provider, today announced that they are entering a strategic partnership that will improve the performance and reliability of business-critical cloud unified communications. This will enable global mid-market and enterprise companies to enhance business communications, collaboration and customer engagement for their employees, customers and partners around the world.
Through this partnership, Aryaka's global SD-WAN solution will provide enterprise-grade private connectivity to further enhance the superior voice and video quality delivered by the 8×8 Communications Cloud™. When tested against several leading Unified Communications as a Service (UCaaS) providers, 8×8 was recently found by the Tolly Group to deliver the highest voice quality across multiple client platforms and network impairment conditions. 8×8 was also recently named a Leader in the 2017 Gartner Magic Quadrant for Unified Communications as a Service, Worldwide[1] for the sixth year in a row.
When 8×8 and Aryaka are deployed together, enterprise voice and video traffic is routed through Aryaka's global private network instead of over the public Internet, thereby minimizing latencies, packet loss and jitter. As a result, organizations will benefit from increased employee productivity by reducing service interruptions and dropped calls.
"Our partnership with 8×8 enables enterprises to significantly enhance the performance of their voice and video communications globally regardless of changing network conditions," said Shawn Farshchi, President and CEO of Aryaka. "This improves business execution and delivers the stable and high-quality experiences that employees, partners, and customers demand from communications, collaboration and customer engagement operations."
"8×8 is committed to providing mid-market and enterprise companies with the highest levels of quality and reliability for cloud communications, collaboration and contact center services while simplifying service deployment and reducing costs," said Mehdi Salour, Senior Vice President of Global Network and DevOps at 8×8. "The Aryaka partnership will enable us to further improve quality of service for voice, video and web conferencing, delivering a superior end-user experience for employees, partners and customers around the world, even in the face of adverse customer network conditions."
Platform Specialty Products (PSP), a global, diversified producer of high technology specialty chemical products, has deployed 8×8-over-Aryaka to improve its UCaaS operations and provide high-quality communications and collaboration to its employees.
"Prior to deploying 8×8 and Aryaka, our remote locations were experiencing WAN performance issues, which resulted in dropped calls when attempting to connect to other offices around the world," said Dustin Collins, Vice President of Global Infrastructure Services at PSP. "Post deployment, not only do we no longer drop calls, but voice quality has improved immensely. Our team is more productive as a result. With such a noticeable improvement in network and communications quality, we're looking to implement the solution in several locations in Latin America and Asia."
The 8×8 Communications Cloud combines unified communications (8×8 Virtual Office), team collaboration interoperability (8×8 Sameroom™), contact center (8×8 Virtual Contact Center and 8×8 ContactNow™) and real-time analytics in a single open platform that integrates across clouds, applications and devices, eliminating information silos to expose vital, real-time intelligence.
About 8×8, Inc.
8×8, Inc. (NASDAQ:EGHT) is the provider of the world's first Communications Cloud that combines unified communications, team collaboration, contact center, and analytics in a single, open and real-time platform. 8×8 eliminates information silos to expose vital, real-time intelligence across multiple clouds, applications and devices to improve individual and team productivity, business performance and customer experience. For additional information, visit www.8×8.com, or connect with 8×8 on LinkedIn, Twitter, Google+ and Facebook.
[1] Gartner "Magic Quadrant for Unified Communications as a Service, Worldwide" by Daniel O'Connell, Bern Elliot, Rafael A Benitez, September 6, 2017.
This press release includes links to content published by third parties. 8×8 was not involved in the preparation of this content and has not independently verified its accuracy.
8×8®, 8×8 Virtual Office®, 8×8 Virtual Contact Center®, 8×8 Sameroom™, and 8×8 Communications Cloud™ are trademarks of 8×8, Inc. Aryaka® is a trademark of Aryaka Networks, Inc.
8×8 Media Contact
8×8, Inc.
John Sun, 408-692-7054
john.sun@8×8.com
InkHouse for 8×8
Brittany Hendrickson, 415-299-6370
8×8@inkhouse.com


When I first saw that Courtney was looking for a photographer on Facebook she was so sweet and genuine. I knew instantly I wanted to shoot her special day for her and Cody, because I know how important it is to have photos of special occasions (especially your wedding). The day was truly amazing and every detail was perfect. They were surrounded by close friends and family at the Bay Area Museum in Clear Lake where they made their vows to spend the rest of their lives with each other. Thank you so much Courtney and Cody for letting Jon and I be a part of y'alls big day!


One Friday afternoon, the second grade class was about to celebrate Shabbat with the customary candles, challah, and grape juice. As is wont to happen when 21 second-graders are crowded around a small table, one child accidentally bumped into another and spilled his grape juice. What happened next awakened me to the presence of holiness.
On this Veterans Day, as you say Sh'ma, remember that someone else screamed "Airborne" as he jumped out of an airplane over Fort Bragg, North Carolina or Fort Benning, Georgia, so that you could utter our highest prayer. As you say Oseh shalom, someone else is shouting "Climb to Glory" (10th Mountain Division, Fort Drum, New York) in Afghanistan.
Abraham successfully advocates for the sparing of Sodom and Gemmorah based on only ten righteous people, tzaddikim. Although they are not to be found, our text can teach us about the essential qualities of the truly righteous, those people whose merit would spare two corrupt cities. The ten nurses, doctors, and health care professionals who make up the hospice team at Cedar Village, a retirement and assisted living community in Cincinnati, exemplify the Jewish idea of righteousness.


text:
Intersections and Counterpoints: Proceedings of Impact 7, an International Multi-Disciplinary Printmaking Conference
Intersections and Counterpoints
Proceedings of Impact 7, an International Multi-Disciplinary Printmaking Conference
Edited by Luke Morgan
Contemporary printmaking is a rapidly changing field of artistic practice. It encompasses cutting-edge digital technologies as well as centuries-old techniques of representation. It is at the forefront of current redefinitions of the expanding mediums of artistic and everyday expression, from the traditional book to the electronic image. Intersections and Counterpoints: Proceedings of the Impact 7 International Multi-Disciplinary Printmaking Conference provides a unique survey of recent developments in printmaking practices throughout the world. Ninety-six authors, including many of the world's leading authorities, address key themes in the practice, theory and history of the print including: pedagogy and the industries that surround the print; artists' engagement with new technologies; the evolving materials, processes and techniques of printmaking; the artist's book; the print's relation to history, memory and the archive; and the status of authorship, collaboration and reproduction in printmaking today. The book is essential reading for anyone interested in the past, present and future of the print.
