1. We have the BEST roads in Laos making transit far easier than the rest of the country and self guided tours on mountain bikes and motorbikes much more user friendly; think flat, well paved, wide roads…not rock strewn, cratered, dusty and uncomfortable dirt lanes (except in tiny villages).
2. We have the most accessible National Park in Laos , which is called the Nam Ha NPA = National Protected Area ( also abbreviated to NBCA = National Biodiversity Conservation Area) with a huge range of genuine, highly regulated eco-tourism adventure activities and cultural immersion experiences to be had. The Nam Ha NPA is one of the top 200 important eco-regions of the world with tropical rainforests in the valleys and cooler montane forests higher up making for staggering biodiversity of plants birds, insects and animals. The most interesting of which are the clouded leopard, tiger and leopard.
3. The people are so nice! The nicest and kindest people in Laos. This is partly because of the ethnic diversity creating a culture of tolerance, but also because local attitudes are so laid back, westerners get treated the same as local people!
Luang Namtha has the nicest people in Laos!
4. The climate is fantastic with perpetual cool nights and sunny days, because of the altitude (700m above sea level) it never gets too hot for comfort like southern parts of Laos.
5. Luang Namtha is a natural travel crossroads between Thailand (180km away), China (50km away), Myanmar (130km away) and Vietnam (the city of Dien Bien Phu is 280km from Luang Namtha), this makes overland travel (the best way to see Southeast Asia) the logical choice.
6. Luang Namtha has the best and most varied Lao food, and is famous for its quality and huge variety. More species of jungle fruits, nuts, roots, seeds and vegetables than you can shake a stick at, combined with delicious dishes from different ethnic tribes and the most lush growing conditions. Luang Namtha even has access to cold climate (as well as tropical) fruits and veggies like apple, pear, broccoli, cauliflower and potato all year round.
The blend of culture and nature in Luang Namtha makes the food the best in Laos!
7. Close proximity to Thailand and the brand new friendship bridge, make overland traveling from Chiang Mai and Chiang Rai to Luang Namtha (and south) much faster and more comfortable than ever.
8. One of the cheapest provinces in Laos. Most accommodation in town is 80,000 kip per night for a decent room with free water and WiFi, local food can very cheap from the night market and even award winning pizzas, salads and pastas from Bamboo Lounge Training Restaurant are much cheaper than they would be in Luang Prabang and Vientiane.
9. The most ethnically diverse province. There are over 19 different minority tribes in this province making it the most ethnically diverse part of Southeast Asia! Go and explore these villages, the people will be very happy to meet you. And walking through a village and being interested about the culture and their way of life is empowering to them and teaches them the importance of preserving their culture.
10. Chilled out atmosphere, lots of traveler interaction. Most people go to Luang Namtha to join groups for eco-tours, but when you're not in the jungle, Luang Namtha is a great and scenic spot to chill for a while and meet some new friends if you want to.
11. Fastest internet in Laos; especially at Forest Retreat Laos! The proximity to China and Thailand and good infrastructure make for some of the fastest connections in Laos. Sweet!
12. Beautiful mountain and rice paddy scenery. The best place to see this is to head north out of town 2km, hang a right at the roundabout and cross the bridge, travel about 5km up this straight, flat, well-paved road and after you pass Thong Dee village (Ban Thong Dee) start looking for a good chill out hut on your right in the 30 square km "park" of rice paddies, completed with its own Eco-system! Walk out through the rice and witness an amazing sunset over 6 layers of mountains in every direction!
Close to town, yet one of the most serene places I have ever been.
13. Get immersed into local tribes village life, Luang Namtha is the best place in Laos to base yourself then go and visit these tribes and experience different cultures and ways of life. Our record is 7 different ethnic tribes on 1 day on motorbike! In a small range of distance you will come across many different tribes living in separate villages, very cool to experience.
14. There are so many different eco-tourism tour options, all highly regulated by the local government using Luang Namtha's award winning eco-tourism model. You can do: trekking, kayaking, cycling, rafting, motorbiking, cultural immersion experiences, fishing, cooking, homestays, forest retreats… Forest Retreat Laos is the only and most awarded eco-tourism company (other providers are agencies) who gives the most back to the local community and takes people deep into the Nam Ha NPA for amazing experiences.
15. Amazing friends you will make when you do an eco-tourism tour in Luang Namtha. Nothing gets strangers bonding and makes fast friends like trekking around in the jungle for a few days! Many lasting friendships have been forged in the wilds of Luang Namtha…especially when topped off by a few cocktails when the group returns.
We hope you liked our reasons why Luang Namtha is so great, why dont you come and check it out for yourself!


