Like many runners I know I am very superstitious when it comes to my pre-run routine. The foods I eat, the way I lay out my clothes, down to what socks I am wearing and whether they match my outwear. All training I ran in conditions that most likely would not be the same as race day, unless a ridiculous heat wave came through NYC in November. Two things could happen: (1) I could possibly run much faster than I had been running or (2) the shock of different weather could present other challenges. So when the opportunity to run my 20 miler in NYC presented itself, I decided it needed to happen. I treated this very much like a trial marathon-weekend run...from packing, my meals, and post-race activities.
Although the bridge on Linton has given me some hill training, I knew it wasn't really going to prepare me for the real deals. So I asked Kristen to map a route with bridges. She really delivered with four, including two from the marathon route. As the day grew closer it looked like I was also going to have to complete my first training run in the rain. Amazing how I made it through 15 weeks of training in Florida with no rain. How is that even possible?
It was cold and literally rained the entire time. We started off near Prospect Park, headed to Brooklyn Bridge, swung back around Manhattan Bridge, through several neighborhoods in Brooklyn (Park Slope, Greenpoint, Williamsburg, hipstertastic places), the Pulaski Bridge in Long Island City, and then over the Queensboro Bridge into Manhattan and into Central Park just like race day. Three boroughs in just about 3.5 hours. As we rounded around the West Side the shivering set in. Apparently my "rain" jacket wasn't waterproof enough for this much rain. I couldn't really feel my fingers and the idea of two more miles just didn't seem feasible.
What I learned on this run (other than needing a better rain jacket), is that I am going to finish this race. There is a good chance that if I keep myself healthy with stretching, icing, foam rolling and sleeping, I could PR it. But even if that doesn't happen I know I am going to cross that finish line.
Continuing to do active rest days to keep my legs active.
Did a mixture of speed work, endurance and hills to keep myself interested on the treadmill.
I have a big work project looming and there was a significant amount of frustration and anxiety building, which fueled a very fast post-work run.
Up bright and early to head to NYC, so turned this into a rest day.
I downloaded a new ashtanga series from Cody App, and although it said beginner I found it really challenging. More to come on that.
Pretty much gave you the run down above, I know it is going to be a hard race...and I really just want to finish.
Went to a studio down the street from my hotel, and essentially had a private class. More to come.
Oct 26 Race Week Is Here!


text:
Martin Gitonga going through a dialysis session in Nairobi hospital/FELIX MAGARA
Silent killers plague Martin at only 34
NAIROBI, Kenya, Nov 6 – Martin Gitonga's life has been on a wild roller coaster since August this year when he was diagnosed with cardiomyopathy, a fancy word used by doctors to describe an enlarged heart.
His kidneys have also failed and he has to rely on three sessions of dialysis per week to clean his body system.
He is only 34-years-old.
"It is very difficult for me and my family because I used to live a normal life and then suddenly moved from working kidneys to being confined to a machine. It is very difficult to explain but the first time was traumatic," he says.
"It is very hard watching him go through it and not getting the answers he needs. The disease has a downing effect because it impacts on quality of life. Your life is pretty much taken up by dialysis," his 32-year-old wife Daphine Gitonga tells me.
Martin always liked his food fast, oily, and salty and weighed a strong 116 kilograms before his diagnosis.
And like a thief in the night, high blood pressure crept in, sometimes reaching highs of 162/100.
But Martin had no idea that he was buying a one way ticket to an early grave.
"High blood pressure is what drives the underlying structural damage to the kidneys so that they do not function as well as they are supposed to," says Charles Kariuki, an Interventional Cardiologist in charge of Martin's case.
Support Martin
Account Name: Martin/Daphine/Angela
Swift Code: DTKEKENA
Diamond Trust Bank, Westgate Branch – Westlands
"The chemicals that they are supposed to be removing from the system accumulate and they cause further harm which may include heart damage when calcium is deposited to the heart," he explains.
"The heart will then begin to compensate for some of the structural changes; it can thicken its muscle or it can dilate leading to further kidney damage," he adds.
Martin's lack of knowledge was like driving on a flat tyre.
Maybe things would be different if he kept off sodium, lead a low-cholesterol, high-fibre diet, took more natural juices and antioxidants like strawberries, drank a lot of water and also consumed proper proteins like fish, chicken and salmon.
High cholesterol levels deposit fats in blood vessels choking them and starving major body organs.
"You could have a parent with a 10-year-old child going into a fast food outlet to buy them pizza, fries and oily chicken while she says she cannot eat them because of the doctor's orders. But then that child should adopt the same diet as their parents to prevent these diseases in the future," argues Kariuki.