Syed Muhammad Iyhab Abdullah, University of New South Wales, Australia
Brook Andrew, Monash University, Australia
Marion Arnold, School of the Arts, Loughborough University, United Kingdom
Karen Ball, Sydney College of the Arts, Australia
Roderick Bamford, College of Fine Arts, University of NSW, Australia
Gene Bawden, Monash University, Australia
Janet Bellotto, Zayed University, United Arab Emirates
Bepen Bhana, Whitecliffe College of Arts & Design, New Zealand
Terri Bird, Monash University, Australia
Sarah Bodman, University of the West of England, United Kingdom
Deidre Brollo, Australia
Duncan Bullen, University of Brighton, United Kingdom
Susanna Castleden, Curtin University, Australia
Leong K. Chan, University of New South Wales, Australia
Jazmina Cininas, RMIT University, Australia
Paul Coldwell, University of the Arts London, United Kingdom
Joel Collins, Monash University, Australia
Leonie Cooper, Monash University, Australia
Deborah Cornell, Boston University, United States of America
Maryanne Coutts, National Art School, Australia
Marian Crawford, Monash University, Australia
Elizabeth Delfs, Fremantle Arts Centre, Australia
Johanna Drucker, University of California, Los Angeles, United States of America
Jennifer Eiserman, University of Calgary, Canada
Jennifer Ferng, University of Sydney, Australia
David Ferry, University of Wales Institute, United Kingdom
Elena Galimberti, Monash University, Australia
Wendy Garden, Maroondah Art Gallery, Australia
Anna Grieve, The University of Melbourne, Australia
Sasha Grishin, Australian National University, Australia
Mark Guglielmetti, Monash University, Australia
Inga Hanover, Monash University, Australia
Richard Harding, RMIT University, Australia
Fiona Harrisson, RMIT University, Australia
Brad Haylock, Monash University
Nicci Haynes, Megalo Print Studio and Gallery, Australia
Christopher P. Heuer, Princeton University, United States of America
Jan Hogan, Canberra School of Art, Australian National University, Australia
Stephen Hoskins, University of the West of England, United Kingdom
Clare Humphries, RMIT University, Australia
Gerald Hushlak, University of Calgary, Canada
Indae Hwang, Monash University, Australia
Liz Ingram, University of Alberta, Canada
Troy Innocent, Monash University, Australia
Shelley James, Royal College of Art, United Kingdom
Sarah Jones (Stubbs), Monash University, Australia
Barbara Kameniar, Melbourne University, Australia
Jennifer Kamp, Victoria University, Australia
Michael Kempson, University of New South Wales, Australia
Anne Kirker, Australia
Wallace Kirsop, Monash University, Australia
Anita La Pietra, La Trobe University, Australia
Paul Laidler, University of the West of England, United Kingdom
Debra Livingston, The University of the Sunshine Coast, Australia
Marian Macken, University of Sydney, Australia
Gian Manik, Monash University, Australia
Christopher R. Marshall, The University of Melbourne
Louise Mayhew, University of New South Wales, Australia
Rebecca Mayo, RMIT University, Australia
Jennifer McKnight, University of Missouri–St. Louis, United States of America
Faith McManus, Northtec, New Zealand
Melissa Miles, Monash University, Australia
Gordon Monro, Monash University, Australia
Luke Morgan, Monash University, Australia
Jacqueline Naismith, Massey University, New Zealand
Peter Nelson, University of New South Wales, Australia
Robert Nelson, Monash University, Australia
Hung Ky Nguyen, Curtin University, Australia
Darragh O'Brien, Darragh O'Brien Architects, Australia
Simone O'Callaghan, University of Dundee, United Kingdom
Melissa Olen, Excelsus Solutions, LLC, United States of America
Karen Oremus, Zayed University, United Arab Emirates
Tim O'Riley, University of the Arts London, United Kingdom
Annette O'Sullivan, Massey University, New Zealand
Stephen Palmer, Monash University, Australia
Spiros Panigirakis, Monash University, Australia
Mike Parr
Ruth Pelzer-Montada, Edinburgh College of Art, UK
Kevin Petrie, University of Sunderland, United Kingdom
Elizabeth Rankin, University of Auckland, New Zealand
Macushla Robinson, Art Gallery of New South Wales, Australia
Lisa Slade, Art Gallery of South Australia and Monash University, Australia
Tom Sowden, Unversity of the West of England, United Kingdom
Pat Thomas, Edith Cowan University, Australia
Justin Trendall, The University of Sydney, Australia
Teal Triggs, Royal College of Art, United Kingdom
Penelope Trotter, Australian Catholic University, Australia
Paul Uhlmann, Edith Cowan University, Australia
Michael Vale, Monash University, Australia
Christopher Waller, Monash University, Australia
Trent Walter, Monash University, Australia
Jude Walton, Victoria University, Australia
Gali Weiss, Independent artist/scholar
Li Wenmin, The University of New South Wales, Australia
Tracey Williams, University of Auckland, New Zealand
Kit Wise, Monash University, Australia
David Wlazlo, Monash University, Australia
Sophia Xeros-Constantinides, Monash University, Australia
Barbara Zeigler, The University of British Columbia, Canada


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News • Popular • Rumours
Samsung Galaxy S6 edge Plus: the first look
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Samsung Galaxy S6 edge Plus: rumours and release date
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Samsung Galaxy Note 5: rumours and release date
Samsung Galaxy Note 5 is the upcoming, though rather elusive phablet in the iconic Note series. Can...
Features • Popular • Rumours
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Join us as we take a look at 10 features that're expected on the iPhone 6S / iPhone 7, as...
Is Apple quietly killing off the home button?
The latest rumours are claiming that Apple is planning to abolish the iconic home button for future...
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A new rumour is claiming iPhone 6S will be slightly thicker and wider than the current iPhone 6...
iPhone 6S Plus could destroy competition with this surprising...
A rumour has appeared, stating that iPhone 6S Plus will have a Quad-HD screen, the first of its...
Nexus 6 – the latest rumours
It's almost a year since the Nexus 5 was launched, so it's time to turn our thoughts to what...
iPhone 6 rumours to be settled on September 9
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Just as Christmas is sure to arrive each year, the same can now be said for an iPhone launch, and a...
Previous 1 … 3 4 5


With just over two weeks until Camp Steeda, performance enthusiasts around the nation are getting their last minute Steeda upgrades ordered, installed, and their cars ready for Camp Steeda. Record orders are pouring in for Ford vehicle performance parts & upgrades, especially Cold Air Intakes, Suspension Components, Springs, Sway Bars, Jacking Rails, and Shifters. Let's not forget Wheels and Tires!
Camp Steeda is the annual driving experience, delivering on-track thrills and High Performance seminars with Team Steeda at the world renowned Sebring International Raceway. This year's event takes place on Sunday, June 18th, at Sebring International Raceway. You don't want to miss a minute!
Registration is open at Performance Driving Group: http://performancedrivinggroup.com/product/june-18th-2017-sebring-international-raceway/ . Open to all makes and models!
Ride in our Race Cars!
-Participants will also be able to see the latest Technology Transfer Program vehicles presented by STEEDA.
The Chateau Elan Hotel & Spa at Sebring Int'l Raceway is the official lodging the weekend. Hotel reservations can be made by calling 863-655-6252. Be sure to mention that you are with Steeda!


It's always hard to start a new job. It's especially hard to start a new leadership job. On top of that, you don't have much time to prove yourself. Typically, the first 100 days determine whether you make it or break it.
See all the details of what to do and how to do it in our latest blog post. Or watch Stephen tell about it (in Danish) in this video made for the Danish Association of Managers.
Once you're into your job as a leader, it can become difficult to see things clearly. Facts often become muddled by emotions. Specific tasks become overtaken by relationships. Clear and simple solutions become confused by conflicting considerations.
In such cases, at The Personal Business Plan, we have an effective mindset you can apply to help you stay focused. You want to stay focused on the problems and the solutions, and you want to avoid getting flustered by emotions. You want to stay sharp and on top of things.
The KEY here is to regard the situations and the environment around you as a bowl with nothing in it, as an empty bowl. The bowl is an object, and it doesn't think or feel unless you attribute thoughts and feelings to it.
You can free up your leadership energy by choosing NOT to fill the bowl with perceptions, emotions, prejudices, etc. Instead, you should leave it empty and focus on its appearance and its use for practical purposes.
Read more about The Empty Bowl Perspective in this excerpt from Stephen's book The Personal Business Plan – A Blueprint for Running Your Life (Wiley 2013).
The PURPOSE of the summit was to discuss a positive trend of commonality that we see emerging as a countermeasure to the current polarization.
