text:
Jul 29 All Aboard the Coal Train!
Jenni Simmons
Artful Kids, Music
Album artwork by Cory GodbeyEvery morning, I flip on the lights to my upstairs writing room, open the window blinds, and crank up some music on iTunes to rev up my brain for writing. I sing along to hymns, Radiohead, Johnny Cash, The Shins, Emmylou Harris, and all manner of songs, as if to prepare this space artistically for our children one day. I will gladly give up this room for a kid when the time comes, so it's like I'm painting the walls in song in preparation, which of course includes silly jazz songs, too — like the Coal Train Railroad record.
It is sophisticated, fun, and infectious: giggle-catching, toe-tapping, and head-bobbing tunes. For now, I sing to the cats, "Just gimme that juice, Jack, / I gotta gotta have it, / Apple grape or strawberry, / don't matter to me. ... " The album artwork is lollipop colored, and all the while, these songs instill good lessons of wisdom within the smiles and whimsy. Everything is top-notch and joyful, from start to finish.
As Derek Webb said, "With Coal Train, Katy Bowser and Chris Donohue have done the seemingly impossible — they've produced a record that is as catchy and well-crafted as it is charming and loved by my 2-year-old son and 7-month-old daughter. In a market where the most wildly popular children's music is almost unlistenable after repeat listens by parents, Coal Train is a record that this daddy (and mommy) put on the stereo well after the little ones are in bed. A great record is a great record, regardless who it's made for."
Jenni Simmons: Well, first of all, I am enjoying this record so much. I'm 35, no kids yet, and I love it! And my 4-year-old Godson loves it, too.
Katy Bowser and Chris Donohue: Thank you!
J: I read on your web site that "Coal Train has reached Australia." That's amazing! How are the sales going? It seems y'all are selling records like hot cakes.
K: We use the train metaphor in all kinds of ways — we're forever stretching it as far as it will go. I feel like we're The Little Engine that Could right now and it's still a decidedly indie project. But it's amazing to me what good press we're getting: it's the wonder of Facebook, Twitter, and blogs that you can get something out there to the people who are really passionate about it. We're finding these pockets of people — mom groups and jazz aficionados and enthusiasts — people who, on all kinds of levels, connect with making jazz for kids.
We just had a meeting; our wheels are spinning about how to get Coal Train Railroad out there, and how to share it more. The fortunate thing is that we're really excited about this record, and we really do like it, so it makes it a lot easier to talk on about it constantly. I could talk about it all day, and sometimes I do.
C: Our thinking at first was that the campaign for Coal Train Railroad would be all about the record and finding it a home and distribution, and just putting out records without thought of becoming a band or doing a lot of concerts. But for practical purposes, our thinking on that has changed now. So we're suddenly performing a lot of gigs in the Nashville area. Though we hadn't set out to do that at first, it turns out that it's a blast. We have to find time to do the shows around what we're doing otherwise in our own careers; that's the tricky part. The upside is that it's actually helping to give the record more exposure. By creating these events around the live performances, we're able to piggy-back promoting the record on top of that as opposed to just continually sitting at the computer all day trying to find more inroads, bloggers, and web sites. We're doing it very grassroots, but it's much more human than just marketing a record online as if we're a record company. Because it is in fact just Katy and myself at this point, and Katy carries the lion's share of the web-marketing and promotion. I just make phone calls and charts.
K: But Chris comes up with brilliant ideas.
Photo: Bob Bernstein
J: Like the podcast?
K: In true Coal Train form, Chris had an idea, ran it by me, we riffed on it, and it became a project. We weren't quite ready (on a business level) to put out the next CD, but we were dying to make something new and share more of what we love with families. So we decided to make a neighborhood project of it, and found six neighborhood businesses — Fairytales, Eastside Cycles, The Pied Piper Creamery, The Turnip Truck, Ugly Mugs, and Fanny's House of Music — who were willing to sponsor one episode each.
Between CD sales and live shows this year, we've developed a good many people who were telling us they wanted more, so we decided to share our summer project for free. It's been really fun, and often a ridiculous way for Chris and I to take off our grown-up hats and just play. We've talked about bikes, ice cream, temper tantrums — all kinds of kid stuff. My personal favorite has been our episode featuring 93-year-old jazz legend "Mama" Myra Taylor, whom we got to interview for an hour, and Chris had the opportunity to hang out with and escort around Lilith Fair. She told us stories about being a little girl in the 1920s, sang an unrecorded song for us called "Black Angel," and we covered her biggest hit, "The Spider and the Fly." We're thrilled to introduce this grand lady of jazz to little ones!
J: I loved Minty and Milkshake's vomit sounds at the end of the "Ice Cream!" episode. Anyway, it sounds like y'all are very much a team and balance each other.
C: Yes, we are and we do. And fortunately, by doing these gigs, we're able to work with some friends of ours, and manage to pay them a little bit — certainly not what they're worth — but the team has grown a little larger as a result. They also seem to genuinely like doing the concerts with us. Getting to play these tunes live is much more exciting than I would have imagined because they are different every time, like any other jazz gig. We have a general idea of what we're doing when we start, but every song has twists and turns that are either deliberate or accidental, and you just go with it. It's a lot of fun.
K: I'm usually the accidental part. Last week I screwed up "It's Hard to Listen" — I dropped an entire verse if I recall. I totally missed a cue and then sang the rest of the song to myself — I need to remember to listen, too!
J: That's very creative, Katy.
C: Well, during any performance, anywhere, with anyone, you're always going to have a mishap moment or two, even if no one else notices. That's not a big deal; that's normal. But in terms of the way that the songs are interpreted, they've started to evolve and change. The arrangements are really cool now, and one of them, I won't say which one because I don't want to give too much away, but it's gotten a real work-over. I really wish that we could record it again, because now it's a lot cooler, and though I'm very happy with the version on the album, it has now turned into something that I wish we had as the recorded version.
J: Do you have any plans to take Coal Train Railroad on the road because I know some kids in Houston who would die to hear this music.
C: You have a really great jazz club in Houston: Cezanne. A friend of mine used to play there some years ago. Rice University also has a very well-respected music program, so there's a lot of progressive music happening in those clubs.
K: Jenni, that kind of brings up an interesting thing that we're figuring out as we decide how to market the record, when we are playing shows, where, and what to do, because we're straddling these two worlds in that we're doing music for kids, but we've only done grown-up music before. And Coal Train Railroad truly is jazz — real jazz — and so we're trying to stay on both sides of the fence of kid's music and the jazz world; we're very fond of the jazz world. We want to be where the kids are, but it's fun to be around people who are making similar music, too.
C: Yeah, we're fully capable of going into children's spaces with this music, but what's as much, if not maybe a little more fun, is to bring the children into the jazz spaces, as appropriate.
J: So if you came to Houston, would you play at one of the jazz venues you mentioned, hopefully bringing kids into that space?
C: Oh yes, I would look into doing that first. Say we did travel. We would have to look for several opportunities to play so that it made sense logistically and financially. We could do any of the the usual venues for children's music — libraries and such — but wherever we'd go, it would be a really special thing to get kids into a space that's specifically dedicated to jazz music. In fact, that's one of my campaigns right now: I'm trying to get us up to New York, New Orleans, and Los Angeles. But in any case, it's fun for the parents. I have jumped at the chance in the past when I've had the opportunity to do something like that with my girls, to take them into a real creative space for adults. But again, as appropriate; it's not like we'd do it in the evening during cocktail hour or anything.
K: One of the things that's interesting is that we've had a couple of entities tell us that jazz is too sophisticated for children. That strikes me as a very modern thought. I think there's a fear right now in children's entertainment about having things not be accessible. But I grew up on Mr. Rogers, Charlie Brown, and Sesame Street, and they're all chock full of this stuff. So in one way, we're not doing anything entirely new. We're kind of doing a new version of a glorious tradition. And the fun of it is to have kids' ears washed and bathed in jazz while they're young, and have it as a reference point, because I think grown-ups get freaked out about jazz. It sometimes has a reputation for being an elite thing or something you have to be very educated to enjoy, and that's just not true. There are always things you can enjoy about it in different ways, with a little musical exposure, and it's good to get to know different kinds of music and get to know them well. I've watched more babies, 2-year-olds, and 4-year-olds just enjoy some really good swing or Latin music.
C: I don't even believe in being so analytical about it. Perhaps you've heard of Mary Kay? There's a quote that I believe is hers, and she said, "Aerodynamically, the bumblebee shouldn't be able to fly, but the bumblebee doesn't know, so it goes on flying anyway." That's the phrase that comes to mind when I hear people talk about children's perceptions of music. Kids are not judgmental, and that's one mistake that a lot of educators, parents, and people in general make. For example, toddlers: if it's got a good beat, they're going to move with it, and it's only when they get towards, say, fourth or fifth grade that maybe they start to form some impressions about what might be cool and what might not be cool, and what their friends are listening to. But while they're young, it just comes down to, "What are your parents listening to?" because that's what they're going to hear all the time, and that's at least for a while what they're going to prefer listening to.
J: How did you two come together to create this brilliant project?
K: In 2001, I was making a record called Longing, and Chris played on it. And at that point, he was a new parent to a baby daughter. After the record I was touring with him some, and when I wasn't on the road, I was babysitting his little girl, which was an utter delight. She's a child of great depth and much joy, and when I was watching her, I'd take her out in the Bjorn and walk all over East Nashville. I have Chris and his wife, Laura, to thank for discovering East Nashville; they were the first people to invite me over to that side of town.
So their daughter and I used to walk all over the place for long spans of time, and I'd sing her little songs, tunes, and little scraps of things. Chris and Laura heard them and hopped right in. Laura said, "You guys should work on that." Chris really dug in, and started to elaborate on the songs and bring a bunch of his own stuff to the table. We just started making songs, and it was the most natural thing in the world. Chris is the easiest person to write with. It's just a whole lot of fun; no stress whatsoever. Did we start with "Bellybutton Stays the Same"?
C: That sounds right.
K: I just saw a video of Chris's daughter in her elementary school variety show, and she's in the third grade, so she's our indicator of how old this project is. We've been working on this for the longest time and it's been fascinating to watch the evolution of the process. It's interesting because we were learning to work together creatively, and now we're learning to do business together, too. Fortunately, I think having to work something out creatively is a good training ground for having to work things out anywhere else. Maybe that's a good life lesson: if you can learn to create music or art with somebody, you might be able to cooperate on many other things. My husband, Kenny, and I, when we write together, it's some of our best marriage encounters. You learn a lot about each other while writing together.
So it's been a lot of fun, and Chris brought a lot to the table. He sure knows his jazz, his music, and brought a lot of depth and wit to the project and made it more interesting. It makes it a whole lot more fun for me to sing.
C: I think, too, that the guiding principle of creating art, or going into business with someone is the same, and for me, it all comes back to not being too precious about one's own ideas, knowing when you need to step in and fight for something, but other than that, staying open and receptive. With people you trust, this should not be an issue anyway.
K: It's a constant learning exercise. I could sure get precious about my ideas. We've been prefacing the song, "What's Mine is Yours," for the kids sometimes. We talk about sharing, and we talk about sharing music, too, and jazz is such a wonderful metaphor for that. It's all about sharing and listening to each other, and seeing what might be happening and going with it — knowing where you are and what somebody else is up to.
Photo: Steve FeldmanJ: Why jazz vs. folk, rock, and so on? Are you both jazz-lovers, and if so, when did the jazz bug bite you?
K: I think that's just how it came out. That's what it was.
C: It wasn't an accident. A number of things were in play at the time: being a new parent, music that I was listening to, and music that I was seeking out for my daughter. When my second daughter came along, for both of them, I was familiar with a few more contemporary children's music projects, but by default, I went to older recordings that I had grown up with, or even ones that predated my childhood, like Ella Jenkins and the Pete Seeger children's collections. Then it was actually my wife who leaned on us for a year and a half to start writing stuff down, because we were always talking about it, but we were not making the time to do it.
At the time, I was listening to (well, I still do) one thing or another, just for the love of the craft, so when we were looking for music that was worth recording we thought, "OK, if we're going to do this, maybe it should be a children's jazz record. Are there any?" I don't know, but I do know that, as Katy was saying earlier — Mr. Rogers, Sesame Street, the Vince Guaraldi music for the Charlie Brown series — are all packed with jazz. But we didn't see anything in the marketplace that was comprised of new songs with new lyrics and new arrangements. It was either jazz reworkings of children's songs, or collections of jazz standards and old jazz recordings that children might like. So there was nothing like this, and it made sense to go ahead and do it; we could do whatever we wanted.
J: Katy, you sing beautifully on all of your records, but it almost seems as if your voice is made for jazz. What do you think?
K: I would say that even when I had a guitar in my hands for awhile, vocally, jazz is what I was weaned on. I had this marvelous high school teacher named Tony Aversano — he's my Facebook friend now, I found him down in Florida, and he's retired — who was this wonderful jazz trumpet player from New York who ended up teaching high school choir. He spent so much time with me, and was constantly throwing jazz at me.
So in high school, I was listening to Sarah Vaughan, Ella Fitzgerald, Peggy Lee, and Nina Simone. I remember when I heard that stuff thinking, "Oh, that feels so comfortable. That feels like what my voice wants to do." So vocally, that's where I've often landed. I tend to sing that way, and those are the melodies that are in my head and what I'm more used to. I love the little ins and outs of what you can do vocally with jazz — all the fun turns, and the way you can expand or contract a melody, the way you can nuance things. Jazz is so pliable that it's really fun to be constantly messing around with the melody. It never gets boring.
J: Chris, you produced this record beautifully, too — were you nodding to any jazz musicians in particular, childlike whimsy, or both?
C: Well, not really . . .
K: Definitely some whimsy!
C: Yeah, gosh, that should be an easy question to answer. There is definitely an era that I had in mind when we started, but it bounced around a little bit. Our points of reference changed depending on the song, and ultimately we just wanted it to sound legit, make it obvious that we were using real players, that we weren't programming anything, and actually going for some chemistry, and I think we got all of that. But in terms of an overall sound, certain songs brought out different references than others did, and so it's kind of a mixed bag, I suppose.
J: A mixed bag of different eras — that kind of thing?
C: Yeah, depending on the song. For example, "Bellybutton Stays the Same" seemed to fit just keeping to a '40s Count Basie approach, whereas "It's Hard to Listen" and a couple of the others maybe hearken more toward Verve and Blue Note and the late '50s and '60s. The theme song, "All Aboard," we came up with that at the recommendation of a friend who said it would be great if there was a piece that sort of drew you into Coal Train Railroad. So if there was anything that was manipulated on the record, and designed just as a production sort of piece, that was it. We also thought that song might be useful when the characters that we created were actually used in an animated series. We had that in mind when we were composing that piece.
J: You've played with a ton of well-known, talented musicians — do you believe playing for children holds the same importance?
C: It's challenging in a different way, of course, but really it just depends on the audience, because whether you're playing to a crowd of adults or kids, you'll have audiences that are good listeners and some that are not, and it's much more fun to play to the ones who are actually listening and into what you're doing. Fortunately, the artists that I work with on a regular basis have audiences that hang on to their every word and are really attentive, and are an absolute pleasure to play for, so it's not often that I'm in a position of feeling like I have to fight to keep people's attention; they're there and you've got them pretty much from the first song.
With Coal Train Railroad, if anything, we're just getting used to how children react to different songs, and we're constantly finding new ways to approach the tunes that engage them the most, and draw them in even more so they feel invested in it. Parents want to see that, of course — I do, when I take my kids to something. You want to see that the kids are fully engaged, and that they're not being talked down to, but respected, and that the performer has a sincere attitude of play.
J: I love that idea about not talking down to children, whether you're talking with them or playing music for them. It's something that definitely comes across on Coal Train Railroad. I'm thankful y'all did that; it makes kids more intelligent.
C: Thank you.
K: I think that's an important distinction for us, that being young doesn't mean being dumb. Kids are keenly perceptive and thoughtful, and for that matter, have very little ability to be fake, so they're going to tell you if they like it or not. There's no politeness. (laughs)
J: Have y'all ever had negative feedback from kids?
C: No, I don't think so. If anything, all we've run up against is occasionally, we'll see that they're becoming distracted, or they're drifting a little bit, and we'll discuss it afterward and figure out how to improve. In fact, that's how the song I made reference to earlier, that we changed the arrangement of for performance — that's how it came about, because we thought, "We've got to pick up the tempo a bit; we gotta keep it moving because they don't seem to be hanging with that one as much as some of the others." I suppose that ties in nicely with what I said earlier about not being too precious about the product.
Photo: Bob BernsteinK: I think maybe the only critique we've received has been from a few industry folks who wondered how this or that would sell to large groups of children. Here is one: we got a comment from someone in television who said they thought that kids couldn't handle the empathy in "It's Hard to Listen," that they wouldn't get it. But I think that kids can get somebody understanding them. I think all of the songs might be from a child's perspective, and so I think they can get that. They might not get the psychological concept of being able to empathize, or even have the capacity to do it, yet to a certain degree it's been really fun to hear stories about parents who have told us a child will say, "But Mommy, it's hard to listen." And I think that's the fun of it because parents are staying in the room with the music, and so there's actually the possibility of some parent/child interaction. I think we may have a higher threshold for parents wanting to stay and listen, and hopefully they can enjoy it with their children instead of having tune-out time.
C: Just to tack on to what Katy said about the perception that children aren't able to grasp more sophisticated forms of music, I have too much experience as a dad, and through this record, and having run a nonprofit community music school for 4-5 years, not to mention all the research I did prior to all that, to take that viewpoint seriously. That's not to say that every child will like Coal Train Railroad. They all have their tastes, and that's fine, but to think that they are not intellectually capable of handling it is a huge mistake.
When Katy and I were writing lyrics, we also had the adults in mind, and there are songs we have not put out yet, or recorded yet, and I was thinking about one of them this morning because I'm thinking we might record it the next time we go back in, and one in particular came to mind that was born out of my own frustration as a new parent about the early morning hours that were involved, and so we wrote a little song. I think the parents get that humor, too, because that's not the only song we wrote that maybe has a bit of edginess to it. At least a parent, if they're listening for it, can see that we actually get it, and we know what it's like because we have lots of experience with children ourselves, and we know the good, the bad, and the ugly. It's not all sunshine and lollipops and rainbows. It's hard work and it's frustrating at times, but it's incredibly rewarding.
J: So, did Brannon McAllister create the web site and the album artwork? They suit the music perfectly — can y'all tell me how the artwork came about? I mean, did you describe a vision to Brannon, or did he just come up with it?
K: No, Cory Godbey did the illustrations; Brannon created the beautiful web site. Cory really worked with us. Chris has a lot of background in vintage animation and style, and he had a really strong vision for what this could look like that would be congruent, and Cory was fantastic. He took it through a few rounds to bring out that sensibility, and something that's also very Cory-ish.
C: I referenced certain things to Cory and Brannon when we were conceptually discussing what it should all look like, but Cory did his own thing, and there might be similarities to things I envisioned, but it's really his own. The illustrations are unique, so I don't think they're derivative of any one particular style or genre. I think they stand on their own. I will say that one thing that's important to us, since I lived in New Orleans for a few years — a really important and formative time in my life, and also is the birthplace of jazz in the U.S. — this artwork was designed at the time we were formulating a pitch for television. It was very important to me that the artwork have a New Orleans look and feel to it, an I think Cory nailed that really well.
K: I hope at some point, for many reasons, we get to flesh out some of the other aspects of Coal Train in addition to the CD because the little kids on the album's cover all have stories that go with them, and they all have names, personalities, likes, and dislikes, and we know how they act when they're together. These kids are almost as old as Chris's oldest daughter. It's fun to know some of that; there's a lot informing how we think about all of Coal Train Railroad, having gotten to know these kids that we've created.
J: Katy, I haven't seen Rootie Toot posting on Facebook lately. I'm kind of concerned about her. How is she doing?
K: Rootie Toot's just fine — just biding her time. She's a bit of a diva — the feather boa might be your tip-off. We haven't formally introduced "our kids" to the public, other than through the album cover art. Though, as you know, both she and William LaFaro, our bassist and CTRR backbone, both have Facebook pages. We're hoping to share more of their stories soon through one or more of the avenues we're exploring. Coal Train Railroad is fleshed out and ready to be an animated series, music videos, or a series of books. We've received a lot of input and guidance from a few mentors who have spent their careers in children's entertainment, people like Jocelyn Stevenson (Fraggle Rock, What's Your News?) and Steve Feldman of Sam Hill Group. Steve's directed Elmo's World among many other things, which puts him on my hero list.
J: One of our Art House America goals is to raise up children to be great artists. Was this your intent in making such a well-done, ageless record?
K: Chris, do you remember what that quote was that we liked? Apparently I said something in an interview or in passing that we both thought was good. I think the idea was "music that you can grow up with." Hopefully it's music that you can listen to for a lifetime. Maybe that's what it was.
C: Yes.
K: I was just digging back through the Mr. Rogers songs and going "Oh, it's that song," and we would love to have this music woven into children; as they grow up, for it to be part of them. In a few years, we don't want them to go, "Oh my gosh, I can't believe I listened to that when I was a kid." Hopefully, it's foundational for them. I don't think that's accidental, either. We want to make music that's excellent, that's really good, that people of all ages can enjoy. We wrote the songs from a child's perspective because those were the eyes we were looking through, but I think music that does that is good for the sake of parents empathizing, and other grown-ups who are around children — just to have an outside perspective and remember, "Oh yeah, it's kind of hard to be a kid." The grown-ups have all the power, they're in control, you ask them everything, and you're just learning to use words, you're just learning to use music, you're just learning to use all kinds of things. So this is the gift we wanted to give.
J: My favorite show that I heard about was "Juice:30 at Grimey's." Like, my husband and I think that may be the most brilliant thing we've ever heard: Juice:30. How was that show? And I'm just wondering, was there any hidden motive to introduce kids to a real live record store?
C: It wasn't hidden, it was right out there in the open. That's what I was talking about earlier when we were discussing performance venues and creative spaces: adult creative spaces, and bringing kids into them, as opposed to always going to venues associated with children. I hope there are still record stores by the time that my kids are grown. I hope music is on vinyl in ten years, and you can still go to Grimey's and buy it. Culturally, we have taken record stores for granted, and they're starting to go away, and so we're having to work hard to keep them around. It was just a great opportunity to throw the parents a curve ball and say "Hey, we're playing at Grimey's," because I would guess that probably no other group playing music for children has played at Grimey's before. There should be more. Why not? Logistically, the space was less than ideal, but the adults were tall enough to stand behind the record stacks and bins, and the kids all crowded around like we wanted, right up around the front. In fact, I remember that my only real frustration that day was my younger daughter had run out of juice, and as we were playing, she started pulling on my pants leg and looking at me like, "Uh, I'm out of juice? Excuse me? Another please."
K: Part of the awesomeness of playing the live gigs is that the best times for us to play thus far are 10:00 am, which is to say, before morning nap, and 4:00 pm, after the afternoon nap and before dinner. Those tend to be the best time for kids and for me. My entire adult life as a morning person, I've played shows at night, and so I'm thrilled to do these shows. There's all kinds of things about this project that are unconventional, that we have to turn a bit for the kids. We've talked about the idea of recording a video of a bedtime concert — like doing a little film of songs where you get your jammies on, get your blankie, and it's a little concert that's especially for bedtime. It would be fun. We're forever throwing around a thousand ideas to see what sticks. Coal Train Railroad kind of lends itself to exploring.
J: Any other plans for Coal Train Railroad in the works?
C: We will definitely do another record. I don't know when that will be, but it'll happen.
K: Yeah, we've got our eyes on it. We're getting this first one rolling, getting the word out, and hopefully it won't be long until the next record. We have an in-house hope of when that will be, but I don't think we want to put it out there — we don't want to go breaking any little hearts!
C: We know what we'd like to see happen, but it's one week at a time.
K: That's exactly what we're doing: one week at a time of adjusting, correcting, and figuring out how to get Coal Train Railroad out there. We've got more songs, and they're sure gonna be fun to make.
Jenni Simmons is the editor of the Art House America Blog, a drummer's wife, caretaker of three cats (Harley, Milo, and Lily Belle), writer, coffee/tea/wine-drinker, bookworm, music fanatic, and a bird-watcher.
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2. Effects of heat wave in dogs.
3. Risk Conditions Associated with Heatstroke.
4. Physiologic Effects of Hyperthermia.
5. Effects and Consequences of ABC Surgery in hyperthermia condition.
Heat wave is a prolonged period of excessively hot weather, which may be accompanied by high humidity, especially in oceanic climate countries. While definitions vary, a heat wave is measured relative to the usual weather in the area and relative to normal temperatures for the season. Temperatures that people from a hotter climate consider normal can be termed a heat wave in a cooler area if they are outside the normal climate pattern for that area.
A heat wave is considered extreme weather and a danger because heat and sunlight may overheat the body.
A Heat Wave is a period of abnormally high temperatures, more than the normal maximum temperature that occurs during the summer season in the North-Western parts of India.
Heat Waves typically occur between March and June, and in some rare cases even extend till July. The extreme temperatures and resultant atmospheric conditions adversely affect animals living in these regions as they cause physiological stress, sometimes resulting in death.
A heat wave warning has been issued to all statesnby the Indian Meteorological Department (IMD). According to the IMD, parts of the country will see a heat wave and temperatures will remain between 45 and 48.5 degrees Celsius.
The heat wave will continue till June, some states will remain hot and humid.
Hyperthermia is an elevation in body temperature that results when heat production exceeds heat loss. Core body temperature rises above the established normal range (99.8-102.8oF/ 37.6-39.3oC) in the homoeothermic canine.
Hyperthermia leads to heat stress and heat stroke.
Heat stroke is a form of non-fever hyperthermia that occurs when heat-dissipating mechanisms of the body cannot accommodate excessive external heat. Typically associated with temperature of 106° F (41° C) or higher without signs of inflammation, a heat stroke can lead to multiple organ dysfunction.
Homeotherms, or warm-blooded animals, have thermoregulatory mechanisms controlled by brain which work to maintain a normal body temperature.
a)Evaporative cooling –The panting mechanism is an efficient way of increasing the evaporative heat loss. It also is the main mechanism of temperature reduction in the dog. The panting mechanism along with increased salivation during panting greatly increases the evaporative cooling, which may account for up to 60% of heat dissipation.
b) Increased blood flow - Normally, high environmental temperatures cause peripheral blood vessels to dilate, allowing more blood to flow to the skin and dissipate heat.
a) Seek cool surfaces to lie upon.
b) Seek shade, getting out of direct sun.
a) Lack of acclimatization to the weather – normal healthy dogs may require about 20 days to a month to acclimate to warmer weather.
d) Confinement with poor ventilation.
g) Extremes of age - very young, very old.
h) Drugs - Sedatives, Anesthetics.
a) Simple exposure to excessive environmental temperatures.
b) Exercise – minimal in hot, humid environment to strenuous in moderate environment.
Muscle metabolism accounts for up to 80% of the body's overall heat production during physical activity.
b) Central nervous system disease.
a) Fatigue - canine is not moving as efficiently and must work harder to perform the same job.
b) Ground surface – higher ground temperature, which also reflect heat back up to canine.
a) Increased metabolic rate and oxygen consumption.
b) Decreased function of heart causing poor organ tissue blood supply, muscle degeneration.
d) Rapid heart rate, irregular heartbeats.
f) Stoppage of the heart and breathing (cardiopulmonary arrest).
b) Laryngeal swelling obstructing the air pathway.
c) Fluid build-up in the lungs; sudden breathing distress.
d) Acute Respiratory Distress due to inflammatory response or infection secondary to bacterial.
c) Breakdown of red-muscle tissue leading to difficulty in movements, breathing.
d) Unconsciousness in which the dog cannot be stimulated to be awakened.
b) Passage of blood in the bowel movement or stool.
d) Mucosal barrier breakdown - Direct thermal injury to stomach and intestine mucosal lining causing ulcers in stomach and intestine.
a) Production of only small amounts of urine or no urine.
b) Sudden (acute) kidney failure.
b) Death of liver cells.
b) Wobbly, in coordinated movement.
e) Reddened gums and moist tissues of the body.
f) Decreased blood glucose levels.
2. Increased activity in hot weather to avoid capture.
3. Difficulty in breathing when using sack/rope method.
1. Confinement within closed space.
2. Inadequate spacing and ventilation.
1. Stress causes increased heart rate, risk of irregular heart beat.
2. Strenuous exercise greatly increases the total body heat.
3. Handling interferes with normal panting mechanism which can be detrimental leading to serious effects within minutes.
4. Forced confinement in a hot environment, the animal's thermoregulatory mechanisms become ineffective at dissipating the body's extra heat.
5. Heat waves are also often accompanied by periods of stagnant air leading to increases in air pollution and increase in respiratory problems.
3. Decreased blood glucose levels.
1. Decreases the brain function. Thermoregulation will be affected.
2. Decreased response to heat like panting.
3. Decreased breathing efforts which impair oxygenation level in blood.
6. Vomiting can trigger bleeding from stomach or intestine ulcers.
7. Increases the risk of compromising the animal's ability to respond to heat in animals with any disease of the heart or lungs.
8. Decreased salivation which impairs heat dissipation.
1. Increased risk of kidney injury and failure.
5. Bleeding from multiple sites: wound site, inside the body, possibly due to low platelets and abnormal bleeding and clotting mechanism.
6. Sepsis - widespread infection.
8. Dehydration and brain damage.
9. Loss of Thermoregulatory mechanisms.
No proper place with adequate shade to prevent exposure to heat is available at all times.
Stress response is heightened by the release of animal in the society in the struggle for proper place to rest, for food and water leading to increased physical activity and fatigue. The canine would be not able to move as efficiently and have to work harder which also contributes to increase in body heat production.
3. Food availability and safety.
Reduced availability of safe food and drinking water for stray dogs.
Food poisoning - Higher air temperatures can increase cases of Salmonella and other bacteria-related food poisoning because bacteria grow more rapidly in warm environments. These diseases can cause gastrointestinal disease and, in severe cases, death.
4. Heat Wave creating or worsening mental health impacts such as depression and canine post-traumatic stress disorder (PTSD).
5. Depressed immunity leading to increased susceptibility to infections.
7. Increased risk of heat stroke while lying on the road, which also reflect heat back up to canine.
It is well known that heat wave is a major cause of weather related mortality.
It is widely recognized that extreme climatic conditions constitute a major public health hazard. Heat-related illness may range from trivial heat injury to life-threatening emergencies. It is expected that these heat waves may increase in frequency, severity and duration to a discernible extent. mortality.
Taking into consideration of the effects of heat wave on canines and its potential lethal consequences in dogs undergoing ABC SURGERY, there is definite risk of detrimental effects of hot weather in animal's physiology and behavior which can lead to increased suffering and death.