redpajama_set_name: RedPajamaCommonCrawl


text:
spencerrascoff
Emmy Winner Robert Carlock: Trust Your Intuition
This episode was originally released in May 2017. Press Play above to listen.
About this episode's guest:
Award-winning writer and producer
Longstanding collaborator with Tina Fey
Executive producer of NBC's 30 Rock
Co-creator and executive producer of Netflix's Unbreakable Kimmy Schmidt
Topics covered in this episode:
What it's like to produce a television show
What it's like to work with Tina Fey
Managing creative people
Differences in producing for broadcast TV versus streaming
Why the longest episode is never the best one
Press Play to hear the full conversation or check out the transcript below. You can also subscribe to Office Hours on Apple Podcasts and Google Play.
(Unbreakable Kimmy Schmidt photo courtesy of Netflix)
Spencer Rascoff: Hey, Robert. Great to see you.
Robert Carlock: Hi, Spence.
Rascoff: Thanks for getting together with me today. I'm excited to talk to you about your –
Carlock: You told me this was just going to be lunch. I don't understand.
Rascoff: And then I brought these microphones. Sorry about that. So describe for listeners the scope of your responsibilities, firstly. So let's focus on Kimmy Schmidt firstly. How many people work on the show, how many months a year do they work, where do you tape, like what is the company of Kimmy Schmidt?
Carlock: Right. There are about 200 people who are employed directly by the show, and then there are a variety of other people at studios and networks for whom the show is part of their duties but we don't pay them. So –
Rascoff: Year-round?
Carlock: − year-round, yeah. No. We do 13 episodes, shooting about six-plus months, and then about three months − well, no, not, but about two and a half months of pre-production, which is really just the writing staff and our immediate support staff, so that's 20, two dozen people year-round or 10 months of the year. Then, when we're in production, it balloons up to 200.
Rascoff: Now, you've never worked at a normal company –
Carlock: At a place?
Rascoff: − before?
Carlock: I had a summer job at Massachusetts Financial Services. My father worked in investment. America's oldest mutual fund company, Spencer.
Rascoff: OK, good to know [laughs].
Carlock: − and I decided very quickly that I did not want to do that. I don't think I admitted it to myself until much later, and I certainly didn't tell my parents until much later.
Rascoff: Your parents do know what you do now, though?
Carlock: They don't, no.
Fortunately, they don't know how to use a computer, either.
Rascoff: Well, hopefully they don't listen to this podcast. So how does this company, if you even think of it as a company, compare with –
Carlock: How dare you.
Rascoff: − a normal company?
Carlock: Well, I mean right now, what you see here at this office, our Manhattan office, where I'm here and Tina [Fey] is next door, and we have three assistants out there. Tina's husband, Jeff [Richmond], who does all our music, is down the hall either writing music for the show or working on a musical that he and Tina are working on, and Tina's sort of producer/development guy is a little farther down the hall. This kind of is the company. In success, when someone buys something from us, we need a lot of people to help us actually put that on film, so I think what's different is the way that that changes and the way that, okay, right now, yeah, they're working on a Broadway musical, and that's a whole different set of helpers. You can call them temporary hires, or whatever. We've worked with some of the same people since the beginning of 30 Rock, and that's going on 15 years. That's bad math; 10 years, I mean. You see? I'm not –
Rascoff: You're not –
Carlock: I'm a right-brain guy.
Rascoff: − suited for a mutual fund.
Carlock: So I think part of maybe what's different is that you're constantly collaborating with people, some of whom you haven't worked with before, and that's if you're lucky. That's if people are buying what you're selling. We could just sit here in front of our computers for a couple years, at least, until anyone noticed that we hadn't done anything −
− but that would be bad.
Rascoff: So let's talk about management on a TV show. You've got how many writers on –
Carlock: I think we had 11 this year, or maybe it's 12.
Rascoff: And then cast, crew totaling 200 or so people. So when you're managing creative people, whether it be cast, crew, writers, what are some of the challenges of managing creative types?
Carlock: I think, and this is probably compounded by being a manager who is a creative type, that I'm always very conscious, especially with writers and actors, of the way in which they as individuals are putting themselves out there. With an actor, of course, it's their face and body and everything, and I certainly know as a writer that when you put your material out there, that that's a very vulnerable feeling, and so it's hard.
Rascoff: Is it hard to give feedback to a writer, for example? I mean in my world, there's a lot of data to inform these decisions –
Carlock: Right, so you can hide behind all your numbers.
Rascoff: And use them, yes.
Carlock: "Look, seven." But I try to do it in a way that is constructive and helpful. Performance is a hard thing to give feedback on. When you have a script or an outline, I can be much more direct and say, "I'm not following the story," or whatever it is. I do think it's hard because I don't − with the writers in particular, and let's focus on that, I'm spending a lot of time in a room with these people. I hire people, Tina and I hire people we think we'll like, and we usually are pretty good at that. It is hard to figure out whether someone is going to be a – there are a million reasons why a talented person doesn't necessarily work out. Giving that kind of feedback is really hard, because there are two things you don't want to do. One is just crush somebody whom you want to continue to have this intense working relationship with. You have to. That's the only way things get done, is working in that room for long hours. You also don't want to encourage or give the impression of, "Oh, I just need to talk more," and then you're just getting more of nothing, if that makes sense.
Rascoff: For those of us that have never been in a writers' room before, how collaborative is the process?
Carlock: It's a mixture, but the bulk of our work, the bulk of any individual member of the staff's work is done in the room, and it's highly collaborative, and I think groups of five or six are kind of the most efficient number. There are certain tasks that we do, for instance when a script comes in and we just want to discuss the script as a whole and talk about how we're going to rewrite it and what we're going to change, and what we liked or didn't like, we do that with the full staff. But I just think it gets sclerotic to try to do work – as soon as you get seven people, three people stop working. If you have five or six, I think everyone tends to concentrate. So that's kind of the nucleus, two groups. When we're in production, Tina and I are running the editing, we're watching casting, someone is on set; hopefully, someone is off writing a script. One room is working on an upcoming script, one room is rewriting the next script to shoot.
Rascoff: So, when a viewer sees, "Written by," or, "Screenplay by," that's the person who wrote kind of the –
Carlock: The first draft.
Rascoff: − first draft, and then it gets worked on by the team.
Carlock: Right, so the team, we'll say, breaks the episode, outlines it, pitches it, and the team then gets the script back, then there's a table-read with the actors, and then the team goes back and rewrites that, as well. Sometimes there's rewriting that kind of dribbles out, but it's usually two big rewrites on the original writer's draft and on the table draft, and each of those rewrites takes about three full days. By full days, I mean 16-hour days. So budgeting that time and getting the right combination of people in that room is really difficult, and I do think managing creative people is a balance. I know that there are times where I haven't done a good job of it or I haven't communicated clearly. I think, in particular, writers and creative people are hired because they're capable of maintaining and believing in fictions, and sometimes people who aren't doing a great job have, nonetheless, written a fictive version of their role.
Rascoff: Have you worked with writers that are very funny in person but aren't able to put that pen-to-paper, aren't actually funny writers, and vice versa?
Carlock: Definitely. Yeah. I'm not going to name any names.
Rascoff: What is the role of the director and the cast? I mean if you have a script that's been written initially and then rewritten by the team, if that were in the hands of, say, one director, could it come out quite different than if it were in the hands of another director?
Carlock: Television, for good or ill, is a producer's medium, which means it's a writer's medium. I don't know how that came to be, whether it's out of necessity. The writers are the ones who were there, the ones who created it to begin with, they spent the most time with it, unlike film, where a director takes something very early and makes it his or her own. So we bring in directors, almost all of whom we have worked with before and have a shorthand with, some of whom we have worked with for many years.
The show has a style, a visual style and a comic style, and a pace and an editing style, and we're always looking for a director to add his or her imprimatura to it. But it still has to fit within the vernacular of the show, and sometimes something interesting and, "OK, go for that. Go for that shot," but that's not the clearest way to tell the joke, or the way that we want to tell the joke. So, at the end of the day, in editing, it's the producers again, it's me and Tina and Jeff. So that is very different from film.
Rascoff: So you've had live shows, SNL –
Carlock: Mm-hmm.
Rascoff: − you've had scripted shows on broadcast, Friends and 30 Rock −
Carlock: Right.
Rascoff: − and you currently have a scripted show on streaming, Kimmy Schmidt is on Netflix. So what are the differences of those different mediums from a producer and writer's standpoint?
Carlock: Yeah. Well, from a writer's standpoint, there are some subtle things that, nevertheless, become significant when you're getting down to brass tacks and getting down to writing these things. One is that in broadcast, you are constantly feeling the pressure, or the necessity to reintroduce existing characters and restate premise. Early in the life of a show, they call it re-piloting. The pilot is supposed to tell you what the show is, but you often will hear that unfortunate neologism all the time about just restating. Well, we can assume in streaming that if you're watching Season 2, you've watched Season 1. That can have small effects, where we will sometimes tell a joke that depends on something a couple episodes before, and just hope in the giant sea of jokes on the show maybe some people pick it up, maybe some people won't, maybe some people will be confused and that's our ultimate goal. That's something we just never would do on broadcast because you can't make that assumption. So that's a small detail, but I think it accrues into a slightly different kind of storytelling.
Rascoff: So that's a net positive for you –
Carlock: Definitely.
Rascoff: − as a content creator.
Carlock: I think I know what net positive means.
Rascoff: All right [laughs].
Carlock: You know, similarly, you can feel a little emboldened to play with time a little bit more, it's nothing that we've done too aggressively or ambitiously, but you often in broadcast really have to think of each episode as a discreet unit. Even if you're telling a larger story, an arc, you know, Ross and Rachel, whatever it is, that's a more kind of macro view. Each episode has to present itself fully.
Rascoff: Twenty-one minutes no matter what.
Carlock: Yeah, 21:15, which that's not a lot of time. And that's another big difference, which is that outside of just the limitations of time in the real world, our episodes can be longer. That allows directors to do more interesting things and actors to do more interesting things, and us to write bigger, fuller stories, and that certainly is freeing.
Rascoff: So, if hypothetically 30 Rock had been on Netflix and not on NBC, do you think the product that we as viewers watched would have been that different?
Carlock: That's a very good question. I think it would have been longer, and that's not always a good thing. I mean, look, I don't think I've ever written something that wasn't better shorter, at the end of the day. Our cuts now come in usually a little over 30 minutes, and we lose four or five minutes. It's kind of the same number of minutes that we take away, as a 30 Rock episode would come in at 26:00, 27:00, maybe less, actually, and we would lose five or six minutes.
Rascoff: You would lose in the editing?
Carlock: Sorry. In the editing process, yeah. All that time, 21:15, often hurts, and I think it was often not the best episode at 21:15, but 26:00 was never the best episode, and 32:00, 33:00 is never the best episode, and 2.5 hours is never the best movie.
Rascoff: What about language? Do you have more flexibility with language?
Carlock: We would. I think we wrote a show that, even though it was originally written and edited the first season for broadcast, until we went to Netflix, we wrote a show that even when we went to Netflix, setting aside the fact that we had already established a tone, and why all of a sudden in Season 2 does everyone start swearing and taking their shirts off, despite my attempts. It's a show at the center of which is this woman who kind of represents optimism and innocence and all these things that don't go with that sort of tone. So we could, and we've pushed the envelope. There are certainly things we've done − was it the Hays Act, was that the obscenity act in Old Hollywood − both on that side of things, but also one of the interesting things is because there are no commercials, we don't have a sales department to deal with, and we do like to write jokes.
In that our reality tends to be a little pushed is really helpful to write jokes and to tell stories where people are interacting with things that we recognize, and that we say Google instead of NetSearch.org, or whatever you would have to do on broadcast. We don't say Zillow ever −
Rascoff: You should.
Carlock: − because none of our characters can afford to buy a house. So that's been kind of interesting, and it took me a little while to realize, "Oh right, I'm not having those arguments on the phone with sales departments anymore."
Rascoff: Now what about data? So, with broadcast, of course, you got ratings data from NBC and from others. With Netflix, you don't, I don't think, get viewership information, right?
Carlock: We get nothing.
Rascoff: So is that liberating because you don't have to worry about it, or do you ever wonder, like, "Is anybody watching this thing?"
Carlock: Right. It is, like most change, a double-edged sword. As the character Titus once said, "Why does anyone want a single-edged sword? Why is that a bad thing, to have a double-edged sword?" But it's terrifically freeing on a day-to-day basis. Our relationship with Netflix is great. They give us kind of a general, "You're doing great," feedback, and occasional little details like, "Much better in Germany and Australia than we though we were going to do," kind of stuff. We've only heard positive things from them.
Rascoff: The speculation is the reason they don't give this information to producers is so that they have more leverage when buying content. Do you agree with that?
Carlock: I mean right now, we're waiting for our Season 4 pickup, and the conversation is about budget, and how do you have a conversation about budget without knowing the other side of it?
Rascoff: I would be frustrated. They must know which demos –
Carlock: Oh, it would drive you crazy.
Rascoff: Yeah, exactly. I mean they must know certain storylines that people tend to stop watching, you know, what the percent completion rate is, what time of day people watch. I mean they have all this data –
Carlock: I think they have everything.
Rascoff: And, yet, they don't share it with the content creators.
Carlock: No, they don't. As an absolute, inviolate rule, they don't. What's interesting is that I'm sure they know all of that. They have not used any of it to guide us creatively or to push us one way or another creatively. Sometimes we have conversations but it's always a conversation with a creative executive who seems to be coming from, it's a guy, so I'll say his point of view. Women can be creative executives, as well, Spencer. There's never been a feeling of like the algorithm is saying, "Oh no," when Kimmy dances, "You need more Kimmy dancing." Then, on the other side, when it comes time to talk about, "What is the value of this show to you?" it's kind of a mystery, so we're waiting for the white smoke, I guess.
Rascoff: So, when you put all that in balance, I mean do you have an overall preference to create shows for streaming? I mean do you miss the certain aspects of broadcasting?
Carlock: Totally. We keep our irons in the fire as best we can. I mean when we're running a show day to day, month to month, it's kind of impossible to really be doing anything else, but we've been developing with other people. We have a broadcast show coming out on NBC in April called Great News, sort of led by, I should say, and the pilot written by a woman named Tracey Wigfield, who was a 30 Rock writer, Jack Burditt, another 30 Rock guy helping her out. We love it. It's a great, funny, perfectly networked, 21:15, great cast, genuinely funny show, but it's not something you would do on Netflix.
We're producing another for NBC with a guy named Luke Del Tredici, who was another 30 Rock writer, this spring. There's just a pilot at this point. You know, taking it all in balance, we're talking about the collision of art, so to speak, and commerce, and that is a balance, right? I mean there's more freedom in one place, there's more transparency in another place, there's –
Rascoff: What about the social aspect of –
Carlock: Oh, I don't have a social –
Rascoff: [Laughs]
Carlock: What?
Rascoff: People on Netflix are watching it asynchronously, right −
Carlock: Yeah.
Rascoff: − whereas they watched Friends all at the same time, right?
Rascoff: It was at the water cooler, or on Twitter or social media now –
Carlock: It's funny, because the binge-watching does allow for a certain kind of synchronicity. I mean by the end of that week, you've heard as much kind of chatter and feedback as you hear over a season of a broadcast show. What is interesting, not really what we're talking about right now but you can edit it out, is the fact –
Rascoff: This show might come in at 30. We might need to bring it down to 26, that kind of a thing.
Carlock: You might need to bring it down to 26, exactly. It's just not playing at 30 – is that part of the creative process on a broadcast show, when you're doing 22 episodes and when you've only shot five or six of them when the season starts, is that that feedback plays a role in what you do for the other 15, 16 episodes. Not having that took some getting used to. I mean we're always our worst critics, but it definitely was an adjustment to kind of do it in our vacuum of 200 people instead of having the whole world tell us –
Rascoff: I don't know –
Carlock: − that we suck.
Rascoff: − if I ever told you. I had a summer job at Fox Broadcasting in 1990 when it was the fourth network, and this was when I was –
Carlock: 1990?
Rascoff: − in high school, and I worked in the research department that summer. I did focus groups and other data mining on some of their shows, making programming recommendations to creative people like you about Melrose Place and 90210, and what storylines were resonating with viewers and which characters they should kill off. The research department, which was 20 people back then, it's probably 200 people today, was making all these programming recommendations –
Carlock: That's interesting. Do you feel like they were being followed through on?
Rascoff: Frequently. I mean there was one I definitely remember. There was a gay couple on Melrose Place. This was the original Melrose Place. We were running testing on how that was playing, because that was very controversial at the time. That was one of the first major network shows with a gay couple. It turned out that the viewers were OK with a gay couple but they just actually didn't like the casting of those two characters, and so they actually ended that storyline and reintroduced a different gay couple later in the show's history. I'm sure research still comes into play on broadcast in some way. Whether producers follow those recommendations or not, I guess I don't know. But you obviously don't have that in the case of streaming.
Carlock: I guess not. I mean I'm sure perhaps it's, and this is just guessing because, as you say, the data are endless. I would imagine in terms of their actual programming decisions, there's probably a lot of number-crunching.
Rascoff: Right.
Carlock: I think we, at the time, it seemed like an easy decision from that end of Tina Fey and they got to watch 11 of the episodes and say, "Oh, these are really funny, and let's put it on our air."
Rascoff: Would you like more social viewing? I mean it strikes me as the Netflix experience is very asocial, I mean you would think that while you're watching, you could see friends and friends of friends' commentary and discussion about that episode, or as a content creator, how do you fill up a second screen? You've had me over at your apartment and watching a TV show, and I'm on Twitter kind of following along with the show. Are you like, "Oh god, why won't these people just concentrate on my work and my art?" or no, that improves the experience? Do you know what social is?
Carlock: I think it's like when friends hug.
Carlock: Sorry, but you feel like streaming is less social than broadcast?
Rascoff: Partly because of binge, but also, I mean there are no social features built into Netflix, for example. You could imagine watching Netflix on my iPhone and watching an episode of Kimmy, and even if I'm watching it a month after the season drops on Netflix, it's showing me a social newsfeed of things that people have said, impressions that people have of that episode.
Carlock: Do people want that? I mean I know people will follow things on Twitter while they're watching it. This is above my pay grade, but it's an interesting conversation. I mean I certainly would rather people watch the 26 minutes and pay attention to it and then participate in that. That's all great. That conversation is fantastic. The idea of using the platform to make it a multitasking experience, for me as a creator, isn't particularly appealing.
Rascoff: I think it's comic. I mean you look at what Twitter is doing with the NFL, for example, and Facebook is moving in this direction also, I mean Facebook is going to –
Carlock: But football games are like 90 percent stopped time.
Rascoff: That's true.
Carlock: I mean it's perfect for football.
Rascoff: And baseball.
Carlock: And baseball.
Rascoff: So we talk a lot in this podcast about employee engagement and how to get the most out of your employees, and at least in tech missionary companies tend to do much –
Carlock: That's inappropriate.
Rascoff: − better than mercenary companies.
Carlock: Oh, OK. I thought you meant – I didn't know what you meant. Missionary companies do better than what?
Rascoff: Mercenary companies.
Carlock: Mercenary companies, gotcha.
Rascoff: Right. They're able to recruit, retain, and motivate people better, people want to work at companies that are trying to change the world, trying to make a difference, trying to do something innovative and creative. Most people don't want to just show up for a paycheck.
Carlock: Sure.
Rascoff: So, in your world, I mean with a TV show for example, do you think of it that way like, "Hey, we're going to motivate –
Carlock: Change the world or –
Rascoff: Well, or do you have a higher purpose like, "Hey, look. Our role of this season of Kimmy is to make people laugh, and the world needs laughter more than ever, so hey, let's go and try to do that," or no, it's not –
Carlock: I don't think we articulate that very often. I mean I think we're very proud of doing a show that we think is genuinely funny in a time when, yeah, I would hope that people would find that to be a relevant release. Unfortunately, we shot almost all of the season before the election, just because the narrative of the election, a woman against a bully, kind of would speak very strongly to our lead character, and so we've only really touched on the outcome. Maybe we'll deal with it more directly next year, if they give us one. But I think we definitely have been very lucky, both 30 Rock and with this project, in getting to do the show we want to do, sometimes in spite of some of the more corporate interests or the testing or what have you. Tina talks about the testing for 30 Rock, which kind of often boils down to, "Did you like this character? Do you like this actress? Do you like this character? Do you like this actor?" and it's sort of, "Yes, yes, I like all that stuff," and then, "Would you watch it again?" "No," which would kind of be the takeaway.
Rascoff: So how do you measure success, then, for a show that doesn't have ratings given to you? I mean is it accolades, awards, your own –
Carlock: Awards help.
The awards help. I think, again, we're pretty tough on ourselves in terms of our assessment of our work, but we're proud of the show. And we are proud, as I alluded to earlier, to continue to work with some really talented people on cast and crew. I mean when you look at a film crew, and you're talking about camera operators and you're talking about people who do graphics, and you're talking about sound mixers and editors, these are creative, talented artisans who choose to continue to work with us. It means a lot –
Rascoff: It's a validation, for sure.
Carlock: − and it's a validation. Yeah, our sound guy, whom we've worked with since the first day of 30 Rock, is so complimentary, and he's not that kind of person, either, but of what we do, and we appreciate so much what he does in that he provides that stability, and then you get that shorthand and then you have a team. People invariably come in and out for various reasons, but it does feel like we've kind of had a team for 10 years doing a good show, and that's sort of as much as we could hope for.
Rascoff: So, when you're flipping the channels at home and you come across an episode of 30 Rock or maybe Friends or an old SNL episode, do you ever watch your old work, or you don't, you know, you keep going?
Carlock: I don't, really. I hate watching it. I mean in my role as show runner, I've seen each episode so many times and so intimately, such a sausage-making way, that I don't want to see them again, but I also don't like watching them with other people very much. I don't like watching the juvenilia because it's embarrassing. I don't know. I don't much. I'll stop on a Friends. That's just so pleasant to watch and so fun. The other stuff just reminds me of –
Rascoff: Work.
Carlock: − work.
Rascoff: Thanks a lot, Robert. Congratulations.
Carlock: That's it?
Rascoff: That's it. I told you it would be painless. Thank you.
Carlock: We didn't even get to my poetry. OK, Spence.
Rascoff: Thanks, Robert. That was fun.
Rear Admiral Wettlaufer on Creating a…
OfferUp CEO Nick Huzar on Evolving…
Russell Wilson: Mindset Matters
@2006-2020 Spencer Rascoff