More than 100 big brains with big hearts participated: a thrilling mix of CEOs, politicians, entrepreneurs, students, consultants, lawyers, neurologists, psychologists, strategists, philosophers, professors, and specialists in time, digitization, disruption, big data, organizations, communication, and behavioral design.
A common denominator for us all was a huge interest in our society and a will to impact the future to form a better society for us all.
It was an exciting and fulfilling day!
Here is the full story (the longer version) of what it was all about Where Big Brains Meet Big Hearts including some pictures.
Shortly, we will publish a short video about the summit.
Let us know if these thoughts resonate with you!! Don't hold back. Please share.


Some states that face daunting budget deficits have focused on so-called "sin taxes" to raise new revenue, such as tax increases on alcohol sales. The alcohol industry has frequently resisted these attempts. A new report from FollowTheMoney.org takes a look at state-level campaign contributions from the alcohol industry to candidates, political parties and ballot measure committees. Such contributions are often seen as an attempt to influence legislation.
The report found that from 2001 to 2007, the alcohol industry gave $62.5 million to state political campaigns. Anheuser-Busch and its affiliates led the pack of contributors with nearly $10 million, followed distantly by the Associated Beer Distributors of Illinois, and Diageo, giving $2.5 million and $2.2 million respectively.
Ten states received 75 percent of the $62.5 million contributed nationally. California led with about $13 million, followed by Illinois' $6.6 million and Massachusetts' $5.5 million.
The nonprofit, nonpartisan FollowTheMoney.org collects and analyzes campaign contribution information for state-level candidates, political party committees, and ballot committees. Its free, searchable database of contributions, as well as the full text of this report, are available online at FollowTheMoney.org.
Successful incumbent candidates dominated 2013 fundraising.
Content on this site is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License by the National Institute on Money in Politics.


EPIC Comes to Theatres May 24, 2013!
There are lots of great family movies coming this spring and summer. One of them is Epic, from the creators of Ice Age. It is an adventure comedy based on the illustrated children's book called The Leaf Men, written by William Joyce. The story is of a teenaged girl who finds herself transported into a secret world, in which the forces of evil are trying to destroy it. She must join forces with a cast of whimsical creatures in order to help save it.
The Epic Film Trailer Looks Exciting & Funny!
Epic features the voice talent of Colin Farrell, Josh Hutcherson, Amanda Seyfried, Christoph Waltz, Aziz Ansari, Chris O'Dowd, Pitbull, and Jason Sudeikis. Steven Tyler and Beyonce Knowles also make a voice appearance in the movie. Directed by Chris Wedge. A 20th Century Fox film.
Check back on this blog on or after May 24th for my review of Epic! I'm taking the whole family to the movie screening, and we can't wait to go!
WIN 1 of 3 double passes to see an advance screening of Epic in TORONTO, thanks to our friends at 20th Century Fox Films Canada! Contest runs until Friday May 10th, 2013.
Leave a COMMENT below stating your favourite magical character (ie: unicorn, fairy, dragon, etc), then fill out the entry form below. You will be asked for your address in this contest, only because I will be mailing winners movie passes directly. (I never collect or sell your information.) GOOD LUCK!
WIN 1 of 3 DOUBLE Passes to See EPIC in TORONTO!
Griffin - who doesn't want one !


As announced earlier, a number of comics pros, authors & rockstar pals are interviewing lil old me as a sort of turnabout-is-fair-play thing to promote my new book ComicBook Babylon. Most significant of these is now the inclusion of the one man who history will hold up to prove that giants once walked the earth, Harlan Ellison.
Cliff: If by some unfathomable miracle you could come into sole possession of only one "book" from the long-lost, oft-torched Great Library of Alexandria, what book, papyrus, scroll, codex or glyph would that be? What would you conjure to be its content, and authored by whom?


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Hurts primed to start for Eagles again next season
Jimmy Garoppolo might talk to Aaron Rodgers about how to handle uncertain future
Posted by Charean Williams on September 21, 2021, 7:22 PM EDT
Jimmy Garoppolo has been on the other side. He was the quarterback the Patriots drafted in the second round in 2014 when Tom Brady was 37 and entering his 15th season.
The 49ers used an even higher pick on the guy in line to replace Garoppolo as the starter, selecting Trey Lance with the third overall choice.
Aaron Rodgers, the quarterback on the opposite sideline of Garoppolo this week, went through the same thing last year when the Packers traded up in the first round to select Jordan Love. Rodgers went on to win the MVP last season, perhaps changing the team's timeline on his future.
Rich Eisen asked Garoppolo on the Rich Eisen Show on Tuesday whether he would make it clear that he wants a future elsewhere, with the 49ers having used a high draft choice on Lance.
"I don't know," Garoppolo told Eisen on Peacock, via NBCSportsBayArea.com. "To be completely honest, I haven't thought that far ahead yet. It's one of those things that I'm still tied up with the season and everything that we've got going on. If I repeat what Aaron did last year, I would love to do that. That guy — I mean, MVP speaks for itself. The dude had a hell of a year, though. If I could replicate anything similar to that, I'd be thrilled with it.
"But, you know, after this year, we'll figure that out when we get there. We've got a long way to go. We're only a couple of weeks into this thing."
Garoppolo said he might talk to Rodgers about having an uncertain future, though the Packers quarterback obviously has more skins on the wall than the 49ers quarterback. (And some would argue that perhaps Rodgers isn't the best source to seek advice from regarding how to handle an uncertain future.)
"Yeah, there's a good possibility," Garoppolo said of contacting Rodgers. "I know Aaron pretty well. We've talked a couple of times on the field, off the field. Whatever little piece of advice he could give to me. . . . Obviously, it's worked out pretty well for him. The guy's been ballin'. He had four TDs [last] night.
"This league's a crazy thing. We've all got our own story and just got to make the best of your situation."
Garoppolo has completed 70.9 percent of his passes for 503 yards and two touchdowns.
23 responses to "Jimmy Garoppolo might talk to Aaron Rodgers about how to handle uncertain future"
thisonesforpat says:
Might.
Jimmy, just keep doing what you're doing. Try to stay healthy. Good QB's are hard to find. Average QB's can make $30 million or more. Just stay healthy. You'll be fine. Don't overthink it. Everything will take care of itself. There aren't 32 better QB's in the league, and backup jobs pay well, too.
Rohanz2000 says:
Jimmy you got paid so just let your play do the talking. Rodgers can't help you with your performance
therealtrenches says:
You mean to try to figure out how *not* to handle it, right?
imafubar says:
Really Jimmy? With all those Psychics in Calf. you can call and your going to Rodgers? Jimmy better to call Cousins who held out beyond the contract extension and became a free agent and got da big moooney, he is who you should talk too. Rodgers doesnt know didly.
billh1947 says:
Rodgers problem is that he couldn't handle that his team looked into the future when he lost his skill set because of age and drafted a kid they believe could carry on his and his teams winning tradition,standard operating procedure for very successful NFL teams.he was drafted to succeed Favre and he certainly did not complain back then.teams must look into the future and decide what is best for them,not the individual who may get pissed.they all get old.
bucktoothedwizard says:
Jimmy wins a soopbowl he ain't going nowhere. Sorry Lance but you can sit for a couple years and by that time SF will have a 1st round draft pick again😁
Sparky Gump says:
Yea, sure, go ask a self centered diva how to plan your career.
stellarperformance says:
Rodgers, and the Packers, both did a fantastic job of saying as close to nothing as possible. They kept their business behind closed doors where it belongs. That should be the advice Rodgers gives Garropolo; say nothing and let the clickbaiters battle it out for attention.
sixstream says:
Jimmy is on pace for a potential MVP season averaging 4 air yards per pass. With this kind of production, I don't think it would be a stretch for him to handle hosting duties for The Price is Right during the offseason.
theimmaculatedeception says:
^^^ – Yet Jimmy is 29-6 in his last 35 starts and keeps winning. Kyle's system seems to fit Jimmy just fine
MiaButtreeks says:
Jimmy G haters HATE HIM
Csaba Baráth says:
Jimmy is on pace for a potential MVP season averaging 4 air yards per pass.