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Any questions regarding this Notice should be directed to Yeomans-Edinger Chiropractic Center, SC Privacy Officer, Julie Williams, who can be reached at 404 Eureka Street, Ripon, WI 54971, 920-748-3644, info@yeomans-edingerchiropractic.com.
Appointment reminders and private health information will be communicated to you only in the manners in which you have given specific written authorization and you have the option to opt out of any of those methods at any time by notifying our office. Email and standard SMS/text messaging are not confidential methods of communication and may be insecure.
By signing this form, you acknowledge that Yeomans-Edinger Chiropractic Center, SC has given you a copy of its Privacy Notice, which explains how your health information will be handled in various situations. We must try to have you sign this form on your first date of service with us. This includes the situation where your first date of service occurred electronically.
If your first date of service with us was due to an emergency, we must try to give you this notice and get your signature acknowledging receipt of this notice as soon as we can after the emergency.
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L.A. County Agency Gives Up On Paper, Embraces Process Automation
The Community Development Commission of Los Angeles County is just one of many local government agencies that are moving to update their workflow structures.
by Zack Quaintance / July 12, 2018
Shutterstock/Nirat.pix
The Los Angeles County Community Development Commission — a single entity that handles housing, community development and redevelopment — has upgraded the workflow structure that allows its staff to digitize documents.
As a result, public servants within the department have an easier way to track much of the information the commission deals with on a regular basis, said Doug Van Gelder, IT manager for the commission. Using an enterprise content management platform called Laserfiche, the agency can now digitize documents in a way that also allows for automatic filing of documents, easier document disposal, more efficient auditing and generally better access and tracking.
For example, when a resident of Los Angeles County applies for public housing, they have to provide many documents that show things like employment information and financial records. In a county with roughly 3,200 public housing units and 23,000 more residents in a housing voucher program, being able to pull up submitted information at a moment's notice is vital, Van Gelder said.
Philadelphia Works to Digitize Paper-Based ProcessesImproving Process, Resident Experience Among Big Ideas in TexasMichigan Scales Back Massive Applications Process with Human-Centric Design
This paperless way of doing things is relatively new, having reached full implementation in 2016, but for Van Gelder, a veteran of government IT work, it's been a refreshing change.
"When you walk around now, you don't see walls of file cabinets anymore," Van Gelder said. "In fact, the building would probably collapse if we printed everything out now and put it into file cabinets."
This has made a difference for members of the public who come in to get housing information as well, who are often on tight schedules and none too thrilled about having to spend some of their valuable time visiting government offices. Van Gelder said caseworkers can pull their files and audits up in moments, rather than having people wait while they hunt them down.
"The idea of a system like this is to take that tedious work away from the case manager like this to allow them to focus on the people they serve," he said.
The community development commission is far from alone in pushing to make these sort of changes and reaping the subsequent benefits. Due to legacy systems remaining in place, it is not uncommon for government agencies across the country to still have paper-based workflow management systems.
Local governments as prominent as Philadelphia have ongoing efforts to digitize paper-based processes right now.
Thomas Phelps, who is Laserfiche's CIO, said that while Los Angeles County is one of Laserfiche's largest government clients, the company often partners with other local governments, too, going through a process in which they do interviews to learn their clients' needs.
"You'd be surprised how many departments or organizations out there are still in the analog world with filing cabinets and paper," Phelps said.
Speaking from his own experience, Van Gelder said many government agencies sign on for digitization platforms but don't do the necessary work to train employees how to use them well enough to fully integrate them into everyday workflows.
"I still feel like we're kind of scraping the tip of the iceberg," Van Gelder said, "even though we've done this extensive records management program for our agency. You invest in these technologies, and I'm always amazed at how people don't exploit the capabilities of the products they invest in."
Flexible Tech Helps Cowlitz County, Wash., Respond to COVID-19
L.A. County to Launch Digital Harassment Investigation System
Philadelphia Works to Digitize Paper-Based Processes
Zack Quaintance Assistant News Editor
Zack Quaintance is the assistant news editor for Government Technology. His background includes writing for daily newspapers across the country and developing content for a software company in Austin, Texas. He is now based in Washington, D.C. He can be reached via email.