text:
Q: Why does removeChild function behave differently with list items and i tag? I have noticed that removeChild does NOT behave as it does with other elements such as list item. I am using the i tag for some icons from frontAwesome and want these items removed individually when a button is clicked.
Unfortunately, I can only remove each i tag element only if I use removeChild() function twice. (Weird!)
What's going on?
HTML:

        1
        2
        3
        4
        5

Javascript:
function FunctionTwo() {
    var font = document.getElementById("myFonts");
    font.removeChild(font.childNodes[0]);
}

https://codepen.io/anon/pen/EeaYvL
EDIT
Note: It makes a difference if you use LineBreaks or not!

Coffee

Tea

Milk

Here, there are 6 child nodes. Apparently, the LineBreaks are also considered as child nodes!

Coffee

Tea

Milk

Here, there are 3 child nodes. WEIRD - is this a bug?

A: From MDN,

childNodes includes all child nodes, including non-element nodes like
  text and comment nodes. To get a collection of only elements, use
  ParentNode.children instead.

Hence, in both the cases, the elements are being removed weirdly. You should update
from
font.removeChild(font.childNodes[0]);

to
font.removeChild(font.children[0]);

For tweaking, https://codepen.io/anon/pen/aazoLK

A: Also.. if you notice both of your code closely on your link...
Code for

Coffee

Tea

Milk

We see no spaces between tags.
Whereas, Code for

        1
        2
        3
        4
        5

You see the empty spaces before the ? Those got added as a text node in the childNodes object of your div

        1

You could have used exactly the same code that you have currently, if you had chosen to rather Not add spaces before the  tags.
For Eg. like this:

12345

Check modified HTML for div here:
CodePen

redpajama_set_name: RedPajamaStackExchange


When simply supported at finite number of points, a beam will bend under its own weight. The shape it takes depends on the spacing between the supports and the cross-sectional and micro-structural uniformity of the beam.
Unless these assumptions are true, the calculated airy point might not coincide with the actual one.
In case we are trying to minimise the maximum extent the member deflects from the centre line, then the bessel point should be used for support instead. Bessel Points can be calculated using the following formula.
However, if the standard is supported horizontally at its airy points, the effect of gravity on length can be almost neglected. This method of support can also be used for end standards.


text:
Fort Polk drafts plan for getting rid of trespass horses
Three-step cycle aimed at removing threat to military in training area
FORT POLK — The Joint Readiness Training Center commanding general has released the Environmental Assessment (EA) and draft Finding of No Significant Impacts (FNSI) concerning the disposition of trespass horses at Fort Polk.
Using the National Environmental Protection Act process, Fort Polk has developed and analyzed a variety of alternatives, including those recommended in public comments, to eliminate the danger to American military personnel caused by horses trespassing on the Fort Polk training area.
The public has 30 days to comment on the documents. No decision will be made until all input has been considered.
The EA and draft FNSI are available in four local parish libraries:
Beauregard Parish Library, 205 South Washington Avenue, DeRidder; Rapides Parish Library, 411 Washington Street, Alexandria; Vernon Parish Library, 1401 Nolan Trace, Leesville; and Sabine Parish Library, 705 W. Main Street, Many. The EA and draft FNSI can also be viewed at http://www.jrtc-polk.army.mil/trespass_horses.html.
The population of trespass horses on the military training area creates a safety hazard and training distractor. After a careful and thorough analysis considering safety, training impacts, environmental impacts, public perceptions, cost and time, the preferred alternative is to remove the trespass horses using a cyclic process. This process was selected because it offers the best opportunity to find a new safe home for every horse.
The cyclic process begins with the round-up of about 10-30 horses. The first step provides official 501(c)3 (animal welfare groups) with a 10-day window to claim the horses. Fort Polk officials will maintain a list of interested advocacy groups and will contact a group via e-mail when horses are available to be picked up.
This process provides the best opportunity for 501c(3) organizations to assist with the effort while not being overwhelmed with a large volume of horses at one time.
If any horses are not picked up by the animal welfare group, the process proceeds to the second step which provides the general public a seven-day window to claim a horse.
Fort Polk will also maintain a list of members of the general public interested in receiving horses and will contact the list members via e-mail when horses are available to be picked up.
Fort Polk officials believe that all or almost all of the horses will be removed by animal welfare groups or members of the general public, but to ensure that every horse is removed so that safety concerns are sufficiently addressed, Fort Polk has another step in the cyclic process.
If any horses are not picked up by members of the general public, the third step is for the Army to offer the remaining horses for sale to the general public at a local sale barn.
Upon completion of all three steps, the cycle begins again until no horses exist on the training area. Throughout the process, Fort Polk officials will consider offers to relocate all or significant numbers of the horses to non-Army property.
Fort Polk officials anticipate the process may take three years. This allows for the removal of the horses from the training area so JRTC remains the premier training facility in the Army.
"In order for this installation to remain viable, we must be able to provide rigorous, realistic training without risk from avoidable interference and hazards," said Col. Gregg Athey, U.S. Army Garrison Fort Polk commander.
Comments may be sent by e-mail to usarmy.polk.imcom.mbx.pao-public-response@mail.mil or by mail to: JRTC and Fort Polk, Public Affairs Office, Attention: Public Response, 7033 Magnolia Drive Bldg. 4919, Fort Polk, LA 71459