I mean they call those Easy Jimmy for a reason.
But jokes aside: Jimmy G is the number one exhibit why is it important to not only have a head for a QB but also a body. I mean the guy has 4 seasons under his belt in SanFran but only one of them with all 16 games played. That one season he went to the SB, but the other 3 seasons were big disappointments for the fans. And this is What-Have-You-Done-For-Me-Lately league. If he ends up on IR this year (and there is a fat chance for that) he won't be on SF roster the next season.
chillyball says:
Aaron: Ok, kid, run along now.
letsgonow says:
Perhaps Aaron can teach him about playing when hurting too?!
cma1973 says:
Unless maybe he shouldn't.
buckdaddy24 says:
Maybe Jimmy G ends up in Green Bay? Stranger things have happened in the NFL.
cletuspstillwaterjr says:
A documented history of past performance gives you leverage. Something Aaron has and Jimmy doesn't.
Holmgren's frozen 'stache says:
Why would he talk to a guy that may take his job?
mogogo1 says:
That would be the equivalent of asking a Sovereign Citizen for legal advice. They'll talk your ear off but you won't want to do anything at all they suggest.
rodgersgobucyourself says:
Jimmy G dude, A A Ron won't even help Love whose a teammate what makes you think he's gonna help you? He could take your spot a year from now. Watch yiur back kid!
Carl Gerbby says:
Jimmy isn't even close to Aaron's caliber. Half of the top QBs, WRs, RBs & Edge Rushers would need to have season ending injuries to even put him into the MVP talk. Jimmy just wishes he could be the leader of a great organization like Green Bay.
jpdsurf says:
Green Bay is where Jimmy G. is going to go next year


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Digital Camera Home > Digital Camera Reviews > Olympus Digital Cameras > Olympus D-540 Zoom
The Imaging Resource
Olympus D-540 Zoom Digital Camera
Camera QuickLook
Review Date 07/14/2004
Novice - Amateur
Family / Travel
Digicam Design
Good, 3.3-megapixel CCD
Print Sizes
4x6, 5x7, 8x10
(At time of introduction)
Review Links
Overview Specifications
Design Recommended Accessories
Sample Pictures Conclusion
The Olympus D-540 Zoom carries on one of the longest lines of digicam models in the industry, Olympus' D-series, which had its beginnings back at the very beginning of the digicam era, in the form of the D-220 and D-320.
The D-540 Zoom is something of a new design externally, but has basic features common to most newer D-series models. The D-540 is missing a key component included in almost all digital cameras these days though, namely ISO control. Still, the camera offers a nice array of options, with four preset Scene modes and the same white balance and exposure compensation adjustments. With a suggested retail price of $199 and an average street price of $170 or so as of this writing in early July, 2004, the D-540 Zoom is a good digicam at a great price.
With its simple design, the D-540 Zoom digicam is easy to understand and use. A true, 3x optical zoom lens and 3.3-megapixel CCD capture good images, with good quality and detail, suitable for printing as large as 8x10 inches. Lower resolution settings are available for snapshot prints and email attachments.
The D-540 Zoom is equipped with a 3x, 5.8-17.4mm zoom lens, equivalent to a 35-105mm lens on a 35mm camera. Maximum aperture ranges from f/2.9 to f/5.0, depending on the zoom setting. In its normal AF mode, the D-540 Zoom focuses from 1.6 feet (50 centimeters) to infinity, with a macro setting focusing as close as 8.0 inches (20 centimeters). A Super Macro mode can focus as close as 0.8 inches (2cm). The protective lens cover also acts as the power switch, and places the camera into Record mode, extending the lens another 5/8-inch from the camera body. In addition to the 3x optical zoom, the D-540 Zoom features as much as 3.3x digital zoom, increasing its zoom capabilities to 10x. However, because digital zoom simply enlarges the center pixels of the CCD, image quality typically suffers. For composing images, the D-540 Zoom features a real-image optical viewfinder, as well as a 1.8-inch color LCD monitor. Based on my tests, the optical viewfinder is rather inaccurate, showing only 75-79% of the final frame, but the LCD does much better, with an accuracy of 96%.
Operating under Program Auto mode by default, the D-540 Zoom has an uncomplicated, straightforward user interface. A multi-page LCD menu system accesses the available settings, although you can adjust flash mode, the self-timer, macro mode, and zoom externally. An initial short-cut menu screen pops up before entering the main Record menu, which accesses the camera's White Balance, Image Size, and Monitor off options instantly, or you can enter the main Record menu. Aperture and shutter speed are automatically determined at all times (and are not reported to the user), with shutter speeds ranging from 1/2,000 to 1 second (extended to two seconds in Night Scene mode). The only metering mode is Digital ESP, which analyzes subject contrast and brightness across the entire frame to determine the best exposure. The camera's Exposure Compensation adjustment lets you increase or decrease the exposure from -2 to +2 exposure equivalents (EV) in one-half-step increments. There's also a White Balance setting, for adjusting overall color balance. Options include Auto, Daylight, Cloudy, Incandescent, and Fluorescent modes. The D-540 Zoom's built-in flash operates in Auto, Red-Eye Reduction, Forced (fill), and Suppressed (off) modes.
Program Auto is the main exposure mode for most normal shooting situations, which handles most normal shooting conditions. Four preset Scene modes are also available through the Record menu, including Portrait, Landscape, Landscape Portrait, Night Scene, and Self Portrait modes. Portrait mode captures the subject in front of a slightly blurred background, while Landscape sets focus to infinity for sharp background photos. Landscape + Portrait mode sets the camera so that the foreground and the background are in sharp focus, great for portraits in front of scenery. Night Scene mode extends the available shutter times to two seconds, and automatically combines the flash with the slower shutter speed (you can cancel the flash if you want to). Self Portrait mode lets you point the camera at yourself (in-hand) and automatically fixes focus on you. The lens remains locked at the wide-angle setting so that you get a sharply-focused portrait. This is a great mode for those "prove you were there" shots.
Other camera features include a Self-Timer mode, which provides a 12-second delay between the time the Shutter button is pressed and the image is actually captured. As with many Olympus cameras, a panorama mode is available when using special Olympus xD-Picture Cards, and records as many as 10 consecutive images to blend into one panoramic image. Under the Edit menu you can resize your pictures to 640 x 480 or 320 x 240, great for creating an email-size image from an existing full-resolution frame. Finally, the D-540 Zoom has a Movie mode that records moving images (without sound) as long as the memory card has room, at either 320 x 240 or 160 x 120 pixels.
The D-540 Zoom stores images on xD-Picture Cards, and comes with a 16MB card. I strongly suggest buying at least a 64MB card though, so you don't miss any important shots. At maximum resolution, the card will only hold about 7-10 depending on the subject. A CD-ROM loaded with Camedia Master 4.2 accompanies the camera, compatible with both Windows and Macintosh platforms (including Windows XP and Mac OS X). Camedia Master provides minor image editing tools, as well as utilities for organizing images, and even a tool for "stitching together" multiple images into a single large panorama. The camera comes with a set of two single-use AA alkaline batteries, but can also use NiMH, lithium, or NiCd batteries, as well as a single CR-V3 lithium-ion battery pack (all sold as separate accessories). I recommend picking up a couple of sets of rechargeable batteries, keeping the spare set freshly charged at all times. Click here to read my "battery shootout" page to see which batteries currently on the market are best, or here for my review of the Maha C-204F charger, my longtime favorite. The optional AC adapter is recommended for time-consuming tasks such downloading images to a computer. Also included with the D-540 Zoom is a USB cable for downloading images to a computer.