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This is a one-stop resource for books related to the life and career of British-Canadian actor Barry Morse. For links to all our titles, please see the Menu, above right.
Update: August, 2013 – Announcing the release of The Wit and Wisdom of Barry Morse! Please see the Wit and Wisdom page for more information!
Update: July 14, 2013 – Announcing the release of Rogues and Vagabonds on CD and MP3 – see the Rogues and Vagabonds page for more information!
Update: June 16, 2013 – Announcing the re-release of Stories of the Theatre: The Radio Scripts of Barry Morse – now available through Amazon.com – See the Stories of the Theatrepage for more information!
Update: January 24, 2013 – Robert Wood and Anthony Wynn are working on a re-release of Stories of the Theatre: The Radio Scripts of Barry Morse in paperback with a brand-new cover! Coming Soon!
Update: January 9, 2013 – See the Valiant For Truth page for a short review of the book from Richard Dietrich, Treasurer and Webmaster of the International Shaw Society.
Update: August 23, 2012 – Robert Wood and Anthony Wynn are interviewed about Barry Morse and Valiant for Truth online at The Examiner.
Our mission is to continue working to share and preserve the legacy of Barry Morse's remarkable theatrical career and life. Thank you for visiting!
– Authors Robert E. Wood and Anthony Wynn
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Please scroll down for full details about this course and to book online using our EventBrite widget.
This company director workshop has been designed specifically for recently appointed directors (and those shortly to be appointed to the board), although there are clear benefits to having the entire board take part.
This company director workshop can be tailored to meet the needs of your particular organisation. The programme as presented here is timed to run from 9.15 to 5.30, but the timetable can be adjusted, the start and finish times can be extended or the amount of time the participants spend on examples or case studies can be reduced in order to accommodate additional or replacement topics, as required: the choice is yours!
David is a consultant and trainer in corporate governance and the role of the company director. He is a Senior Lecturer in Strategic Management and Corporate Governance at Wolverhampton Business School and was formerly Programme Director with IoD Director Development West Midlands (and was also a member of the Executive Committee and the Council of the Institute of Directors in Birmingham).
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text:
Packin' the alpacas
June 10, 2014 by Terry Barner
Electrical engineering professor Mariesa Crow likes to unwind with her 17 alpacas. Photos by Sam O'Keefe.
Mariesa Crow is about to take a long summer road trip with Elvis and James Bond.
No, these aren't the musical and movie selections Crow will take with her on the winding asphalt path to Montana. They are the names of two of the 17 guys along with her on the trip.
But Elvis and James Bond are not superstars, they're alpacas. As in the long-necked hairy critters that look like overgrown Chia pets with legs. Crow buys them as yearlings with birth names such as Goliath Black.
"Many of the alpacas have these really long names, and I just shorten them," Crow says.
When Crow isn't writing books on electric power systems, teaching students or conducting energy-related research at Missouri S&T, the Fred Finley Distinguished Professor of Electrical Engineering raises alpacas on an 8-acre grassy hill behind her home along Lions Club Drive in Rolla.
Her 17 long-necked males are Crow's entertainment after a busy day on campus.
"I've had a lot of interactions with students and other faculty and it's nice to come home to my boys," Crow says. "This (hobby farm) is definitely an escape. It's kind of getting into touch with my natural side."
Crow and her husband, James Drewniak, Curators' Professor of electrical and computer engineering at S&T, bought the land and pondered raising cattle or horses before a friend suggested alpacas. Crow started with two alpacas five years ago and has typically added a couple of younger males each year to the herd.
While playing mother to the 17 boys, Crow points out that the alpacas' curiosity can make for comical moments at feeding time. She relates the story of one alpaca that thought her new outfit was a new meal.
"I wore an orange scarf when I was out here, and of course they are very addicted to carrots," Crow recalls while evoking the image of a giant triangle of cloth. "So he came up and was sniffing around my neck thinking I had this huge carrot around my neck," Crow says as she re-enacts the scene with her hands clasped around her neck.
In January, the alpacas' long coats keep them warm in the winter chill, but a warm day in May signals it's time to harvest the fiber for which the alpacas are raised: their four inches of hair.
Joining Crow at this year's shearing was Missouri S&T senior research specialist Clarissa Wisner. When Wisner isn't running an electron microscope in S&T's Materials Research Center, she also raises eight alpacas in her yard just east of Rolla. Wisner came to Crow for information on how to care for her alpacas. Together, the two brought in a professional shearer in early May to shear their herds at Crow's hobby farm.
Electric clippers shave the shearing time down to about 30 minutes for each alpaca. The hair around the belly is methodically wrapped in a plastic bag and sent off to be spun into yarn. Wisner and Crow then scoop up the clumps of neck and leg hair into a trash can for other uses. Crow says her husband would like to use the leftover alpaca hair to insulate the couple's new barn.
Once the yarn returns after processing, Crow then picks up knitting needles to craft sweaters or other garments. A young alpaca's fiber is soft like cashmere, while an older alpaca's stiffer fiber is relegated to outer garments.
"We have a couple of alpacas we call 'rugs' because that is pretty much what you use them for," Crow says.
Crow's summer road trip is actually the start of a year-long sabbatical for her and her husband. While away writing a textbook revision and technical manuscripts, she will take all 17 of her alpacas with her and board them on 230 acres at Great Northern Ranch in northwestern Montana. Crow and the alpacas will return to Rolla in time for Crow to resume teaching in the fall 2015 semester.
"I am hoping when we get back from sabbatical to pick up a couple of young ones," Crow predicts. "My ultimate plan is to have 20 alpacas."
Story and video by Terry Barner
Filed Under: Faculty, Features Tagged With: alpaca, Clarissa Wisner, electrical engineering, hobby farm, James Drewniak, Mariesa Crow, Missouri S&T, Missouri University of Science and Technology
Deena Aaron says
I really enjoyed this interview. Living on a farm and raising cattle it is therapeutic to watch and interact with them. We had a stray sheep show up at our house three years ago and she had two babies and we still have them all of course. I love your Alpaca's. I would love to photograph them sometime.
Cathi Barth, Distance and Continuing Education says
Mareisa – we so enjoy your alpacas. My kids love driving down Lions Club Road to see them. We sometimes walk the acorn trail and stop and say hello to them. We will miss them during your sabbatical! Enjoy your time away!
B.J. says
Wish Marissa and Jim a relaxing wonderful time with their boys (alpacas) up in the Montana hills.
Seaar Al Dabooni says
I like alpacas, it looks like more smarter than sheeps
atousa yazdani says
That was really neat.