Frontier Communications in Vernonia isn't your typical Internet provider. And since you don't need to sign a contract when you sign up for Frontier services, you don't have to get stuck with a deal or service that you don't like. So, you have nothing to lose with Frontier service. Along with great service, you'll also get 24/7 technical support. And you can enjoy Frontier broadband in Vernonia without a phone line! For an alternative to your cable provider in Vernonia, choose Frontier! Call today to learn more about Internet bundles available from Frontier.
If you're looking to boost your savings, a Frontier Bundle is sure to help. By signing up for both Frontier Internet and Frontier Home Phone, you can save big while combining two bills into one easy payment. And since you don't have to sign an annual contract to enjoy a Frontier bundle, there's really no need to hesitate. Call today for more details about Frontier deals in Vernonia!
Want to talk as much as you'd like without running out of minutes? If so, you should check out a Frontier Home Phone package! Frontier Home Phone offers Unlimited Local and Long-Distance calling, meaning you can use fewer minutes and pay less on your cell phone bill. Plus, signing up for home phone service can give you a way to communicate with family and emergency personnel in a blackout or other emergency, as landlines continue to work during power outages and they don't rely on cell towers for service. Skip the dropped calls and poor reception—get a home phone with Frontier in Vernonia today!
I was very happy with the gentleman that installed my new service. He went above and beyond to make sure that everything was taken care of. I am very happy with our new service.
Internet has been amazing. Installer was great!! Every step has been a breeze!
Our installer was incredible! He was polite, on time, and did a really high end job installing and testing our wiring. I really appreciate his hard work.


text:
Q: Select value based on two dates in other tables? I have a question according SQL. The database is Firebird but that shouldn't matter much as I would like to use ANSI standard if possible.
I have to select a costrate based on the user qualification and the date the user has been assigned that qualification (I hope this sounds right). I have got tables that look like this:
Usertable   Variables      Qualification    Rapportcostrate    Timeaccount
=========   =========      =============    ===============    ===========
UserId      VarId          QuaId            RcrId              TiaID
UserName    VarUserId      QuaName          RcrName            TiaValue
            VarQuaId       QuaRcrId         RcrRate            TiaDate
            VarValidFrom                                       TiaUserId

What I need to get now is this:
UserName, RcrRate, TiaValue, TiaDate

My problem is that the qualification could change at any time and the qualifications that where entered before might still be valid. This should calculate (or select) the
RcrRate * TiaValue

based on the value in VarValidFrom and TiaDate. I can't bring them together! :-(
Am I making myself clear? I hope so! Please feel free to ask questions at any time!
== Edit 20 hours later ==
I'm using this sql command at the moment:
SELECT RcrRate, VarValidFrom, TiaValue FROM USERTABLE
    JOIN VARIABLES ON UserId = VarUserId
    JOIN QUALIFICATIONS ON VarQuaId = QuaId
    JOIN RAPPORTCOSTRATE ON QuaRcrId = RcrId
    JOIN TIMEACCOUNT ON UserId = TiaUserId
WHERE UserId = XYZ

Now let's say table qualifications is filled with several sets
 Qualifications          Rapportcostrate
 ===============         ===============
 1    Dummy    1         1   Value01   20
 2    Testing  2         2   Value02   30
 3    Another  3         3   Value03   40
 4    FooBar   4         4   Value04   50

If user xyz has three entries in Variables like
 Variables
 =========
 1    1    1    2008-03-01
 2    1    2    2009-04-01
 3    1    3    2010-05-10
 4    1    4    2013-12-12

The expected result should return the RcrRate that fits the VarValidFrom date to the TiaDate. I want to receive only one line per TiaDate.
... it's quite a fight to make oneself clear ... ;-)

A: There are multiple solutions for this, in the solution below I used CTEs (common table expressions) to split the work in logical units. cteVarTimes selects all valid combinations of Variables and Timeaccount, then cteMostRecent selects the latest for the user. In the main select I combine this with the information from Qualifications and Rapportcostrate.
This solution doesn't work if you need to be able to return rows for all users. In that case you would need to replace cteMostRecent with a query that selects rows using a group wise maximum of VarValidFrom and TiaDate per user.
WITH cteVarTimes AS (
    SELECT v.VarUserId as UserId, v.VarQuaId, tia.TiaValue, tia.TiaDate, v.VarValidFrom
    FROM Variables v
    INNER JOIN Timeaccount tia
        ON tia.TiaUserId = v.VarUserId
    WHERE tia.TiaDate >= v.VarValidFrom
),
cteMostRecent AS (
    SELECT UserId, VarQuaId, TiaValue, VarValidFrom
    FROM cteVarTimes
    WHERE UserId = 1 -- Parameter in real use
    ORDER BY VarValidFrom DESC, TiaDate DESC
    ROWS 1
)
SELECT RcrRate, TiaValue, VarValidFrom
FROM cteMostRecent a
INNER JOIN Qualifications q
    ON q.QuaId = a.VarQuaId
INNER JOIN Rapportcostrate rcr
    ON rcr.RcrId = q.QuaRcrId


If you're in the Henderson, Nevada area and you're looking for a supportive group to belong to, then check out The Henderson Saints.
Before Shawn, the group's moderator, lived in Henderson he was in Utah and then Idaho where there were Mormon support groups of all sorts. He loved the range of people he met there, all the way from those just leaving mainstream Mormonism, to Denverites, those following their Divine, atheists, and everyone in-between. When he moved from Mormon Central, he wanted to continue the conversation with a similar group of people, so he created a secret Facebook group called The Henderson Saints.
There's a group in Las Vegas, but if you're in Southeast Henderson, Vegas is a little far to drive for get togethers. Having a more local group is a nice perk, but the real benefit of The Henderson Saints is that it's a secret group, which means your identity is protected. So no matter where you are on the belief spectrum, you can feel comfortable reaching out. If you're still attending church and it's important that no one know you're in a faith transition support group, The Henderson Saints is safe for you. If no one in your family knows that your faith base has shifted, The Henderson Saints is safe for you. If you are LGBTQ, the Henderson Saints is safe for you. If you just have some questions and want to talk to someone, The Henderson Saints is safe for you.
The group is a loving, non-judgmental zone for everyone. When I talked to Shawn, he said, "I've been judged on my journey. Who am I to judge others? It doesn't matter if you're the father of seven and you're the Patriarch and then you leave the church; that's your journey. Everyone has their own journey." He invites everyone to come and love people and find purpose in that simple, yet profound action. We can all appreciate that.
Interested in joining? Email thehendersonsaints@gmail.com.


text:
Mary Walton
Clinical Director/ Senior Management Adviser, Interval House
Rev. Dr. Mary Walton, MSW, M. Div., D. Min. is a former Interval House Executive Director who now serves as Sr. Management Adviser of Interval House and Creating A Safe Environment (CASE) Interfaith Project, specializing in the complex domestic violence issues affecting diverse communities of faith, color and culture. She has a Masters in Social Work from the University of Pittsburgh, a Master of Divinity from Claremont School of Theology and Dr. Walton received her Doctorate of Ministry from United Theological Seminary in 2010, with her dissertation being: A Faith-based African American Network for Violence Free Relationships.
Recognized as a pioneer in the domestic violence movement, Mary spent the last 35 years serving as a leading advisor to family violence programs and coalition efforts—many of which were started or designed as a result of her guidance and dedication to advancing services for victims. Among other contributions to the field, Mary brings her experience as principal of MLW Consultancy, is serving the California Governor's Domestic Violence Advisory Council, and working to advance the newly formed Faith-based African-American Network for Violence Free Relationships as both a doctoral project and means to develop new leadership, working towards creating a culture of peace in the African American Community.


Recently, I have been working on the construction of the Radio Jove telescope designed to acquire data on Jupiter and solar emissions in a school in Camden. The school is now part of the scientific research community and officially an astronomical observatory partaking in the Radio Jove project. We hope that this is the beginning of a long and successful project to teach and inspire the children into learning about science and our solar system.
Radio Jove is a worldwide project set up by NASA in 1998 to promote Radio Astronomy to students and the general public and increase collaborative research through the sharing of data. Since then, over a thousand teams including schools, colleges and individuals have participated and supported the program.
Jove is an old name for Jupiter; the purpose of the telescope is to gather data on solar and Jovian emissions. The word telescope is rather misleading as it conjures an image of a series of lenses allowing you to see distant images closer. Rather, this telescope is designed to 'listen' to other planetary bodies through the radio emissions that we can detect on Earth. The equipment essentially consists of a dipole array (a large antenna), a radio receiver tuned at 20 MHz and a computer to record and analyse the data acquired.
These emissions come from the magnetic field that surrounds Jupiter or the Sun. Jupiter's magnetic field, like Earth, originates from deep inside the planet, except it is much stronger making it easier to detect. This strong field has created a ring of ionized (electrically charged) gas around Jupiter, like the Van Allen belt around Earth. As one of Jupiter's moons, Io, orbits the planet, it interacts with these ions, creating a huge current flow from Jupiter to Io which in turns generates plasma waves. These waves are then emitted periodically as radio waves from Jupiter which we can then detect on Earth.
By studying Jupiter's radio emissions, we can learn about our own planet, as Earth too generates a magnetic field. Similarly, when gaining data on solar activity, we can better understand how stars work and also how it affects the Earth. The impact of solar activity can be seen on Earth in the form of the famous northern lights but it also impacts upon communication systems and power grids.
The recorded data can be monitored by others worldwide or it can be submitted to scientific researchers and people studying astrophysics. The idea is that they can have a pool of data from multiple locations for a particular event. The abundance of data can aid scientist to verify results rather than just relying on a single set. Of course it can also be used as an educational aid, to help pupils in science lessons and interesting projects.
For people interested in constructing their own antenna, this involves assembling the radio receiver, where a little knowledge of electronics and the ability to solder onto a PCB would help.
The telescope is now functional, recording data and currently in the process of establishing baseline interference levels so reliable observations can be gathered in future. Below is an example of the data from Torriano for an eight hour period.
If you would like to join in, then you are encouraged to visit the NASA Radio Jove website for more details on how to get involved. Also, if you are interested in looking at Torriano's data, this can be done by installing the small skypipe programme and running the software in 'client' mode where you can find the Torriano-UK observatory!
Can cold give you a cold?