3.3-megapixel CCD.
Real-image optical viewfinder.
1.8-inch color LCD display.
3x, 5.8-17.4mm zoom lens (equivalent to a 35-105mm lens on a 35mm camera).
3.3x Digital zoom.
Automatic exposure control, with five preset Scene modes.
Built-in flash with four operating modes.
xD-Picture Card storage, 16MB card included.
Power supplied by two AA batteries, CR-V3 lithium-ion pack or optional AC adapter.
Olympus Camedia Master software for both Mac and Windows.
QuickTime movies (without sound).
Self-timer for delayed shutter release.
Panorama mode for stitching together multiple images.
Macro (close-up) lens adjustment.
Super Macro mode for shooting from .8 inches.
White balance (color) adjustment with five modes.
Digital ESP metering only.
PictBridge compatibility.
USB AutoConnect (no driver software needed) and USB cable.
A compact, 3x optical zoom lens, 3.3-megapixel CCD, hassle-free point-and-shoot operation, and good picture quality make the D-540 Zoom another solid consumer digicam from Olympus. The availability of preset Scene modes helps deliver better pictures in common shooting situations, and the handful of exposure options provides some creative control. Image quality is high enough for making sharp 8x10-inch photographic prints or sending lower-resolution email attachments over the Internet. With its user-friendly interface, travel-worthy design, and good ease of use, the D-540 Zoom is a great entry-level camera with a few more-than-entry-level features. This would be a good camera for a family, easy to use but with enough capability to bring back good-looking photos from a wide range of situations. Great for kids and anyone wanting good quality and ease for under $200.
The D-540 Zoom lacks the large, sliding lens cover of its "big brother" the D-580, but a three-position switch on the back selects from off, Playback, and Record modes, and a shutter-like lens cover protects the lens when the camera is turned off. Small and compact, the D-540 Zoom should find its way into coat pockets and purses with no problem, and may fit into larger shirt pockets. The D-540 Zoom measures 4.0 x 2.2 x 1.4 inches (102 x 55.5 x 36.5 millimeters). A molded plastic body keeps the D-540 Zoom's weight down to 7.1ounces (203 grams) with batteries and xD card. With the included wrist strap attached, the D-540 Zoom is easy to hold and fits the hand well.
The D-540 Zoom's 3x zoom lens is protected by two plastic shutters that move out of the way just before it extends the roughly 5/8 inch to its deployed position. Above the lens is an optical viewfinder window, flash, and a self-timer indicator lamp. On the right (when the camera is held from the back) is a slight sculpted ridge that serves as a grip for your fingers as they wrap around the camera.
The camera's right side holds the battery and xD-Picture Card compartments, as well as the USB jack and a bar for attaching the wrist strap. The battery compartment door slides down before swinging upward, to prevent it from opening accidentally when the camera is in use. Next to the battery compartment is the xD-Picture Card slot, protected by a hinged, plastic door, which swings open toward the back. A small tethered, rubbery flap protects the USB jack, located directly above the memory compartment.
On the opposite side of the camera is the DC In jack, covered by anothher rubbery flap that lifts out of the way to reveal the connector.
The top of the D-540 Zoom holds only the Shutter button and the zoom control; the latter is angled about 40 degrees for easier adjustment with your index finger while holding the camera.
The remaining external controls are all located on the camera's rear panel, along with the optical viewfinder eyepiece and 1.8-inch, TFT color LCD monitor. Top center is the power/mode switch, with a small locking button in the center that seems to have little effect when switching to the first position, which is Playback mode, but which does seem to prevent the advance to Record mode if it isn't pressed. Control buttons on the rear panel include the Five-way arrow pad (with multi-functional keys) and a Quick View button. Along the far right side of the rear panel is a gently sculpted recess that accommodates your thumb as you hold the camera in your right hand, providing a secure grip.
The D-540 Zoom has a flat bottom panel, which holds the plastic threaded tripod mount. (I'm glad to see side access was given to both the battery and memory compartments, which allows for quick changes when shooting on a tripod.)
Camera Operation
Since the D-540 Zoom offers limited exposure control and a small number of external buttons, learning to use the camera shouldn't take too much time at all. Just a quick slide of the power switch puts it into Playback mode first, then into Record mode. Pressing the display button twice while in Shooting mode also activates Playback mode. A Five-way arrow pad on the back panel serves several functions, including accessing a Virtual Shooting Mode menu (shown above right), Macro mode, Self-Timer, and Flash modes, and navigates through on-screen menus. It also scrolls through captured images in Playback mode. The middle Menu / OK button activates menus and confirms menu selections. The LCD menu system accesses the majority of the D-540 Zoom's exposure options, and features a Top Menu (or short-cut screen) and four pages of options (although each page contains only a few settings) that are set up as subject tabs along the left side of the screen. The short-cut screen quickly takes you to often-changed settings, making operation even easier. Anyone already familiar with Olympus LCD menu systems should have no trouble, and even novices should get the gist of it after just a few minutes.
Record-Mode Display
The D-540 Zoom has a single record-mode display, shown at right. The display shows the center autofocus area along with currently-selected options for image size/quality, macro and flash mode, white balance, etc, as well as the number of images of the current size and quality that can be stored in the remaining space on the memory card.
Playback-Mode Display
In playback mode, you can use the D-540's zoom control to zoom in or out on an image, with a maximum enlargement of 4x. Zooming out from a full-frame view brings up a thumbnail display of the images on the card, letting you move quickly between them by via the arrow keys on the camera's back panel. The screen shot at right shows the progression of playback displays, beginning with the thumbnail index view and ending with a zoomed view at the maximum 4x magnification.
External Controls
Shutter Button: The dominant control on the top panel, the Shutter button sets the camera's focus and exposure when halfway depressed. Fully depressing the button fires the shutter.
Zoom Rocker Button: Directly to the right of the Shutter button, this two-way rocker button controls the optical and digital zoom (when enabled) in Shooting mode. In Playback mode, it controls the digital enlargement of captured images, and also accesses the index display mode. It is oriented at a 40 degree angle to facilitate adjustment while holding the camera.
Five-way Navigator: Right of the LCD monitor on the rear panel, each of the four arrows points in a different direction (up, down, left, right). In any mode, the arrow keys navigate through menu options, and the center button serves both to bring up the menu and confirm selections.
In Record mode, the up arrow accesses Macro shooting mode, or returns to the normal AF (autofocus) mode. The down arrow controls the Self-Timer mode, and the right arrow button selects Flash modes, cycling through Auto, Red-Eye Reduction, Forced, and Off. The left arrow button brings up a virtual shooting mode dial, from which the user can select the various modes, like Program, Portrait, and Movie modes.
In Playback mode, the right and left arrows scroll through captured images. When an image has been enlarged, all four arrows navigate within the view.
Quick View Button: Just above the Five-way Navigator, this button takes the user to Playback mode in Record mode for a quick look at the last photo. All Playback functions are available in this mode, including the menu.
Camera Modes and Menus
Record Mode: Activated by sliding the power switch all the way to the right, this mode sets up the camera to take pictures. The following exposure and camera options are available through the Record menu (some options may change depending on the Scene mode selected):
White Balance: Sets the camera's white balance.