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Garret Dillahunt
Born in November 24th, 1964
From Castro Valley, California, USA
FilmographyNews
Garret Dillahunt Biography
Garret Lee Dillahunt (born November 24, 1964) is an American actor. He is best known for his work in television, including the roles Burt Chance on the Fox sitcom Raising Hope, for which he was nominated for the Critics' Choice Television Award for Best Actor in a Comedy Series, Jack McCall and Francis Wolcott in Deadwood, and John Dorie in Fear the Walking Dead (2018–2021).
He has also appeared in The 4400, ER, Terminator: The Sarah Connor Chronicles, Burn Notice, Justified, and The Mindy Project (2015–2017). He starred in the Amazon Studios drama series Hand of God (2014–2017). Description above from the Wikipedia article Garret Dillahunt, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Garret Dillahunt Filmography
Creating an Army of the Dead
Deadwood: The Movie
Garret Dillahunt Videos
'Widows' Trailer (2018)
Ana de Armas is Marilyn Monroe in New 'Blonde' Trailer
Ana de Armas is Marilyn Monroe in the 'Blonde' Teaser
Movie Review: 'Ambulance'
'Deadwood' Forever: Other Great Performances By The HBO Series' Cast Members
Movie GenresComedy MoviesDocumentary MoviesWar MoviesDrama MoviesAdventure MoviesAnimation Movies