text:
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redpajama_set_name: RedPajamaCommonCrawl


text:
Toni Musulin, né le  à Saint-Martin-d'Hères, est un convoyeur de fonds français condamné en 2010 pour avoir dérobé  d'euros à bord de son fourgon à Lyon. Condamné à trois ans de prison ferme pour vol simple sans violence, les magistrats lui imputeront également deux années supplémentaires pour une escroquerie à l'assurance concernant une Ferrari qu'il s'était acheté avant son détournement de fonds.

Biographie

Le père de Toni Musulin, Vinko Musulin, est un électricien croate ayant émigré en France en 1965 à vingt-deux ans. Toni Musulin naît à Saint-Martin-d'Hères mais grandit, avec son frère et sa sœur, à Seynod, après que sa famille y eut emménagé peu de temps après sa naissance.

Arrivé à l'âge adulte, il exerce la profession d'électricien comme son père, puis devient convoyeur de fonds chez Loomis à la fin des années 1990, entreprise dans laquelle il travaille pendant dix ans, jusqu'à l'affaire du détournement de fonds. Sa mère, d'origine serbe, est divorcée à cette époque et vit en Nouvelle-Calédonie avec sa fille Laurène.

Entre-temps, Toni Musulin crée une SCI (SCI Jacquemart) par laquelle il devient propriétaire d'un immeuble au 16 rue Jacquemart à Romans-sur-Isère dans la Drôme. Le rez-de-chaussée est loué à une commerçante.

Peu avant le vol, il vide tous ses comptes bancaires, qui comptent à ce moment environ .

Il a trente-neuf ans quand éclate l'affaire du détournement de fonds.

Affaire du détournement de fonds

Le  à 10 heures du matin à Lyon, alors que son convoi a effectué un chargement à la Banque de France et poursuit sa tournée avant de rejoindre le centre fort de Loomis. Toni Musulin, resté seul au volant de son fourgon, démarre et disparaît, laissant ses deux collègues sur place au siège d'une société où ils doivent se faire remettre plusieurs sacs contenant une nouvelle collecte de monnaie. Le fourgon est retrouvé vide, garé les portes ouvertes dans une zone industrielle, par la police qui annonce un vol s'élevant à 11,6 millions d'euros en billets neufs non répertoriés et dont les numéros n'ont pas été relevés, ce qui représente 37 sacs thermo-soudés et 11 cartons de coupures de 500, 50 et 5 euros. Les enquêteurs découvrent deux jours plus tard environ 9,1 millions d'euros dans un box souterrain loué sous une fausse identité par le convoyeur lyonnais, mais le propriétaire a reconnu la photo de son locataire dans un journal. Toni Musulin n'a en effet pas eu le temps de cacher tous ces billets dans un mur à double fond qu'il avait érigé au préalable dans ce box souterrain. Interpol émet rapidement une « notice bleue », mais pas de mandat d'arrêt.

L'affaire est dès son départ très médiatisée et Toni Musulin, en fuite, fait l'objet de nombreux commentaires sur Internet : des internautes lui consacrent une dizaine de sites internet et de groupes Facebook en le présentant comme un , face aux banques qu'ils jugent responsables de la crise financière.