text:
La Prva hrvatska nogometna liga za žene, citata anche nelle forme abbreviate Prva HNLŽ o 1. HNLŽ, è la massima serie del campionato croato di calcio femminile ed è posto sotto l'egida della Federcalcio croata (HNS). La prima stagione venne giocata nel 1992, dopo la cessazione del campionato Jugoslavo di categoria, conseguenza della dissoluzione della Jugoslavia, e attualmente partecipano 8 squadre. Il torneo ha cadenza annuale, iniziando a settembre per concludersi nella primavera dell'anno successivo, il cui vincitore guadagna il diritto di partecipare alla UEFA Women's Champions League. L' è la squadra che ha vinto il maggior numero di campionati (23). Secondo il ranking stilato dalla UEFA, per la stagione 2018-2019 la 1. HNLŽ risultava occupare il 33º posto tra i campionati di calcio femminile in Europa.

Le squadre

Organico attuale
Al campionato 2021-2022 sono iscritte le seguenti otto squadre:

  Donat
  Međimurje-Čakovec
  Neretva

Albo d'oro
Key

Statistiche

Titoli per squadra

Note

redpajama_set_name: RedPajamaWikipedia


text:
'No chance Milner goes anywhere other than his car to drive to Anfield to sign a new deal'
Chris Burton
An experienced performer on Liverpool's books is approaching the end of his current contract, but Steve Nicol expects an extension to be put in place
There is "no chance" that Liverpool will allow James Milner to leave as a free agent, says Steve Nicol, with it "crazy" to think that no contract extension will be agreed.
As things stand, the 33-year-old is approaching the end of his current terms.
A move away from Anfield has been mooted, with it suggested that Milner could return to his roots at Leeds.
Nicol, though, believes that Jurgen Klopp will be doing all he can to retain the services of an experienced performer.
Milner's versatility allows him to tick a lot of boxes at Liverpool.
He has shown no sign of slowing down either, with 44 appearances taken in during the 2018-19 campaign while recording seven goals.
Nicol feels an agreement will be reached to keep the former England international on Merseyside, with the ex-Liverpool defender telling ESPN FC: "Absolutely no chance he goes anywhere other than his car to drive to Anfield to sign a new deal.
"It would be absolutely crazy, he's been a huge part of this year again.
"Regardless of his age, Liverpool will need him next year.
"Maybe he won't play as many games, but he'll be needed for cover all around the field."
Milner has operated in both full-back positions and across midfield during his time with Liverpool.
He was acquired from Manchester City in the summer of 2015, with a two-time Premier League title winner having walked away from the Etihad Stadium on a free.
It could be that he makes a similar future call four years on.
Liverpool, though, will be wary of parting with such vast experience, with the Reds having forced their way back into contention for domestic and European honours.
Regardless of whether it proves to be his last outing for the club, Milner will be looking to sign off the current campaign in style on June 1 when Klopp's side take on Tottenham in the Champions League final.


18 :: Visitors and societies are guaranteed to receive a warm welcome both on and off the course at this, one of the premier golf clubs in the north of England, holder of the Yorkshire Order of Merit award.
18th Hole -- One of the best finishing holes to any golf course. Hit a straight tee shot and avoid the out of bounds on the left. Then make the correct club selection to carry the water but not too far, you may end up in the bank behind the green with no shot.


text:
Arshile Gorky: A Retrospective
Michael R. Taylor is the Muriel and Philip Berman Curator of Modern Art at the Philadelphia Museum of Art.
Edited by Michael R. Taylor. With essays by Michael R. Taylor, Kim S. Theriault, Jody Patterson, et al;
Arshile Gorky (Armenian American, c. 1904–1948) was one of the central figures in American art's shift toward abstraction during the first half of the 20th century. Accompanying the first major retrospective of his work in almost thirty years, this stunning book traces the evolution of Gorky's arresting visual style. Nearly 200 paintings, drawings, sculptures, and prints from all phases of his career, a number of which are published here for the first time, are beautifully reproduced, including a large figurative painting from 1927 known previously only through its preparatory studies. Throughout the volume, some of Gorky's best-known and most powerful works are paired with related pieces or with meticulous preliminary studies, shedding new light on his artistic process. Illustrated essays incorporating recently discovered biographical information and photographs examine his experience of the Armenian genocide (during which he witnessed the death of his mother), his collaboration with the Works Progress Administration, and his early explorations of abstraction and Surrealism, providing important reassessments of his life and career.
Admired by many of his contemporaries and hugely influential on subsequent generations of artists, Gorky created a complex and deeply moving body of work that encompasses styles ranging from Impressionism to Cubism, Surrealism, and the beginnings of Abstract Expressionism.
11 4/5" x 9 7/10" x 1 2/5"
310 illustrations, 270 in color
Twentieth Century Painting and Sculpture
Rodin Museum Catalog
Painted Splendor: The Context and Conservation ...


Versatility is your middle name, and you're not one to settle for shoes that can't handle jumping from one activity to the next, and neither can designers at Pearl Izumi, so they've crafted up the X-Road Fuel V5 Mountain Shoes for Women. These shoes are built to charge from one discipline to the next, with breathable bonded uppers, and mesh panels that keep your toes ventilated on toasty summer days. The sole has you ready to hit the ground on foot, with large rubber lugs for superior traction, while a nylon plate at the midsole lets the shoes flex just enough for comfort and walk-ability. When you saddle up the nylon plate helps stabilize pedaling with a boost of stiffness, and SPD cleat plate lets you clip in for secure footing and efficiency when you're laying the hammer down up technical climbs.


The laws for marriage certificates differ from one country to another. This means that you will depend on the country where you live and follow the rules. One cannot just ask for a marriage certificate without the right conditions. The law requires that the marriage certificate be given severely and you must fulfill all requirements first.
Here are some of the requirements you need to get a marriage certificate: State officials must issue a marriage certificate. Court officials can also release them but require payment of certain fees. Couples can only be issued with a marriage certificate if they are 18 years or older. If not, they need parental or court approval if they are younger.
Some states require proof of immunization because many states have completed the required compulsory and blood tests. Some states require test venereal disease, and rubella, also known as German measles. This disease is very dangerous for the fetus. In addition, they have conducted tests to check whether they are free from sickle cell anemia and tuberculosis.
A person who submits a marriage certificate must have proof of termination of a previous marriage with death or with a decision to dissolve, also known as a cancellation or divorce. If the person already has a legal marriage, he or she must terminate his marital status before he can get another. He can get it through divorce or dissolution. This will result in a decision, which will return men and women to the status of unmarried people.
A person must have sufficient mental capacity. This will determine as the ability of people to enter into contracts. Marriage will require two people who agree. If one of them does not understand the purpose of marriage, then the person does not have the capacity to approve, they will never be issued with a marriage certificate.
Couples should not be close relatives. However, in some countries, the first cousin can get married and that is legal. Even though they allow it, some require that one cousin may not have children.
Because of widespread sexually transmitted diseases and AIDS and HIV, some countries require couples who submit a marriage certificate to have to undergo an HIV test or they must be given sufficient information about AIDS.
Marriage certificates can be issued after the wedding ceremony is held. This will also allow the satisfaction of the waiting period after the ceremony. This waiting period is the time for couples to calm down before the date of the wedding. The purpose of the waiting period is for them to make decisions. Marriage ceremonies can only be done until they really decide to get married and hope to stay together for the rest of their lives.
If not, at least they will have time to think if they are ready not to. Before marriage, it is important that both parties really make the right decision because having a divorce is as difficult as getting married. Some divorce and cancellation applications are not given easily. Therefore, it does not make it available for other marriage contracts with other partners.
While ceremonies and celebrations are the most memorable part of marriage, if you want it to be legitimate, the most important part is the signing of the marriage certificate. This document legally binds you both together – and plays a big role if you plan to change your name! Obtaining a marriage permit and, furthermore, a marriage certificate is a multi-process process.
Recommended: What Is Legal Separation In Divorce?
What is the difference between a marriage license and a marriage certificate? Marriage licenses are what you get first, and basically the application for marriage. When you have filled everything, there is a ceremony, signed, and your official has changed it back to the area, then you receive a marriage certificate that proves, in fact, you are married.
This is all you need to do, step by step, to get (and complete) your marriage license and marriage certificate.
Before you can apply for a marriage permit, you must know where and when you will get married. Why? Because usually, you have to apply for a marriage permit in the county where you are getting married.
Furthermore, the marriage license ends. Some, for example, expire after 90 days. If you plan your wedding one year before that date, then you have to wait to apply for a marriage license until you are within the deadline or you finally have to apply again.
On the other hand, you also can't wait until the last minute, because many states require that you undergo a waiting period before marriage.
Once you know when you will get married, you can plan your visit to the appropriate county clerk.
The easiest place to get your wedding license is the district clerk's office. Make sure you carve a few hours for this because there might be a wait. You can even try to make an appointment before you appear so you don't have to wait too long. You and the important person both of you must be present at the time of the marriage certificate application.
• Some countries even need witnesses for marriage certificate applications, so ready to ask friends (who knows you for at least six months) to join.
• You also need to know some information about your parents. You will need your full parent's full name, date of birth, birth status, and date of parent's passing if applicable.
• If it is not your first marriage, you must also bring your divorce certificate or your respective death certificate, as proof that you can legally remarry.
• You should bring your parents to give consent if you are under 18.
• In some states and districts (other costs to increase your wedding budget).There is a fee for applying for a marriage license, usually between N1000 and N2000 or more.
• Finally, If you plan to change your name – during your visit to a regional officer to apply for your marriage license – now is the best time to do that. Even though you will still retain your maiden name until you are truly married, this will make the court officially know what your new name will be.
Not only do you need to know what you want from your official last name, but also your middle name. You have many options, of course: You can keep your name the same. After you prove your identity, submit your documents, and pay your fees, you will be given a marriage license. Some states will give you a marriage license right away, but others will send it to you within a few days.
Naturally, the couple must be present when the time comes to sign a post-ceremony marriage certificate. It's better to take care of this early before the party starts and drinks start flowing.
This could be your parents, honor servants and your companion, or other friends you appoint to get that honor. They must be physically present and, well, watch you two sign the marriage certificate. In most states, witnesses to marriage licenses must also be over the age of 18. Usually, you will need two witnesses, but in some states, you only need one.
There are currently two Federal Marriage Registrations in Nigeria. The Abuja Federal Marriage Registry and Lagos Federal Marriage Registry are both under the Ministry of Interior.
We enlarge our lens in The Federal Marriage Registry Ikoyi Lagos. We aim to provide you with a detailed guide/overview of the prerequisites and expectations when preparing to marry in the registry.
This registry is the center of activities throughout the working day because it has become the registry of choice by most couples because of its reputation. Activities such as swearing an oath, getting a marriage certificate, counseling, and an actual marriage ceremony.
Tuesday is to swear an oath, while Wednesday to Friday is for contract marriages. However, if you decide to marry on Monday or Saturday, it will charge. This list not only serves the residents of Lagos but also the South-South, Southeast and all Southwest geo-politics. Various activities will carry out in the registry.
There are two types of marriages that are contracted at registration in addition to the typical Christian and Muslim marriages. There is a marriage between Nigeria and Nigeria and Nigeria with non-Nigerian or Non-Nigerian marriages to Non-Nigerians.
2. Return to the registry after 21 days with the completed form. You will give another set of forms "AFFIDAVIT ON APPLICATION FOR CERTIFICATE". This form must be submitted with both parties' birth certificates (if there is no birth certificate, the Age Declaration can be presented).
3. The next form that must be filled is CERTIFICATE BACHELORHOOD / SPINSTERHOOD. If the couple previously married, AFFIDAVIT OF MARRIAGE must be submitted and not a BACHELORHOOD / SPINSTERHOOD CERTIFICATE.
1. You must notify registration on the date of your choice of marriage.
1. Get a form- "specifically for special marriage licenses". This form aims to obtain sufficient information and data about the couple.
8. Single oath/proof of letters with children/children from a court or institution that recognize with proof of payment of a specified fee.
9. While foreign nationals must provide A-D (as applicable) above from the equivalent/institution in their country.
10. Payment of the specified fee.
NOTE: YOU WILL GIVE ORIGINAL COPIES FROM THE ABOVE DOCUMENTS ON YOUR INTERVIEW DAY.