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Home / Blog / The Fragility of Our Right to Keep and Bear Arms
The Fragility of Our Right to Keep and Bear Arms
October 28, 2015 By R. Gemma
From the time Bill of Rights was drafted, Americans have known that it is their right to "keep and bear arms". Unfortunately, over time, we have begun to take that right for granted and many believe that no one can take that from us. However, in this day and age that right is being threatened, and in some states, blatantly stripped away. New York is one of the states in which gun confiscation is being implemented under the guise of the "SAFE (Secure Ammunition & Firearms Enforcement) Act".
Just a few months ago, a 30-year police veteran had his four legally owned and registered firearms confiscated because he was declared "mentally defective". Well, that makes sense, right? It would if he actually met the criteria for such a determination, but he does not! This man voluntarily sought treatment for insomnia and was diagnosed with "mild depression", with his record explicitly stating "Patient has no thoughts of hurting himself. Patient has no thoughts of hurting others. Patient is not having suicidal thoughts. Patient is not having homicidal thoughts…there is no evidence of any psychotic processes, mania, or OCD symptoms. Insight, judgment and impulse control are good." So how did they make the leap to mentally defective and unable to own firearms?
Five days later, members of the local sheriff's department showed up at this man's door to seize his guns after they were informed by the New York State Police that he had been declared mentally defective and involuntarily committed to a mental institution! Needless to say, this man, who served his country in the military as well as in law enforcement has filed a lawsuit against Governor Andrew Cuomo, the Sheriff of his county, and the Superintendent of the New York State Police, citing violations of the safeguards for the right to bear arms, for privacy, against unwarranted search and seizure, for due process, and for equal protection under the law.
On a similar note, the Department of Health and Human Services is said to be developing a National Database Warehouse for the storage and analysis of information collected under the Affordable Care Act. While this could have great value in the right hands, unfortunately it will more likely be used to infringe on people's privacy and right to bear arms. It will also probably result in people with legitimate needs avoiding medical treatment out of fear of a police visit or an "official classification" that misrepresents their status, as in this case. As they pointed out in American Thinker, during the Cold War, the Soviet and East German police kept secret files on thousands of ordinary citizens which often led to house calls by the authorities. What's more, during the late Soviet era, the leadership relied on medical professionals to classify "enemies of the state" as insane (or mentally defective).
In February 2014 a disabled New York Firefighter had his legally owned firearms confiscated after his wife called the police because he was arguing with his son. Even though the argument ended peacefully, and everyone (including the wife and son) denied violence, threats of violence, and brandishing of weapons, the police officer asked to see the man's pistol license, after which he requested that he surrender all of his firearms. Three hours after the New Yorker refused to surrender his firearms, five police officers arrived at his home and demanded that he turn over all firearms, as well as his permit; under duress and threats of unspecified criminal charges, he complied. Over a year later, although he has not been convicted of anything that would prohibit him from owning firearms, he has not been returned any firearm or permit. He has now filed suit against the acting commissioner, chief, several police officers, and the County of Nassau due to the violation of his First, Second, Fourth, Fifth, and Fourteenth Amendment rights.
In Arizona, a 56 year old Navy veteran had a neighbor who continually parked his landscaping dump truck in front of his home, for which he complained. Because of this, the neighbor got a harassment order against the veteran, for which police arrived and seized his $25,000 gun collection. The founder of the Second Amendment Foundation, which is helping him appeal the judge's order, stated, "We seem to live in an environment when someone's life can be turned upside down on an allegation that should have been thoroughly investigated before any action was ordered by a court."
In Connecticut, after the Sandy Hook shooting, gun owners were given a deadline by which to register any and all AR-15's and magazines that hold more than 10 rounds. Failure to comply required that their firearms be subject to confiscation and is considered a felony. However, the 50,000 gun owners that did comply with the mandate have already received letters instructing them to get rid of these firearms. It is estimated that between 50,000 – 350,000 gun owners did not register their guns in Connecticut.
In 2005, after Hurricane Katrina destroyed large part of New Orleans, Ray Nagin, then-mayor, ordered all legally owned firearms seized. While the Second Amendment Foundation successfully sued on behalf of many of these gun owners to stop or reverse the confiscations, many more were forced to surrender their firearms. In 2011, Lakewood, Ohio In 2014, Kentucky passed a law that allows law enforcement to confiscate firearms from those accused, not yet convicted, of domestic violence.
Historically, every episode of genocide has been preceded by gun confiscation, and gun confiscation, in turn, has been preceded by gun registration. In 1929, the Soviet Union instated gun control which was followed by the murder of about 20 million dissidents over the following 44 years. Only four years before Turkey exterminated 1.5 million Armenians in 1915, they established gun control. Before the murder of 13 million Jews between 1939 and 1945, Germany established gun control in 1938. In the 20th century alone, approximately 56 million people were killed after the institution of gun control.
Knowing all of this, is it far fetched to conceive that this may be happening right here in the United States of America, in the 21st century? As George Washington once said, "Firearms stand next in importance to the constitution itself. They are the American people's liberty teeth and keystone under independence…from the hour the Pilgrims landed to the present day, events, occurrences, and tendencies prove that to ensure peace, security and happiness, the rifle and pistol are equally indispensable…the very atmosphere of firearms anywhere restrains evil interference – they deserve a place of honor with all that's good."
So every day that you are able to go to the range or carry your gun, remember that it is more than just your right; it is also your responsibility. As you live your day to day life, remember that those who know you are a gun owner will be watching you to see if what they hear about gun owners on TV is true. Remember that it is up to us, the people of this country, to defend our rights, and it is our responsibility to stand up to those who would trample them.
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⌂ / Blog / Understanding VPN Protocols: A Beginner's Guide
Understanding VPN Protocols: A Beginner's Guide
🕒 2 min
One of the key factors to consider when choosing a VPN is the protocol used. A VPN protocol is a way in which your data is encrypted and transmitted over the world wide web. Various protocols are used by companies, with each of them having its own set of advantages of loopholes.
In this article, we will take a quick look at them and understand how they differ from each other. This will give you a good idea when you sit down to choose an ideal VPN.
Point-to-Point Tunneling Protocol (PPTP)
PPTP is the oldest VPN protocol and is still around despite its authentication and encryption issues. When a VPN connects via PPTP, it uses a standard Transmission Control Protocol (TCP) port to send packets of data to a server. This transmission hardly has any sort of encryption or authentication, which has raised concerns in the online security world. As a result, PPTP is no longer employed by reliable VPN companies.
This is an open-source protocol (i.e., free to use) that providers can use over TCP or User Datagram Protocol (UDP). The encryption happens with the utilization of the OpenSSL library (AES-256-bit key encryption, for instance), making it the cheapest way to provide tunneling.
Some free VPNs use the OpenVPN protocol but it is still not recommended as anyone can create a VPN client and enter the market. If you opt for a VPN service that uses OpenVPN, make sure that you vet it properly.
Layer 2 Tunneling Protocol (L2TP/IPSec)
In the case of L2TP, packets of data are sent via UDP, which fragments them into smaller pieces for faster transmission. It then uses Internet Protocol Security (IPSec) to encrypt the packets before they enter the world wide web.
Although L2TP does not provide full coverage as there are gaps and vulnerabilities, it is better than PPTP.
WireGuard
It is a relatively new and popular VPN protocol that claims to have a superior cryptographic framework in place to provide better encryption. However, since its launch, WireGuard has been at the center of controversies regarding log-keeping and data leaks.
Secure Socket Tunneling Protocol (SSTP)
It uses 2048-bit SSL/TLS certificates and 256-bit SSL certificates for authentication and encryption respectively. Developed by Microsoft, its source code is not publicly known, resulting in limitations. However, it is still one of the safest and most secure VPN protocols around.
Internet Key Exchange (IKEv2)
As with L2TP, IKEv2 also uses IPSec for encryption and is known for its fast key exchange capacity. Because of its switching capability, it is preferred in applications where there is a chance of frequent disconnection.
Understanding a VPN protocol means knowing two things: authentication and encryption. If you can detect what systems a VPN client uses for these two purposes and can gauge their pros and cons, you will be easily able to pick the most secure VPN for you.
In case you are looking for a simple, residential VPN for unblocking geographical restrictions, consider tuxler VPN.
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The one. The only. The original. Maui Jim's SANDY BEACH is as unique as the sand on the beach. Features tortoise plastic frames that offer the ultimate in durability and bronze polarised polycarbonate lenses. Accept no substitutes.