Image Size/Quality: Sets the image resolution and JPEG compression level. Available resolutions are 2,048 x 1,536 (SHQ); 2,048 x 1,536 (HQ); 1,600 x 1,200 (SQ1); and 640 x 480 (SQ2) pixels for still images. Movie resolutions are 320 x 240 or 160 x 120 pixels.
Monitor Off/On: Turns monitor off and on in Record mode.
Mode Menu: Displays the following four-page menu system:
Exposure Compensation: Increases or decreases the overall exposure from -2.0 to +2.0 exposure values (EV) in one-half-step increments.
Digital Zoom: Turns digital zoom on or off.
Super Macro: Enables the camera to capture a shot just 0.8 inches from a subject.
Drive: Activates One-Shot or Sequential Shooting capture modes.
Panorama: Available only with Olympus brand memory cards, this mode captures as many as 10 consecutive shots to be stitched together on a computer into one panoramic image. Alignment guidelines appear on the screen to better line up each shot.
Card Setup: Formats the xD-Picture Card, erasing all files (even write-protected ones).
All Reset: Resets all of the camera settings to their defaults.
Language: Sets the menu language to English, French, German, Spanish, Italian, Russian, and Portugese.
Record View: Turns the instant image preview on or off. When activated, instant image preview displays the most recently recorded image for several seconds after you trip the shutter.
File Name: Resets file number with each new memory card, or continues the numbering from one card to the next.
Pixel Mapping: Checks the CCD and image processing system for any bad pixels, "maps" them out by borrowing data from adjacent, good pixels.
LCD Brightness: Adjusts the brightness level of the LCD monitor display.
Date/Time: Sets the camera's internal clock and calendar.
Playback Mode: Entered by setting the power switch to the middle position, or by pressing the Quick View button in Record mode, this mode allows you to review captured images. The following playback options are available through the Playback settings menu:
Slide Show: Automates a slide show of all still images on the memory card. (One press of the Menu button cancels the playback.) If a movie file is displayed, this option plays back the movie.
Info: Activates a more detailed information display of exposure settings for each captured image, which displays for a few seconds and then disappears.
Erase: Erases the currently-displayed image, with an option to cancel.
Mode Menu: Displays the following four-page menu:
Protect: Write-protects (or removes protection) from the currently displayed image. Write-protection locks the image file so you can't accidentally erase it or change the file in any way (except by formatting the card).
Rotate: Rotates the displayed image 90 degrees clockwise or counterclockwise.
DPOF: Marks the displayed image, or all images on the card, for printing on a DPOF (Digital Print Order Format) compatible printer. You can also establish the number of prints, whether or not the date and time are printed over the image, or remove the print mark. Note that this setting is only available for images saved on the memory card.
Resize: Allows you to resize the displayed image to a smaller resolution (320 x 240 or 640 x 480 pixels) perfect for emailing.
Card Setup: Erases all files on the memory card (except for write-protected ones), or formats the memory card entirely. Both options can be canceled. (No screen shot, same as in Record mode.)
(No screen shots, most are the same as in Record mode.)
All Reset: Resets all camera settings to their defaults.
Index Display: Determines whether 4, 9, or 16 images are displayed on the Index Display screen.
The D-540 Zoom ships with the following items in the box:
D-540 Zoom digital camera.
Wrist strap.
16MB xD-Picture Card.
USB cable.
Two AA alkaline batteries (or one CR-V3 lithium battery).
CD-ROM loaded with Camedia Master 4.2 software and drivers.
Instruction manual and registration kit.
Larger capacity xD-Picture Card (at least 64MB).
AC Adapter.
Two sets of rechargeable AA batteries and charger. (Click here to read about the recommended charger.)
Small camera case for outdoor and in-bag protection.
Recommended Software: Rescue your images!
Just as important as an extra memory card is a tool to rescue your images when one of your cards fails at some point in the future. I get a lot of email from readers who've lost photos due to a corrupted memory card. Memory card corruption can happen with any card type and any camera manufacturer, nobody's immune. A surprising number of "lost" images can be recovered with an inexpensive, easy to use piece of software though. Given the amount of email I've gotten on the topic, I now include this paragraph in all my digicam reviews. The program you need is called PhotoRescue, by DataRescue SA. Read our review of it if you'd like, but download the program now, so you'll have it. It doesn't cost a penny until you need it, and even then it's only $29, with a money back guarantee. So download PhotoRescue for Windows or PhotoRescue for Mac while you're thinking of it. (While you're at it, download the PDF manual and quickstart guide as well.) Stash the file in a safe place and it'll be there when you need it. Trust me, needing this is not a matter of if, but when... PhotoRescue is about the best and easiest tool for recovering digital photos I've seen. (Disclosure: IR gets a small commission from sales of the product, but I'd highly recommend the program even if we didn't.) OK, now back to our regularly scheduled review...
See camera specifications here.
Picky Details
Cycle times, shutter lag, battery life, etc. can be found here.
Sample Pictures
See the full set of my sample pictures and detailed analysis here. The thumbnails below show a subset of my test images. Click on a thumbnail to see the full-size photo.
Outdoor Indoor Flash Indoor
House Musicians Macro
Davebox Resolution Viewfinder Accuracy
"Gallery" Photos
For those readers interested in a set of less "standardized" photos from the D540, we've assembled a "gallery" of more pictorial images shot with the D540.
In keeping with my standard test policy, the comments given here summarize only my key findings. For a full commentary on each of the test images, see the D-540 Zoom's "pictures" page.
As with all Imaging Resource product tests, I encourage you to let your own eyes be the judge of how well the camera performed. Explore the images on the pictures page, to see how D-540 Zoom's images compare to other cameras you may be considering.
Not sure which camera to buy? Let your eyes be the ultimate judge! Visit our Comparometer(tm) to compare images from the D-540 with those from other cameras you may be considering. The proof is in the pictures, so let your own eyes decide which you like best!
Color: Good color, generally good white balance. The D-540 Zoom tended to produce slight warm casts in its images, but white balance was generally well within the limits of what I'd consider acceptable. Skin tones were generally good both indoors and out. Color overall was hue-accurate and appropriately saturated. Indoors, both the Auto and Incandescent white balance settings produced warm casts under the strongly colored household incandescent lighting of my Indoor Portrait test, but both settings produced better than average results, and both would likely be acceptable to most users. A good job overall.
Exposure: Average exposure accuracy, high contrast. The D-540 Zoom's exposure system showed roughly average exposure accuracy, and it showed the fairly high contrast that most consumer point & shoot cameras display. The D-540 Zoom's exposure compensation is adjustable only in half-step increments though, which results in large jumps in exposure and some attendant difficulty in getting just the right exposure. Dynamic range varied from quite good in the far-field shot of the house to lower than average in the Davebox shot, due to poor shadow detail.
I don't really have a place in these summaries where I report on flash performance, but the D-540's needs some comment, so I've put this paragraph here, under "Exposure." Many low-end digicams "cheat" on their flash exposures by quietly boosting their ISO as the distance to the subject increases. This gives them better flash range, but at the cost of higher image noise. The D-540 takes this to a bit of an extreme, as I found really unacceptable image noise in flash exposures taken at anything beyond about 9 feet. This could "sneak up on" users, so I call particular attention to the need to be aware of how far away your subject is when you're using the D-540's flash.
Resolution/Sharpness: Good resolution, 1,050 lines of "strong detail." The D-540 Zoom performed about average on the "laboratory" resolution test chart for its 3-megapixel class. It started showing artifacts in the test patterns at resolutions as low as 600~700 lines per picture height, in both horizontal and vertical directions. I found "strong detail" out to about 1,050 lines. "Extinction" of the target patterns occurred around 1,250 lines.