Alex Baia is an improviser, writer, and… does there have to be a third thing?
He performs with the power improv trio Frootopia, and with ColdTowne's Stool Pigeon on Sundays. A proud graduate of The ColdTowne Conservatory, Alex has also studied at The Hideout Theater and iO Chicago.
You can catch him performing around Austin, and you can read his words on Hyoom, McSweeney's, and elsewhere around the web.


Chef Candy Wallace President of the American Personal & Private Chef Association and endorser of Escoffier Online sat down with Chef Mark Dowling to discuss the difference between a Personal and Private Chef. In this week's video series Chef Candy talks about the personal and private chefs of today and shares her journey as a chef.
Thank you Candy! We look forward to sharing our next video series about the opportunities in the culinary profession in our blog post next Monday, May 20th. Watch our previous videos in this series.


Papa John's is offering a coupon for 50% off any large pizza from the regular menu price through the holiday season. The coupon code is 50HOLIDAY.
This deal will expire on December 27, 2015, so you still have plenty of time to fill up.
While 50% off sounds like a lot, the regular menu price on pizza is typically really high that nobody actually pays.
For example, a large, one topping pizza is around $15 on the menu, so 50% off makes the prize at a much more reasonable at $7.50, but it isn't a rock bottom price. Nevertheless, if you love Papa John's pizza, this is a great way to take advantage over the holiday.


text:
Home > Scotland > Strathclyde > Museums > Souter Johnnie's Cottage
Souter Johnnie's Cottage
This thatched 18th-century building on Kirkoswald's main street was the home of village shoemaker John Davidson, known as 'Souter Johnnie' in Robert Burns' famous poem, Tam O' Shanter (Souter was the local Scottish term for a shoemaker).
Souter Johnnie's workshop
Davidson built the cottage in 1785 as a combination dwelling place and workshop. Robert Burns knew the Davidson family, having spent the summer of 1775 in Kirkoswald, and visited on numerous occasions in the following years. Burns used Davidson and his friend and neighbour Douglas Graham as models for the characters of Souter Johnnie and Tam O' Shanter in his poem.
'Souter Johnnie' lived here until his death in 1806, and the cottage stayed in the Davidson family until 1920. In 1932 the National Trust for Scotland restored the cottage to the way it would have looked during Davidson's lifetime.
There are three rooms open to visitors in the main cottage; one is a large, general purpose family room, which gives access to a smaller kitchen with a box bed.
A later addition to the rear of the cottage has been furnished as a shoemaker's workshop, with the authentic tools that Souter Johnnie used in his work. The workshop has been arranged as if Johnnie has just stepped out, with half-finished projects giving a sense of how he would have made and repaired shoes for his customers.
The interior of the cottage is furnished with a wonderful array of authentic 18th-century furniture, tools, and household implements to show how the Davidson family would have lived and worked. There is also a small collection of Burns memorabilia.
To the rear of the house is a small garden area, and a large thatched 'tavern' where you can see life-sized sandstone figures of several characters from the Tam O' Shanter poem, including Souter Johnnie drinking with Tam O' Shanter. These sculptures are copies of very popular Victorian ones now on show at the Burns Monument Memorial Gardens in Alloway, sculpted by James Thom about 1830.
The shoemaker's workshop with the real tools used by Souter Johnnie really helps the story and characters come to life. But more generally it is fascinating to see how a craftsman's family would have lived in the late 18th century. Souter Johnnie would have reasonably well-off by the standards of his day, and a well-known figure in the community, but very much working-class.
The Smugglers Window
One fascinating feature that I hadn't been aware of before our visit was a small window set into the wall beside the box bed. A single candle stands on the window ledge, a reminder of the days when Kirkoswald was a centre of the smuggling trade. When excise men were spotted in the area the candle could be lit in the window as a warning to smugglers to stay clear of the house.
After you've finished exploring the cottage, walk across the road to the Auld Kirk, now a roofless ruin. In the churchyard are the graves of several characters mentioned in Burns' poems, including the gravestone of Souter Johnnie himself, as well as Tam O' Shanter (Douglas Graham) and Kirkton Jean (Jean Kennedy). Inside the church - visible through a locked gate - is the simple medieval stone font where Robert the Bruce was baptised.
The Smuggler's Window
Souter Johnnie's grave
Sandstone figure of
Souter Johnnie
About Souter Johnnie's Cottage
Address: Main Road, Kirksowald, Ayrshire, Scotland, KA19 8HY
Attraction Type: Museum
Website: Souter Johnnie's Cottage
National Trust for Scotland
OS: NS24 0076
Robert Burns (Person) -
Kirkoswald Old Church & Kirkyard - 0.1 miles (Historic Church)
Culzean Castle - 1.8 miles (Historic House)
Crossraguel Abbey - 2.2 miles (Abbey)
Electric Brae - 3.6 miles (Countryside)
Maybole Collegiate Church - 4 miles (Historic Church)
Dunure Castle - 5.2 miles (Castle)
Robert Burns Birthplace Museum - 8.6 miles (Museum)
Dalmellington Mote - 15 miles (Castle)
Nearest Accommodation to Souter Johnnie's Cottage:
Nearby accommodation is calculated 'as the crow flies' from Souter Johnnie's Cottage. 'Nearest' may involve a long drive up and down glens or, if you are near the coast, may include a ferry ride! Please check the property map to make sure the location is right for you.
Honesty Cottage, Maidens - 1.6 miles
Maidens, Strathclyde
South Segganwell, Maybole - 1.6 miles
Maybole, Strathclyde
Royal Artillery Cottage, Maybole - 1.6 miles
More self catering near Souter Johnnie's Cottage >>
Horizon Hotel - 10.4 miles
Ayr, Strathclyde
House O' Hill Hotel - 20.2 miles
Newton Stewart, Dumfries and Galloway
More Hotels near Souter Johnnie's Cottage >>
Queens Guest House - 10.4 miles
Eglinton Guest House - 10.4 miles
Ardwell Bed & Breakfast - 19.8 miles
Mauchline, Strathclyde
More bed and breakfasts near Souter Johnnie's Cottage >>
Towns and Villages Gazetteer
Lochranza Castle, Isle of Arran Prints
National Trust for Scotland membership
Free entry to National Trust for Scotland properties throughout Scotland, plus free admission to National Trust properties in England & Wales.
About the National Trust for Scotland
Featured Historic Hotel
King's Arms Hotel
Lockerbie, Dumfries and Galloway
Dating from the 1600's this former coaching inn echoes that same function to this day as it continues to extend a warm welcome to visitors and locals alike. As a …
More hotels in Dumfries and Galloway >>
Scottish Castle Hotels
Isle of Skye self catering