text:
05/24/2010 | By Shaun Laakso
Once upon a time a Rome-based illustrator fell in love with Japanese culture. Simone Legno's passion for the land of the rising sun reflected in his artworks as well, which led to the creation of the Tokidoki project and website a few years ago.
Legno's cute, Japanese cartoon strips attracted the attention of Hard Candy Cosmetic's co-founder Pooneh Mohajer and her husband, Ivan Arnold. In 2003 the couple began talks to turn Tokidoki into a brand, which would soon be bigger than anyone had imagined. The world of Tokidoki now covers everything from shoes, snowboards and skate decks, to bags, walls, and tour busses. Legno's trademark mix of innocence and pop art playfulness has won fans all around the world irrespective of their age, sex, race, or gender. Simone Legno dreamed of Tokidoki, believed in it and did everything to make it happen. Even if he considers himself lucky, he has worked very hard 24/7 to make it happen.
It is a bit difficult to explain Legno's love for Japan. It can be referred to "Japanism"; a term coined to describe the craze for Japanese things. Legno is really fascinated about everything associated with Japan like the beauty of their tradition to the super trendy aspects of the super modern cities; the people, their kindness, seriousness and politeness; and the fact that they can be quite funny, playful and extremely creative at times.
Legno drew sketches of Japanese people and elements since he was in kindergarten. Not only his art but also his everyday universe contains plenty of Japanese colours and objects: souvenirs, packages, toys, books, prints, T-shirts and food. Japanese are extremely innovative in graphic design, art and street & couture fashion, which makes it, the most inspiring place for anybody who works in a creative field.
Tokidoki means "sometimes" in Japanese. It is a happy, cute, playful, stylish and pure yet provocative world that Simone Legno imagines and lives in. Legno loves everything in Japan; from the ultra-modern lifestyle of Shibuya to the serious magical silence of Kyoto. He chose "sometimes" because everyone waits for moments that change one's destiny by chance or by meeting a new person. Tokidoki is the hope that something magical will happen to us, the hidden energy that everyone has inside, giving us the strength to face a new day and dream about something positive.
When designing new characters Legno usually starts with a pencil sketch in his notebook. He then scans the sketch and imports it, traces it over in Adobe Illustrator and adds more detail. For the cute characters he starts from a few simple ideas, later developing them into stories and worlds they live in. Over the years he has learnt not to overcomplicate or overdo the designs, which may very well be tempting in the beginning. A cute character has to have some original concept or meaning behind it and cannot just be any random cute dog or cat.
Legno usually uses female figures with Asian features to express beauty in most of his vector art compositions. Asian women are sweet, sensual, and shy with a nice and funny attitude. The strong personality hidden behind such a fragile and delicate figure and their sensuality behind their composure is certainly worth admiring. At a certain stage Legno felt that he could mix his Japanese female characters with cute little Kawaii ones to add to their sweetness and complete their gentle world. Kawaii is a world used constantly in Japanese everyday life which means cute, little, and simply adorable. There's a perfect balance in Japan between a minimal, gentle sophisticated style and a super colorful, noisy colours chaos.
Legno enjoys creative brand projects. It was a big challenge for him to work with Onitsuka Tiger, the street division for Asics. Legno loves sneakers, and the project involved changing the engineering of the shoe, the structure and shape, choosing all the materials and even deciding how the shoes should be stitched and not just printed on. Over the years, Simone Legno has also worked on projects for jeans giant Levi's and Hello Kitty, along with big clients such as MTV, Volkswagen, Renault and Microsoft. Legno worked also on the official Black Eyed Peas merchandise, and Fergie is one of his biggest fans. Today, the Tokidoki collection is sold all over the world, and contains tops, accessories, shoes, trainers, gadgets, bags and makeup. Discover more of Legno's colorful fun universe on www.tokidoki.it.


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Also coaches Virginia Run Riptide swim team.
Shandra Wrinkle, head coach of the Virginia Run Riptide Swim Team in Centreville, has qualified for the 25th Anniversary Ironman Triathlon World Championship on Oct. 18, in Kailua-Kona on the Big Island of Hawaii.
Each year, more that 50,000 triathletes from more than 50 countries attempt to qualify for this endurance event. Once considered extreme, the Ironman has become the international standard for personal achievement and performance.
The Ironman Triathlon was born on the Hawaiian island of Oahu in 1978. During the awards ceremony for a Hawaii running race, a debate ensued among competitors about who is more fit — swimmers, runners or other athletes. One of the participants, Navy Commander John Collins, dreamed up a race to settle the argument. He proposed combining three existing races together, to be completed in succession: the Waikiki Roughwater Swim (2.4 miles), the Around Oahu Bike Race (112 miles, originally a two-day event) and the Honolulu Marathon (26.2 miles).
"Whoever finishes first we'll call them the 'Ironman'," said Collins. Fifteen men participated in the initial event held on Feb. 18, 1978; 12 completed the race, led by the fist Ironman, Gordon Haller. His winning time: 11 hours, 46 minutes and 58 seconds.
The event was later moved to the Big Island in 1981 to the town of Kailua-Kona. In 1983, race organizers implemented a qualifying system to accommodate the growing number of athletes wanting to participate in the race. The event field is now limited to 1,500 athletes who must complete the 140.6 mile course within the allotted 17-hour time frame. To develop the stamina and endurance needed to reach the finish line, competitors typically need to train 18-24 hours per week for six to eight months.
Shandra Wrinkle is a graduate from the College of William and Mary with a degree in education. She currently holds a 4.0 GPA in the Graduate School of Education at George Mason University. This past year, Shandra started her own year-round swimming program called the "Riptide Swim Team." She already has over 200 swimmers, both children and adults that have joined her program. Visit her Web site at: www.riptideswimteam.com.


text:
Die 6. Deutschen Meisterschaften im Schwimmen fanden am 19. und 20. August 1888 in Breslau statt. Es wurde eine Strecke von 1500 m geschwommen. Sieger wurde Otto Lorentzen vom Hamburger SV Kleiner Grasbrook mit einer Zeit von 28:54 Minuten, drei weitere Schwimmer gaben den Wettbewerb auf.