Image Noise: Average image noise most of the time, high with low-light and some flash exposures though. The D-540's levels of image noise are competitive with other cameras in its price class. Under normal shooting conditions, most users won't be aware of image noise, the exceptions being when shooting under low-light conditions (where most cameras produce noisy photos), and when using the flash at distances greater than about 9 feet. (See my previous comments, under "Exposure.")
Closeups: A very small area in Super Macro mode. Flash performs well in Standard macro mode, is disabled for Super Macro. he D-540 Zoom did somewhat worse than average in its normal macro mode, capturing a somewhat large minimum area of 5.19 x 3.90 inches (132 x 99 millimeters). However, in Super Macro mode, it turned in a really exceptional performance, with a minimum area of just 1.07 x 0.80 inches (27 x 20 millimeters). Resolution was high, showing a lot of fine detail in the dollar bill, coins, and brooch. Most digicams I test show a lot of softness in the corners of their macro shots, usually the closer the shot, the more softness appears. The D-540 is no exception to this pattern, as its Super Macro shot showed a lot of softness in the corners, extending quite a ways into the frame. Color balance was slightly warm from the Auto white balance, but exposure was about right. The D-540 Zoom's flash throttled down well for the macro area, but is disabled in Super Macro mode because of the very short shooting distance.
Night Shots: Modest low-light shooting capabilities, but quite capable of handling average city street lighting. Surprisingly good autofocus performance under low-light conditions. The D-540 Zoom produced clear, bright, usable images down to the 1/4 foot-candle (2.7 lux) light level, which corresponds to about a quarter of the light level of average city street lighting at night. Some detail was visible at the 1/8 foot-candle (1.3 lux) light level, but the image is quite dim. Color was just a little warm with the Auto white balance but well within acceptable limits, and image noise was high at the lowest light levels, but once again within the range of what I'd consider acceptable. Note that you need to select the D-540's Night Scene mode to get the best results under low-light conditions, as that mode is the only way to access the camera's 2-second maximum exposure time. The D-540's autofocus system worked down to surprisingly low light levels (to a little below 1/8 foot-candle), provided it had a contrasty subject to focus on, and that the camera was held very steady while it was focusing. (This last is a critical requirement with many cameras - They need to be held with absolutely no movement while they're focusing, or they won't be able to focus at all.)
Viewfinder Accuracy: A very tight optical viewfinder, but a pretty accurate LCD monitor. The D-540 Zoom's optical viewfinder was very tight, showing only about 75 percent frame accuracy at wide angle, and about 79 percent at telephoto. The LCD monitor fared much better, showing about 96 percent accuracy at wide angle. At telephoto, my top measurement lines were cut off in the final frame, but I would estimate frame accuracy to be pretty high (just add a hair of space at the top of the frame). Given that I like LCD monitors to be as close to 100 percent accuracy as possible, the D-540 Zoom's LCD monitor did pretty well, but its optical viewfinder is woefully inadequate.
Optical Distortion: Very high barrel distortion, about average pincushion. A lot of softness in the corners of the frame, particularly with short shooting distances. Optical distortion on the D-540 Zoom is very high at the wide-angle end, where I measured approximately 1.1 percent barrel distortion. The telephoto end fared much better, as I found approximately 0.3 percent pincushion distortion there. Chromatic aberration is about average, showing about five or six pixels of moderate coloration on either side of the target lines, though the effect is intensified by some corner softness. (This distortion is visible as a very slight colored fringe around the objects at the edges of the field of view on the resolution target.) The worst distortion I noticed was rather severe softness in the corners of its images penetrating a fair ways into the image, most prominent in the studio images, shot at close range.
Shutter Lag and Cycle Time Rather slow, in terms of both shutter response and cycle times. Like many low-end digicams, speed isn't the D-540's forte. Shutter response is very much on the slow side of average, with full-autofocus delays ranging from 1.06 to 1.44 seconds. When "prefocused" by pressing down and holding the shutter button before the shot itself, the shutter delay is an acceptable 0.21 seconds, but that can be cumbersome with fast-moving subjects. With no buffer memory, shot to shot cycle times are a leisurely 4.8 seconds for large/fine images, and 3.2 seconds for small ones. Even continuous mode (available for the lowest resolution images only) offers only a leisurely 0.88 seconds per frame on average.
Battery Life: Relatively good battery life for a 2-cell camera. With a worst-case run time of almost two hours (based on older 1600 mAh NiMH cells), the D-540 Zoom has fairly good battery life, particularly for a camera powered by only two AA cells. Like many Olympus cameras though, it offers amazing battery life when the LCD display is left off in capture mode. Unfortunately though, the D-540's optical viewfinder is so inaccurate that you'll be forced to use the LCD for framing in all but the most hurried/casual situations.
Free Photo Lessons
Simple pro lighting and use tips let you snap stunning photos. Check out our free Photo School area!
As I come to set out my conclusions for the D-540 Zoom, I'm realizing that it's important to keep in mind the price point that each camera sells at. The D-540 has some limitations and shortcomings (most prominently, the softness in the corners of its images, especially at short range), but these need to be weighed against the rest of its performance and its very low price point. With a list price of $199, and "street" prices generally under $170, the D-540 offers really excellent value for the money. With a 3.3 megapixel CCD and 3x optical zoom lens, it captures sharp, good-looking photos with good color, has an excellent macro mode, does surprisingly well under low-light conditions, and even handles household incandescent lighting well if not perfectly. Equally important for entry-level users, the D-540 Zoom's user interface is straightforward and easy to navigate, and its five Scene modes make it easy to bring back good-looking pictures from what might otherwise be challenging shooting conditions. Surprisingly affordable, it would be ideal for any consumer looking to step into digital photography without making a large investment, its easy pocketability could make the D-540 Zoom a good second camera for more experienced enthusiasts. Overall, a very nice no-nonsense camera, at a very affordable price, and a Dave's Pick for its price point.
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A recent WCS study reveals that across Western and Central Africa many more gorillas are found than expected. Interestingly, 80% of them live outside national parks. That is also the case in our forest, hosting over 70'000 lowland gorilla, one of the world's largest gorilla populations.
Stretching across 1,1 million ha in the North of the Republic of Congo, the forest we manage through our production site, IFO, is certified according to the international, inclusive and holistic FSC 'forest management' standard. Looking at the forest as a whole, not only do we maintain the forest as a living ecosystem, but also we put in place measures to protect gorilla (same as other animals) – which, in turn, translates into employment opportunities with a number of benefits for about 16'000 inhabitants belonging to the local and indigenous communities.
In particular, about 40 eco-guards patrol our forest and receive regular training, in close cooperation with the neighbouring Odzala National Park. Eco-guards have a key role to play to make our gorilla population feel safe and at home. In our forest, gorillas and forestry activities live side-by-side. Each and every morning, when workers drive into the forest, gorillas are close by, carrying out their daily activities. This does remind us of our responsibility towards wildlife living with us inside the forest; not only gorillas, but also forest elephants, buffaloes, chimpanzees or leopards.
Our vision: take synergistic actions to protect Africa's natural capital, bringing together national parks with responsible forestry companies to safeguard tropical forests and their wildlife, for future generations to come.