I am a hair care snob. I love the products I love and I don't try a lot of other things on my hair. I have been using Suave for years for so many reasons. I love the smell and I really love how great it makes my hair feel.
I recently tried Suave Professionals® Luxe Style Infusion products and I love them. I have used the Curl and the Volume products.
With NEW Suave Professionals® Luxe Style Infusion products available at Target, you can bring salon-quality styling right to your home. Whether you want curls, volume, or a simple smooth look, there's a Luxe product that will work for you. What's more, the entire line is proven to work as well as the expensive Kérastase® brand that salons use.
Try the VOLUME line for hair that feels touchable and is full of body and bounce. Go with frizz-resistant SMOOTH for sleek and shiny hair. Or create defined, weightless and luscious curls with the CURLS line.
Find your Luxe Style Infusion products at Target from 1/11/14 – 2/7/15, and get a free $5 gift card when you buy 4 participating Sea Mineral Infusion or Luxe Styling Infusion products.
Which NEW Luxe Style Infusion product would you like to try? Click here lbx.la/wxYH12 and then join the conversation by tweeting me your answer using #NewLuxeStyle.
Start with Luxe Style Infusion Weightless Blow Dry Spray on damp hair, from roots to ends.
Using a round brush, blow dry up and away from face.
SECRET TIP: Roll 4-5 large sections of hair down onto scalp and secure with clips.
Complete the look with Luxe Style Infusion Plump Hold Hairspray for extra hold. Lightly brush through for a natural look.
Apply Luxe Style Infusion Weather Proof Cream to damp hair for a smooth finish. Using a flat brush, blow dry. STYLIST TIP: Blow dry in the direction of where the ponytail will set.
Spray Luxe Style Infusion Anti-Humidity Hairspray for hold. Brush into ponytail, securing elastic.
Take a small pinch of hair from ponytail and wrap around the elastic. Spray more for extra hold.
Apply Luxe Style Infusion Soft Touch Curl Mousse on damp hair, then air dry. Make a high ponytail.
Braid the ponytail. Wrap it around the elastic while securing with bobby pins.
Pull out baby hairs for an easy breezy look.
*The Bullseye Design, Target and Target GiftCards are registered trademarks of Target Brands, Inc. Terms and conditions are applied to gift cards. Target is not a participating partner in or sponsor of this offer.
Oh Sauve's dry shampoo is my favorite! These products all look great!
My kids and husband all use Suave products. I love the price point of them!
I love their line of products, affordable and works wonderfully!!!
I need the one that gives smooth hair–I use a lot of product to try to keep my frizz to a minimum. Thanks for posting these!
Even if I had the extra money to spend on expensive hair products, I prefer to stick with my favorite: Suave!
I have been using this for like two weeks? It works so well and has my hair shiny and smooth!
I love Suave products. I've never tried this line before, but I'll be it's awesome.
I've used Suave forever. I love their products. I'll have to try this Luxe line.
We love Suave products at my house. I've never tried this particular line. I'll have to give it a shot.
I use Suave Professional products all the time. Now I need to head to the store and find this line. Thanks for the heads up!
My daughter would enjoy the curl one. She is always searching for something to help her deal with her curls.
I need something to help smooth away frizz. This will be the next product on my list to try! Perhaps the curls one will help add a little control to my daughter's mess of curly hair!
Suave is a great product line. My daughter loves all the styling products.
These all look like such wonderful products. I'm going to have to give them a test run and see which ones I like!
Love how affordable it is! Great product.
I love Suave products because they are affordable and really make my hair full of body and smell so good. This is a great new line at Target.
Looks like a good product. It might be time for me to get out of my military haircut and habit of using body wash on my hair and actually get some style!


text:
From editorial acceptance to publication.
Back to Journals » Drug Design, Development and Therapy » Volume 13
Effect Of Bevacizumab On Growth Of Human Nasal Polyposis In Vitro; An Off-Label Use Of Anti-Angiogenic Agent For Nasal Polyposis Treatment
Authors Nemati S, Keihanian F, Saeidinia A, Bakhshaei M
Received 19 June 2019
Accepted for publication 11 September 2019
Published 24 September 2019 Volume 2019:13 Pages 3383—3389
DOI https://doi.org/10.2147/DDDT.S219724
Editor who approved publication: Dr Anastasios Lymperopoulos
Shadman Nemati,1 Faeze Keihanian,2,3 Amin Saeidinia,4,5 Mahdi Bakhshaei6
1Rhino-sinus, Ear, and Skull Base Diseases Research Center, Guilan University of Medical Sciences, Rasht, Iran; 2Cardiology Department, Imam Reza & Ghaem Hospital, Faculty of Medicine, Mashhad University of Medical Sciences, Mashhad, Iran; 3Pharmaceutical Research Division, Booali Research Center, Mashhad University of Medical Sciences, Mashhad, Iran; 4Faculty of Medicine, Guilan University of Medical Sciences, Rasht, Iran; 5Pharmaceutical Research Division, Booali Research Center, Mashhad University of Medical Sciences, Mashhad, Iran; 6Faculty of Medicine, Ear, Nose and Throat Department, Mashhad University of Medical Sciences, Mashhad, Iran
Correspondence: Amin Saeidinia
Faculty of Medicine, Mashhad University Complex, Azadi Square, Mashhad 9177948564, Iran
Tel +98 511 9119451607
Email saeidiniaa971@mums.ac.ir
Introduction: Nasal polyposis (NP) is a frequent problem during adulthood. Treatment of NP is primarily based on drugs, such as oral or topical steroids and in some types, by surgery. Despite of available therapeutic options for NP, recurrence after polypectomy is found. Vascular endothelial growth factor (VEGF) is a known factor involved in NP. Bevacizumab is a monoclonal antibody, which acts against VEGF.
Aim: Regarding the availability of bevacizumab and its use in ophthalmic off-label application, in this study, we hypothesized that it could be a choice of non-invasive treatment. The researchers aimed at evaluating the use of bevacizumab in vitro on the growth of NP.
Materials and methods: In this experimental study, the researchers used eight non-allergic NP tissues from patients admitted for polypectomy clinic of Imam Reza Hospital, Mashhad. Tissues were cultured in DMEM medium based on standard protocols in the presence or absence of bevacizumab (10 to 250 μM) then incubated. The mean of the responses was reported. The level of VEGF and MTT test for NP epithelial cell viability were determined for each group. Data were analyzed using the SPSS software.
Results: The researchers demonstrated that bevacizumab leads to a decrease in the level of VEGF (the most common cause of angiogenesis in NP) in media culture of NP, dose-dependently (P<0.001). The highest mean was related to the 10-μM group and the least mean was related to the 250-μM group. In MTT test after 5 days, it was shown that the percentage of viable epithelial NP cells (due to apoptosis) was decreased dose-dependently and could lead to resolving NP tissue (P<0.001), significantly.
Conclusion: This study showed that bevacizumab could help decrease the growth of NP tissue dose-dependently in organ culture in vitro by inhibiting VEGF. It seems that bevacizumab could be a good candidate for the treatment of non-allergic NP.
Keywords: nasal polyposis, non-allergic polyps, bevacizumab, Avastin, in vitro study


Sen. Menendez On Efforts To Raise Oil Liability Cap Robert Siegel talks to New Jersey Sen. Robert Menendez about his efforts to raise the liability cap on oil spills -- from $75 million to $10 billion. The draft law would not only affect future spills, but past spills as well -- including the BP spill in the Gulf.
Robert Siegel talks to New Jersey Sen. Robert Menendez about his efforts to raise the liability cap on oil spills — from $75 million to $10 billion. The draft law would not only affect future spills, but past spills as well — including the BP spill in the Gulf.
Ever since Congress passed the Oil Pollution Act of 1990, there's been a cap on liability for drilling accidents: $75 million. And that means that while BP would be required to pay for the cleanup, it would not necessarily have to pay 100 cents on the dollar to all the businesses and property owners who might win lawsuits claiming that they were damaged by the spill - that amount is capped.
There's a move in Congress to raise the cap from $75 million to $10 billion. New Jersey Senator Robert Menendez, a Democrat, is one of the leaders of that effort. Welcome to the program. And, first, are you proposing, Senator Menendez, that the cap be lifted to apply to this oil spill? Or would you assume that BP operated under the old law and they enjoy the protection of the old law?
Senator ROBERT MENENDEZ (Democrat, New Jersey): Well, I am proposing that we change the law and it actually would encompass this particular incident, although not unique to BP. And we have a history of being able to do that under the Super Fund Law, which was a law that was created to cleanup toxic waste sites. That law came into effect and actually encompassed all those who had polluted sites in the country and became responsible parties. That law was litigated and it still stands today.
Senator MENENDEZ: I certainly dont believe so. The fact that we've raised the cap, I think, would still sustain itself as it relates to this incident.
SIEGEL: Raising a cap from $75 million to $10 billion is more than just a quantitative adjustment. Can you explain what is fundamentally different about the thinking that went into the cap back in 1990 and your thinking today?
Senator MENENDEZ: Well, obviously the nature of deepwater drilling has changed. I mean, we are going greater and greater into the ocean floor. The risks are greater and greater. And so, you know, we also look at the reality that the consequences of the damages to commercial fishermen, coastal communities and tourism, and a whole host of other entities, are obviously in dollar terms much more significant than originally when the law was passed.
And lastly, when BP made $5.6 billion in the first three months of this year in profits, I think those companies can sustain a larger liability cap. And it also is a way of disciplining companies to think about what they do, so that we dont have a spill in the first place.
SIEGEL: Senator Menendez, I'd just like you to respond to what the Senate Republican leader, Mitch McConnell, said yesterday about this when he was asked about it on "Meet the Press." He said: The danger, of course - Im quoting now, "is if you raise the cap too high there will be no competition in the Gulf, and you will leave all the business to big guys, like BP."
Senator MENENDEZ: Well, you know, at some point there are a lot of smaller companies than BP, but they're not mom and pop companies as we would think of a mom and pop store on Main Street. Several of these independent operators are, you know, $40 billion in net worth. And lastly, the question begs the issue as a public policy, just because we want smaller operators to be able to operate, if they create the same risk would we simply say that the liability should now become that of the public and of all of the Gulf State residents, and of the federal government, because they're smaller?
I think you have to think about what is not just the upside, but you have to think of the downside. And you can't privatize profit but then collectivize risk.
SIEGEL: Are you prepared to go well, to carry this one step farther? Which is to say those who drill should be on the hook for the huge potential damages they might inflict, and we should all be prepared to pay more for gasoline at the pump because inevitably theyll pass that cost onto us?
Senator MENENDEZ: First of all, it presumes that we have spills. And hopefully, you know, my goal, number one, is I oppose offshore drilling, certainly in areas of the country like along my home state of New Jersey. And we need to be moving more progressively toward renewable energy sources like wind, solar, biomass and other energy sources that can change our energy paradigm and not have us go after the addiction of oil and the consequences that flow from it.
SIEGEL: Well, Senator Menendez, thank you very much for talking with us today.
SIEGEL: Thats New Jersey Democratic Senator Robert Menendez, one of the sponsors in the Senate of raising the cap on liability for oil drilling accidents from $75 million to $10 billion.


text:
Neon naege banhaesseo (coréen : 넌 내게 반했어, titre international :  ; littéralement : You've Fallen for Me, connu auparavant sous le nom de You're into Me), est une série télévisée sud-coréenne pour adolescents.