Weblinks
 Historische Ergebnislisten von sport-komplett.de
 Historische Daten und Ergebnislisten I von sport-record.info
 Historische Daten und Ergebnislisten II von sport-record.info
 Historische Daten und Ergebnislisten III von sport-record.info

1888
Sportveranstaltung 1888
Sportveranstaltung in Breslau

redpajama_set_name: RedPajamaWikipedia


text:
1 A relation unto Pharaoh,
3 of the glory of Assyria,
10 and the fall thereof for pride.
18 The like destruction of Egypt.
in the eleventh.On Sunday, June 19, A.M. 3416, according to Usher; and about a month before the capture of Jerusalem.
1:2; 30:20; Jer 52:5,6
Jer 1:5,17; Re 10:11
to his.
29:19; 30:10; Na 3:8-10
Whom.
18; Isa 14:13,14
the Assyrian.
Na 3:1-19; Zep 2:13
a cedar.
17:3,4,22; Isa 10:33,34; 37:24; Da 4:10,20-23; Zec 11:2
with fair branches. Heb. fair of branches. of an high.
6; Jud 9:15; Da 4:12
waters.
17:5,8; Pr 14:28; Jer 51:36; Re 17:1,15
made him great. or, nourished him. set. or, brought.little rivers. or, conduits.
his height.The Assyrian king, to whom Pharaoh is compared, from his great power, extensive dominion, and the protection he afforded, resembled the spreading branches, thick shade, and high stature of a flourishing cedar on mount Lebanon. The fruitful lands of Assyria; the immense revenues he drew from vast multitudes in his extensive territories; his lucrative commerce, by the river Tigris, with the countries on the Indian ocean; and all the various sources of his wealth and prosperity, resembled the rivers and streams which cause the trees planted by them to grow and flourish exceedingly; and hence the empire and its head were exalted above all the kingdoms of the earth.
Ps 37:35,36; Isa 10:8-14; 36:4,18,19; 37:11-13; Da 4:11
he shot forth. or, it sent them forth.
17:23; Da 4:12,21; Mt 13:32
cedars.
28:13; Ge 2:8; 13:10; Ps 80:10; Isa 51:3
nor any.
Ps 37:35; Isa 10:7-14; 36:4-18; 37:11-13
16:14; Ex 9:16; Ps 75:6,7; Da 2:21,37,38; 4:22-25; 5:20-23
all the trees.
17:22,24; Jud 9:8-20; Ps 96:12,13; Isa 55:12; Zec 11:2
envied.
Ge 26:14; 37:11; 1Sa 18:15; Pr 27:4; Ec 4:4; Jas 4:5,6
Therefore.The allegory and its interpretation are here combined; and the Assyrian monarch, though already destroyed, is poetically addressed.
Because.
Mt 23:12
and his.
14; 28:17; 2Ch 25:19; 32:25; Job 11:11,12; Pr 16:18; 18:12
Isa 14:13-15; Da 4:30; 5:20; Ob 1:3; Jas 4:6
11:9; 21:31; 23:28; Jud 16:23; 1Ti 1:20
the mighty.Nebuchadnezzar, the subverter of the Assyrian empire.
32:11,12; Jer 25:9; Da 5:18,19
he shall surely deal with him. Heb. in doing he shall dounto him.
Jud 1:7; Mt 7:1,2; Jas 2:13
I have driven.
Le 18:24-28; 20:22,23; De 18:12; La 1:21; Na 3:18
strangers.
28:7; 30:11; Hab 1:6,11
32:4,5; 35:5,8; 39:4; Isa 34:5-7
Da 4:12-14; Na 3:17,18; Re 17:16
29:5; 32:4; Isa 18:6; Re 19:17,18
De 13:11; 21:21; Ne 13:18; Da 4:32; 5:22,23; 1Co 10:11; 2Pe 2:6
stand up in their height. or, stand upon themselves fortheir height. delivered.
Ps 82:7; Heb 9:27
the nether.
32:18-32; Ps 63:9,10
I caused a.The deep and all the mighty rivers which cherished this fair tree are here described as mourning at his downfall: they stop their usual courses to bewail his fate, and Lebanon with all its stately trees, (his confederates and allies,) sympathise with him in his misfortunes.
Na 2:8-10; Re 18:9-11,18,19
mourn. Heb. be black.
Mal 3:4
26:10,15; 27:28; Na 2:3; Hag 2:7; Heb 12:26,27; Re 11:13; 18:9-24
When I.
32:18-32; Isa 14:15
and all.
9,18; Isa 14:8; Hab 2:17
shall be comforted.
14; 32:31; Isa 14:15
went.
32:20-30; Ps 9:17; Isa 14:9
that were.
30:6-8,21-25; Ne 3:17,18
dwelt.
3,6; 32:31; La 4:20; Da 4:11,12; Mr 4:32
To whom.Pharaoh is here called upon to look in his mirror, and see the termination of his glory and greatness.
art thou.
2; 32:19
with the.
thou shalt.
28:10; 32:10,19,21,24-32; 1Sa 17:26,36; 2Sa 1:20; Jer 9:25,26
This is.That is, the judgment that befel the king of Assyria, is an exact representation of the destruction that remains for Pharaoh and all his people.
2Ch 28:22; Ps 52:7; Mt 13:19; 26:26-28; 1Co 10:14
Copyright information for TSK


text:
package lebah.portal.mobile;

import java.util.Vector;

import javax.servlet.http.HttpSession;

import org.apache.velocity.Template;

public class SetupMobileMain extends lebah.portal.velocity.VTemplate {

    public Template doTemplate() throws Exception {
        HttpSession session = request.getSession();

        String submit = getParam("command");
        String template_name = prepareTemplate(session, submit);

        Template template = engine.getTemplate(template_name);
        return template;
    }

    String prepareTemplate(HttpSession session, String submit) throws Exception {
        String template_name = "vtl/mobile/roles_module_main.vm";

        return template_name;
    }

}

redpajama_set_name: RedPajamaGithub


The time period Internet is a contraction of 'interconnected networks' and, certainly, the Internet is an enormous worldwide collection of linked networks. The networks that make up the Internet can range in length from tiny (just or 3 related computer systems) to large (thousands of interlinked machines).
An Internet service provider (ISP) is a telecommunications commercial enterprise that provides Internet-associated offerings which include getting entry to the Internet, domain name registration, hosting, and so forth. ISPs enable you to connect to the Internet.
When you operate your pc to get admission to the Internet from your property you maximum probably connect with an ISP via a modem and a local phone variety or through a devoted high-speed line. When you hook up with your ISP you grow to be part of their network, which allows you to get right to entry to the Internet.
The computer systems in the office where you work are probably to be linked collectively into a community referred to as a neighborhood place network (LAN). This permits the computer systems in the workplace to talk with each other. The LAN is maximum in all likelihood related to an ISP and this connection enables you to get entry to the Internet out of your workplace pc.
Either manner, your property PC or your office LAN will become a part of the ISP's network. The ISP will hyperlink in turn to a bigger community to grow to be part of that network. That network could be connected to other larger networks to create a communications system that spans the whole globe.
Thus the Internet is not anything greater than a network of networks. These networks connect computers using a huge style of technology, which include traditional and high-speed phone traces, fiber-optic cables, microwave links, wireless technologies and satellite tv for pc communications.
The networks have connected the use of routers. A router is a specialized laptop that directs visitors at the Internet. As the Internet includes masses of thousands of smaller networks related together, the use of routers is in reality necessary.
When you want to go to a selected website, you type the address of the website into your net browser. The address goes to the nearest router and the router decides where that site is from the Internet.
he End of the Open Internet?
The router additionally determines the maximum green route through all the networks to reach this vacation spot. This willpower is based totally on the site visitors in unique elements of the Internet and the to be had connections.
The networks in a selected area may be grouped together into a mid-stage community. Or they'll be related in a wide-place network (WAN). A WAN covers a bigger geographical region than a mid-degree network. If the internet site you're searching out is in the identical local network or WAN, the router will send it without delay to its destination.
However, if the website you're searching out is in another a part of the Internet, the router will send your request to a community get entry to factor (NAP). NAPs join excessive-degree networks, ie they permit access to Internet backbones.
The Internet backbones are a collection of networks that hyperlink extraordinarily effective outstanding-computers. The backbones are made of fiber optic trunk traces (aka OC for optical service). The quickest OCs can transit 2.488 gigabits per 2nd!
There are many high-capacity backbones around the world, all interconnected at numerous NAPs. They enable all of us, regardless of wherein they may be, to talk freely with each person else on the planet.
As you may see the Internet is a veritable jumble of interconnected networks. These networks are linked using a diffusion of conversation technologies that modify from very gradual to extremely-speedy. And, given the manner that routers decide the maximum efficient course, your information might also circumnavigate the arena before accomplishing its vacation spot.
For instance, a request from a surfer in Dublin to view a website hosted in London seldom travels immediately from Dublin to London; it's far in all likelihood to be sent via the Americas ought to this be the quickest path (as measured in milliseconds).
The trouble is that the further statistics have to tour, the extra it deteriorates or fades. Repeaters are pieces of hardware that increase or refresh the move of data. Boosting the statistics alerts enables the facts to circumnavigate the globe yet arrive intact at its very last vacation spot.
In order to attach the numerous lower order networks which make up the vastness of the Internet, various sorts of equipment are used. These encompass bridges, gateways, and hubs.
Bridges connect LANs. They allow facts from one local area network to bypass via any other LAN en route to yet some other LAN.
Gateways are just like bridges. However, additionally, they translate statistics from one form of LAN to some other. For instance, they could translate facts from a UNIX gadget in order that it's far intelligible on an Intel-based gadget.
Hubs link organizations of networks so that the computer systems in any of the networks can talk to all the different computer systems in the other networks.
All the computers on the Internet are both servers or customers. Servers are machines that offer services to different machines (for this reason the name).
There are numerous sorts of servers, each with specific features. For example, web servers host websites, at the same time as email servers ship and receive emails. FTP servers (file transfer protocol servers) upload and download files. One server device may additionally incorporate software for several carrier features.
Clients are computers which are used to hook up with servers. For example, you could connect with any website from your property or office pc. The laptop you use is referred to as a purchaser.
When your customer gadget connects to a server it's going to connect to specific server software strolling at the server. If you're sending an e-mail, for instance, your purchaser device might be speaking to the email software at the server.
To recap, the Internet is a single gigantic community of networks which can be linked the usage of a huge kind of technology. The hundreds of thousands of person networks, small and massive, that make up the Internet are owned and operated by numerous people, small businesses, and huge businesses. This approach that the Internet is constructed on cooperation and that no one virtually owns the Internet.