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Kisses on the Bottom is Paul McCartney's sixteenth studio album. On this one, he has turned his attention to some of the pop standards of the 1920s to 1950s – songs from the "great American songbook". Paul says that for years he's wanted "to do some of the old songs that my parents' generation used to sing at New Year". Of course, Ringo Starr did just that - way back in 1970, just as The Beatles were breaking up - with his first solo album, Sentimental Journey, produced and orchestrated by George Martin. Paul does one of the same songs from that album – "Bye Bye Blackbird", as a tribute, I think, to Ringo's pioneering effort. He also does "The Inch Worm" – which recalls the first Mary Hopkin album, Post Card (she of "Those Were the Days" fame). Mary did the song on that first album, produced by McCartney (1969).
With Kisses on the Bottom [the cheeky title, by the way, comes from the opening track, "I'm Gonna Sit Right Down and Write Myself a Letter", and refers to appending a letter with kisses (x x x) at the bottom - it's not an invitation from Macca to kiss ... you know!] McCartney was wise to surround himself with experienced people who know this stuff. The producer is Tommy LiPuma, who has worked with the likes of Miles Davis, Barbara Streisand, and George Benson. LiPuma has pulled together some superlative talent for this project: Diana Krall leads a crack rhythm section, playing piano and doing the small-combo arrangements; Eric Clapton plays acoustic and electric guitar on several tracks; Stevie Wonder does a fantastic chromatic harmonica solo on "Only Our Hearts"; Johnny Mandel - a composer and arranger who has worked with musicians like Sinatra, Count Basie and Peggy Lee - arranges and conducts an orchestra in L.A. on a few tracks; and Alan Broadbent arranges and conducts the London Symphony Orchestra on five tracks at Abbey Road Studios. When you are someone with the stature of Paul McCartney, you can attract the best to come in and help.
And McCartney does need help – because, let's face it, he really is out of his element here. He may have been the Beatle with the most interest in pop and show tunes ("A Taste of Honey" and "Till There Was You", for example), but that doesn't guarantee success in negotiating an album full of these sorts of songs. And, given the competent and authentic backing he receives, it all comes down to the vocals. Does Paul deliver convincing performances? Well, on a few. When he relaxes and sings in a familiar way, he hits it. "Ac-Cent-Tchu-Ate the Positive', for example, works well – probably because it's a light, upbeat lyric. "Get Yourself Another Fool" swings nicely, too, with tasty lead guitar work from Eric Clapton. And Paul's own ballad, "My Valentine", not surprisingly, is delivered with confidence. But on most of the other vocals, he sounds tentative and unconvincing. He adopts a faux intimacy on many of the ballads by getting up close to the microphone and singing in a hushed, unhurried style. But he doesn't have enough command of his vocals to perform these songs with the skill and finesse they deserve. When he's singing "Paper Moon", for example, I'm thinking, 'OK, but he's no Nat King Cole'; and his version of "We Three" is nice, but it just makes me want to listen to Sinatra's take on the song instead. And so it goes for most of the album – it's competent, but there's nothing that thrills you.
The singers who do this material best - Louis Armstrong, Billie Holiday, Fred Astaire, and Ella Fitzgerald - know how to sing a line. Paul is guilty of chopping up a lyric - focusing on words and phrases and taking too many breaths; he hasn't learned proper breath-control, so he cannot sing the entire arc of a lyric-line and give it its full meaning. Frank Sinatra was the master at this. He got inside a lyric, understood it, and delivered it with a subtle power. McCartney is also guilty of some sloppy diction - "More I cannot wish ya", for example - which is uncharacteristic of this style of singing.
But I'm not going to fault McCartney for trying (then again, this rock/pop-figure-does-the-standards shtick has been done to death - think Linda Ronstadt, Carly Simon, Rod Stewart, for example). After all, he's likely to introduce this genre to a lot of the uninitiated - which can only be a good thing. It does seem awfully late in the game, though. Harry Nilsson was probably the first of his generation to go this route, with his 1973 album A Little Touch of Schmilsson in the Night, working with arranger Gordon Jenkins, who had provided his typically-lush string arrangements for half-a-dozen Sinatra albums of the 50s and 60s. Nilsson had the vocal ability to cope with the material, but – despite his off-the-wall personality – he failed to bring any humour or appropriate irony to the project. Well-meaning, but ultimately dull. And that's what this is. There's no denying that there's a lot of good music here. It's worth a listen, to hear how Macca copes with the repertoire; but I doubt I'll come back to it again. I'll stick to Frank and Ella and Billie.
you have a stronger stomach then I Clive. I must admit to having an adverse reaction to even the concept of McCartney doing such covers - i couldn't fathom anything good coming from it and what the likes of Linda Ronstadt and Rod Stewart have done to some of the "classics" has tainted me to be sure! it was interesting to learn from your review of the impressive talent he has surrounded himself with but its not quite enough to bring me to the table on this one! thx for sharing!
Yes, I know what you mean. But to review the thing, it's important for me to be as even-handed as possible.
No, I haven't seen "Monsieur Lazhar", yet. I'll look for it.
Thanks for your feedback, Rob.
Clive, I think you have been even handed. Well done for that and a very thoughtful detailed analysis too.
You have made it sound interesting merely from who is involved, apart from McCartney. I love Paul McCartney, does that sound wrong, but there is obviously nobody around who is able to say, when Paul suggests, "I've got this great idea I want to do." The Emperors clothes syndrome me thinks!!! Ha! Ha!
My immediate reaction is, I don't want to hear this but on the other hand there is a sneaky feeling, well maybe, just maybe.I hope I won't be too embarrassed.
CD Review: Bruce Springsteen's "Wrecking Ball"
Book Review: Charles Dickens 3 - "Oliver Twist"


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You may notice that your water has a sulphur-like odor. This is not harmful (and it is not sulfur). This odor occurs because our water system lines contain about 200,000 gallons of water in the busy season, but currently contain about 80,000 gallons. For cold water, you can let the water run for a few minutes which may help dispel the odor. For hot water, hydrogen peroxide (not chlorine) can be added to the hot water heater, BUT YOU SHOULD ALWAYS HIRE A PROFESSIONAL PLUMBER for this service.


What a difference a day makes! Yes, a day of drumming with our families yesterday and we were all keen to return to school for our regular schedule in Petals Class.
We had a few things to do at the tables and Hisami and Liezel each led an activity. Hisami sat with us while we threaded beads onto a colourful string. The selection of beads was wonderful as they were all so colourful. We found so many with letters of the alphabet on them and tried to find the letters in our names.
We spent time making two circles into a square and we learnt how to make the circles all by ourselves. We were so happy to see that when we opened up the pieces of paper, they had become a square.
We sat together on the carpet and found our names and looked around the room to see who was not at school. We have missed some of our friends for a long time, because they have been sick. Please get better soon, especially Joaquin as he has been away for two whole weeks. We were glad to know that Yurika is feeling better and look forward to seeing everyone on Monday, when it will be a new month, October.
We practiced our Sports Day chant on the way to and from the park and we also sang the Ohana International School song. It's quite a long song! We can also practice singing it at home because our teachers sent it to our parents.
Barbara brought a book to school which was all about the world from 1000's of years ago up till now. It was really different. We noticed that there were no cars; some people lived in caves; people planted gardens and ate the food that was in their gardens; sometimes they made knives from stones etc. Shelley told us that when she was a baby and even when Hisami and Liezel were babies, they didn't have iphones or ipads. Shelley didn't even have television. Some of us think that these things were always a part of life.
Meg used the pointer finger and counted 13 children and then Mirai used it and counted the names on the board. There were also 13 names, so it was the same or equal. We made a picnic with lots of food and utensils and when it came to pack up time, we had so many things to pack away. We try to put things back where we found them but sometimes we mix them up.
We forgot to tell you about the pods that we looked at yesterday. They are like flowers and over time they popped open and we saw seeds inside them.