Informations générales
En anglais, la série était auparavant connue sous deux noms, Festival et You're into Me, puis elle a été rebaptisée You've Fallen for Me, titre qui est à l'origine la traduction anglaise de la version originale. Les fans ont pu donner des idées et voter sur ce sujet, et le , le drama a finalement obtenu son titre définitif anglophone, Heartstrings.

Les deux acteurs principaux, Jung Yong Hwa et Park Shin-hye, ont été choisis grâce à leur présence dans la série télévisée You're Beautiful en 2009.

Synopsis
L'histoire se déroule dans une université à Séoul.

Lee Shin est un étudiant spécialisé dans le rock alternatif. Il est aussi le chanteur et guitariste du groupe The Stupid. Shin est populaire grâce à son physique, sa personnalité effrontée, et sa forte passion pour la musique. Tout le monde l'imagine comme une personne froide, mais il est en fait un homme doux à l'intérieur. Il n'a ni rêve, ni plan pour l'avenir. Il est amoureux de Jung Yoon Soo, un professeur de danse à l'université, mais lorsqu'il rencontre Lee Gyu Won, tout change.

Lee Gyu Won est une élève brillante née dans une famille prestigieuse et est spécialisée en musique traditionnelle coréenne, elle joue particulièrement bien du gayageum. Son grand-père, Lee Dong Gun, est l'un des trois meilleurs musiciens de musique traditionnelle et son plus grand souhait est de voir sa petite fille devenir une prodige de cette musique. Essayant de répondre aux attentes de son grand-père, Gyu Won s'immerge dans la pratique et devient étudiante universitaire. Comme ses amies sont fans de The Stupid, elle est forcée d'aller au concert du groupe avec elles. Elle y rencontre Lee Shin, et à la suite d'une dispute sur leur divergence musicale, un pari est lancé. Le groupe The Stupid et le groupe de Gyu-won doivent s'affronter sur scène, le gagnant est celui qui récoltera le plus de votes, et le perdant devra être l'esclave de l'autre. La perdante étant le groupe de Gyu-won, celle-ci doit donc être l'esclave de Lee Shin pendant un mois. Gyu Won développe des sentiments amoureux à l'égard de Lee Shin, mais ceux-ci ne sont pas réciproques. Lorsque ce dernier, après avoir été rejeté par Jung Yoon Soo, passe enfin à travers, il commence à développer des sentiments pour Gyu Won.

En parallèle nous avons l'histoire d'amour de Yeo Joon Hee, garçon timide et maladroit toujours affamé et surnommé « le fou », qui est le batteur du groupe The Stupid. Pendant une journée, il rencontre l'étudiante Han Hee Joo, très douée en danse, dont il a le coup de foudre, et la surnomme « sa Natasha ». Cependant, Han Hee Joo est une fille effrontée qui n'en fait qu'à sa tête. Au début, elle est froide avec toutes les personnes qui l'entourent, mais au fur et à mesure grâce à Yeo Joon Hee, elle change et devient plus sympathique.

Distribution

Plus :
 Kim Yoon Hye; Han Hee Joo
 Lee Jung Hun ; Im Tae Joon
 Jung Kyung Ho ; Goo Jung Eun
 Jang Seo Won ; Lee Soo Myung
 Shin Goo ; Lee Dong Jin
 Sun Woo Jae Duk ; Lee Sun Ki
 Lee Il Hwa ; Song Ji Young
Moon Ga-young ; Lee Jung Hyun
 Oh Won Bin ; Guitariste de The Stupid
 Song Sehyun ; Guitariste de The Stupid

SoundTrack

Diffusion internationale
  MBC
  MBC America
  All TV
  ABS-CBN ( au )
  Fuji TV ()
  Indosiar

  Videoland Drama
  TVB
  (2013)

Voir aussi

Sources

Références

Liens externes
  Site officiel

Drama coréen
Série télévisée créée en 2011
Série télévisée sud-coréenne des années 2010
Série télévisée humoristique
Série télévisée de comédie dramatique
Série télévisée de comédie romantique
Série télévisée en coréen
Série télévisée musicale
Série télévisée de Munhwa Broadcasting Corporation
Série télévisée sur l'enseignement supérieur


Comments: This outstanding example of a 2018 Subaru Legacy Premium is offered by Kendall Subaru.
You don't have to sacrifice style or comfort with this fuel-efficient Subaru Legacy. Enjoy driving? Well now you will get more thrills behind the wheel thanks to the heightened performance of AWD. Better handling. Better traction. Better driving experience.


I'm back - did I mention that already?
Okay, I'm done being annoyed. So I'm back to a lot of things.
Back to Cakes Wakesy (he made me a surprise birthday cake yesterday, which people on Instagram seem to love - what is with Nigerians and food, or is it cakes?).
Back to work (*le sigh) but thank God for a job that doesn't make me cringe or cry.
Almost back to my fitness routine (once I overcome jet lag).
Back to playing Candy Crush - not like I ever stopped (yeah, I lied about breaking up with CC). In fact, I downloaded Candy Crush Soda too, so wa'eva!
Back to you guys cos I luh you like dat!
But most importantly, I'm back to crushing on Nollywood actor, JOSEPH BENJAMIN! Do you guys know how fine he is?! Like, seriously! He's the real definition of tall, dark and handsome :D I got distracted for a second by the Igbo boys (Flavour and Phyno), but it's time to go back to my roots, as he was the first Nigerian actor that caused butterflies in my tummy. Where is this coming from, you ask? Desperate Housewives Africa (I saw a few minutes of the first episode, and JB walked in and I lost my breath for a second).
P.S. Please don't tell Cakes about the last paragraph.
P.P.S. Cakes, if you've read this, please have selective amnesia and forget the last paragraph. I love you more than cake and ice cream, and a tiny bit more than ripe boli and fish.
Welcome back. Best wishes with everything!
Lool! But for real, Joseph Benjamin is fine sha..
Must be so nice having a husband that bakes :'). Welcome back!
As in FOINE! I couldn't stop smiling the day I met him!
Free cakes at my fingertips is fun for my taste buds; not so much for my waist line!
Welcome back Berry - your birthday cake is lovely.
Just Googled Anthony Monjaro... no thanks. You can keep him.
Your last line made me laugh....i had once told someone I loved him a lil bit more than bole and fish too.
LOOOOOOOOOOOOOOOOOOOL @ not knowing when you're coming back. They can be sweet sha, so it's okay.
Welcome back Berry! That cake is beautiful.
You missed me jo - I wasn't fully present. And nooooooo, Joseph Benjamin is mine! Until I find a new boyfriend.
Welcome back. I want part of that cake o.
Welcome back berry! Your cake is super beautiful!!
Happy belated birthday!!! Uuurrrrmmm fyi You can't share my crush......... he is all mine sorry Berry none of him for you!
Happy belated birthday,madam d madam. Welcome back.


I did, however, love finding a real live postcard from the fabulous Allison in my mailbox today. From Scotland, nonetheless!
I do love postcards. You get pictures of places you have only dreamed of, you get those crazy foreign stamps, and because the message is open to scrutiny from the entire world, you usually get some pithy and succinct message from your pal. What's not to love?
Thanks Al, you da bomb!
And in the you guys are faaaassssttt category - all the pre-sale Radiohead tickets that went on sale this morning for the 8 southern USA dates were sold out by the time I got home from work today. Don't fear though, you can still get your groove on watching the lads do their groove thing, because the general ticket sales don't start till Saturday. I wouldn't doddle though.
I've gotta go canoodle me some chocolate now.
I didn't get any chocolate today.
Finally, a legitimate reason to use that line. Although, I really think that "cracking myself up" is quite legitimate.
You better look me up if you go to any of those shows down here. I mean it.
I think you now own that line, Beckeye. Makes me feel like sending you a gift basket, with some critical items missing, of course.
The combination of the chance to meet the fabulous Dr M and see the most important band in the world is an almost irresistable draw to pull me down to the southern US, Dr M. Sadly, not this year.
I'm glad it reached you, and how quickly!!
I wonder if they're playing in Mn?
Damn, Barbara. You could have met Dr. Monkey AND me!
Mmmmm ... good MP3s are more Godiva than the chocolates in my world.
I keep hearing rumors that My Bloody Valentine is reuniting and will be touring.
I celebrated VD by watching my DVR'd American Idol with the little typists. All we could think about was how Drunky would be celebrating VD.
BTW, Drunky is BeckEye's term of endearment for Paula Abdul - it is forever seared into my headspace.
Well it was a hell of a clever and sassy postcard, Al, but yeah reading it in front of the sender is awfully ballsy.
I guess you'll just have to take it as a compliment?
Not MN, Just A, but they are playing Chicago, Cleveland and Indianapolis. Indianapolis? Hell, the spousal unit does business there, I should see if he could arrange a trip.
We are planning to travel to either Vancouver, Seattle or Toronto to see them.
I have heard the same thing, Beth, and although I always have mixed feelings about band reunions, I am pretty curious about MBV.
I wish I was independently wealthy so that I could traipse around after my band and visit all my favourite bloggies, because you know I'd be knocking on your door.
Me too, Gifted Typist! In fact the first time, Beckeye used the name Drunky I thought I had died and gone to heaven! It's not quite enough to make me watch AI, but I sure do enjoy her recaps.
I was shocked when I first saw the cd at Starbucks, Justrun. All I could think about was Thom ripping pages out of his copy of No Logo.
The cd is worth caving to the pressure though.
Hope you had a great Valentine's day Barb. Postcards rock, YAY Allison! I used to have a wall full of them from friends, but they got lost in a move.
Drunky is BeckEye's term of endearment for Paula Abdul! That's good.
It's weird to hear artists like Hem and Radiohead and Wilco in a Starbucks. I'm not sure I like it.
I was there over Christmas with my brother and we heard James Taylor's new album. My brother's review, "He took a lot of really great songs, slowed them down and managed to turn them into something truly boring."
I'll have to send you a good cheesy postcard, Mel, so you can restart your collection.
It makes me feel pretty ookie, too, Toccata. For me it all started with seeing the Decemberists at Starbucks, but Radiohead was what most unnerved me. Although I guess if I can drink coffee there, they should be free to sell their cds there.
Drunky is pretty much the best nickname ever!
I buy my own chocolate for Valentine's Day. And every day for that matter.
Excellent, Deb! It's nice to know you can count on some things - like chocolate consumption.