text:
Franchises for Sale in Nogales, AZ
Discover business opportunities, in or around Nogales, with well-established brands, who are looking for people like you to help them grow.
As of the 2010 United States Census, Nogales, located in the Grand Canyon State, had a total population of 19,573 people. This makes Nogales the thirty-second-most populated city in the state of AZ.
City Statistics and Other Information About Nogales
From a total population of 19,573, Nogales has a median age of 33.2. The average age of males, in Nogales, is 29.2 while the average age of females is 37.3. When you compare this to median age of Arizona, Nogales is 3.3 years younger.
The median income of individuals, in Nogales, is $14,638 while the average household income is $27,567. When comparing the median income of people living in Nogales to the rest of Arizona, the average income in Nogales is $10,899 less.
ZIP code 85621-85662
County Name Santa Cruz County
Explore Franchises For Sale in Arizona Now
Browse Franchises For Sale By Industry
Browse Franchises For Sale By Investment


Subject: Claim Your Car And Check With Your Winning Code BMW:2541256004/25.
This is to inform you that you have been selected for a prize of a brand new 2016/2017 Model BMW X5 SUV and a Check of $1,500,000.00 USD from the international balloting programs held on the 2nd section in the UNITED STATE OF AMERICA.
Description of prize vehicle: The X5 has enough luxurious space for everybody. Rear Comfort seats with enhanced foam padding offer 3" of forward/backward movement, putting passengers in the perfect position to utilize a DVD drive and two optional 10.2" LCD screens. An optional third row seat offers extended capacity, and includes its own climate control.
The optional Wi-Fi Hotspot keeps you connected to everything you love whether you're on-the-go or far off the beaten path. Included with the Wi-Fi Hotspot, a Wireless Charging Pocket will keep you fully charged anywhere the road may lead.
Contact him by providing him with your secret pin code Number BMW:2541256004/25.
Scam alert! The E-mail above is a SCAM. It's a Nigerian Lottery scam, the story and all names & roles are fake. The real BMW company has nothing to do with this scam. The scammers ask you for (more and more) money upfront as 'costs' before you get the 'prize' (which you will never get offcourse).
If you've more information and/or received this message too please comment below. Describe how you got it (as an e-mail or comment?, the message etc), thanks in advance! Then mark it as SPAM (if possible) and/or DELETE it.
bmw-mobile.com mail is handled by 0 bmw-mobile.com.
83.249.93.204.in-addr.arpa domain name pointer rs113.nsresponse.com.


text:
Retreat in McGregor
26-27 May 2017 - A weekend of Leonard Cohen
Legendary Canadian singer-songwriter Leonard Cohen was known for his poetic lyrics, iconic songs and baritone voice.
"Poetry in McGregor" invites you to join us for a weekend of music, films and tributes to honour this great musician - 26th to 28th of May 2017
Book your accommodation, park your car and enjoy the thrill of walking from venue to venue in the poetic village of McGregor in the Western Cape.
Programme details:
16:00 – 17:35: Film @ Wahnfried: LEONARD COHEN - SONGS FROM THE ROAD (by donation at the door, advisable to pre-book your seat)
In 2008 Leonard Cohen embarked on his first tour in 15 years. His itinerary took him to the most prestigious and beautiful venues in virtually every corner of the globe, mesmerizing and charming audiences with performances that were hailed as some of the best of his career. One dozen of Leonard Cohen's most famous songs from those recent world tour performances are now collected on Songs from the Road.
1. Lover, Lover, Lover- Ramat Gan Stadium, Tel Aviv, Israel- September 24, 2009
2. Bird on the Wire- Clyde Auditorium, Glasgow, Scotland- November 6, 2008
3. Chelsea Hotel –Royal Albert Hall, London, England- November 17, 2008
4. Heart With no Companion- Oberhausen King Pilsener Arena, Oberhausen, Germany- November 2, 2008
5. That Don't Make it Junk- O2 Arena, London, England- November 13, 2008
6. Waiting for the Miracle- HP Pavilion, San Jose, California- November 13, 2009
7. Avalanche - Gothenburg Scandinavium, Gothenburg, Sweden- October 12, 2008
8. Suzanne - MEN Arena, Manchester, England –November 30, 2008
9. The Partisan-Hartwall Arena, Helsinki, Finland- October 10, 2008
10. Famous Blue Raincoat - O2 Arena, London, England- November 13, 2008
11. Hallelujah - Coachella Music Festival, Indio, California- April 17, 2009
12. Closing Time - John Labatt Centre, London, Ontario- May 24, 2009
20:00 – 21:30: Live event @ Wahnfried: A TRIBUTE TO LEONARD COHEN BY ROGER LUCEY (R120.00pp pre-booking essential)
Hailing originally from Durban but now resident in Napier, Roger is a well-known musician and long-time Leonard Cohen fan. He promises an evening of special pleasure as he takes us through classic Cohen.
9.30pm - late night entertainment @ Carols Pub (free event, cash bar)
10:00 – 11:45: Film @ Wahnfried: LEONARD COHEN I'AM YOUR MAN (by donation at the door, advisable to pre-book your seat)
A documentary which chronicles the life and career of renowned Canadian balladeer and poet, Leonard Cohen. The bard of Montreal has written songs that have struck a chord with several generations now, and his influence on modern song writing carries arguably as much weight as a Dylan or a Van Morrison. In 2005, director Lian Lunson travelled to The Sydney Opera House to capture a concert called 'Came So Far for Beauty' - a tribute to Cohen performed by contemporary artists including Nick Cave, Jarvis Cocker, Rufus Wainwright and Beth Orton. The film also features a unique performance of the Cohen classic 'I'm Your Man' with the man himself on vocal and U2 backing him. These performances are scattered with clips of Cohen in a candid and humorous interview.
12:30: LUNCHEON WITH LEONARD COHEN POETRY READINGS @ Tebaldi's Restaurant, Temenos
(R200.00pp pre-bookings essential)
Enjoy a fabulous meal prepared by the staff of Tebaldi's and enjoy readings of some of Cohen's iconic poetry.
16:00 – 17:50: Film @ Wahnfried: BIRD ON A WIRE (by donation at the door, advisable to pre-book your seat)
Tony Palmer directs this film documenting Leonard Cohen's 1972 'Bird on a Wire' tour. The 20-city European tour, which began in Dublin on 18 March 1972 and ended on 21 April in Jerusalem, caught Cohen at the pinnacle of his career despite the concerts being plagued by technical and personal problems. Palmer splices Vietnam War footage and home movies from Cohen's childhood into the performance footage, creating a powerful testament to the singer's unique fusion of poetry and politics.
20:00 – 21:00: Live event @ Wahnfried: KOOS VAN DER MERWE singing Leonard Cohen songs (R120.00pp - pre-bookings essential)
Koos is a veteran of our Poetry in McGregor weekends and has delighted audiences with his Afrikaans versions of Leonard Cohen. This is a special event, and should not be missed!
From 21:00 late night entertainment @ Carols Pub (free event, cash bar)
10:00 – 12:45: Film @ Wahnfried: LEONARD COHEN LIVE IN LONDON (By donation at the door, advisable to pre-book your seat)
The septuagenarian singer-songwriter captured live at London's 02 Arena on July 17th 2008. This was Cohen's first tour for 15 years and both fans and critics alike were bowled over by the performances. The concert comprises 26 of his finest songs including 'Hallelujah', 'Suzanne', 'First We Take Manhattan', 'The Future', 'So Long, Marianne', 'Bird On the Wire' and 'Dance Me to the End of Love'.
Suggested donation for all films – R30.00pp
Bookings and queries: Jennifer Johnson – info@mcgregorpoetryfestival.co.za / 023 625 1908 / 084 675 1164
SPECIAL BONUS!!
Leonard Cohen "Poetry in McGregor" Package deal: R450.00 pp (includes 2 live shows, 1 luncheon and 4 films). Limited to 40 packages only. Spoil yourself and take it all in!
www.poetryinmcgregor.co.za
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