Les enquêteurs découvrent également que Toni Musulin s'est rendu dans un commissariat de police, seulement deux jours avant le vol, pour porter plainte. Dans sa déposition, le convoyeur signale l'incendie d'un véhicule — un Renault Kangoo — qu'il a loué quelques jours plus tôt, au sein d'une agence de location CarGo, à Villeurbanne. Respectueux des règles, le convoyeur se déplace plusieurs fois à l'agence pour fournir les pièces nécessaires et le constat d'accident. Il suit également les recommandations de l'agence qui lui conseille de déposer plainte. Il se rend donc par deux fois au commissariat. En remplacement du Kangoo endommagé, CarGo lui met à disposition un second véhicule. C'est dans ce véhicule que seront retrouvés les 9,1 millions d'euros.

Toni Musulin se rend à la police monégasque le , puis est remis à la justice française le lendemain. Lors de ses auditions, il reconnaît le détournement, mais nie avoir gardé les 2,5 millions d'euros manquants. L'instruction est close en janvier 2010.

Entre-temps, les avocats de Toni Musulin déposent plusieurs demandes de remise en liberté, toutes rejetées.

Le , il est condamné en première instance à trois ans de prison ferme pour vol simple sans violence par le tribunal correctionnel de Lyon. Le procureur, Marc Désert, fait appel et le , les magistrats lui imputent également une escroquerie à l'assurance pour une fausse déclaration de vol concernant une Ferrari qu'il s'était acheté avant son détournement de fonds. Sa peine est, de ce fait, alourdie à cinq ans de prison ferme, cinq ans d'interdiction d'exercer sa profession, cinq ans de privation de ses droits civiques, civils et de famille et  d'amende pour, selon les dires du procureur, qu'il ne profite pas dans la tranquillité des .

Incarcéré, il est placé à l'isolement, pour ne pas subir la pression des codétenus cherchant à savoir où sont passés les 2,5 millions d'euros manquants. Son pourvoi en cassation contre sa condamnation à cinq ans de prison ferme est rejeté le .

Entre-temps, Toni Musulin est condamné le  par le tribunal de grande instance de Lyon, à verser  euros de dommages et intérêts à son ancien employeur, la société de transport de fonds Loomis.

Ayant bénéficié d'une remise de peine pour bonne conduite, il sort de la prison de la Santé de Paris le , en toute discrétion, après avoir purgé quatre ans.

Arrestation à Londres
Le , il est arrêté à Londres et placé en garde à vue alors qu'il tentait de changer la somme de 50 000€ en liquide dans un bureau de change avant d'être relâché deux jours plus tard.

Adaptation cinématographique

Un téléfilm inspiré de l'affaire Musulin, 1, 2, 3, voleurs, est réalisé par Gilles Mimouni en 2011.

Une adaptation cinématographique de l'affaire sort en France le . Intitulé 11.6, le film met en scène François Cluzet dans le rôle de Toni Musulin.

Notes et références

Bibliographie

 Alice Geraud-Arfi, Toni 11.6 - Histoire du convoyeur, Éd. Stock, 2011

Voir aussi

Article connexe
 Détournement de fonds

Personnalité condamnée pour vol
Naissance en juin 1970
Naissance à Saint-Martin-d'Hères
Personnalité française condamnée pour crime
Prisonnier à la prison de la Santé

redpajama_set_name: RedPajamaWikipedia


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We are Cold Espresso, a blockchain and altcoin tech startup founded by high school and university students who are passionate about using blockchain technology to change how the world works.
We are backed by KAIST Center for Creative Entrepreneurs (CCE), an organization ran by KAIST, one of South Korea's leading tech universities.
If you are a developer, you can contribute by either joining as a Developer Member or as an external developer through pull requests. Even if you are not a developer, you can still apply as a Normal Member, who can assist us with design and overall operations.
We are looking for developers who can help us out with our commercial product development, which provides us funding to run the Foundation. Although we cannot pay you for this currently for this job(our entire team is also working without payments), if you were looking for a hobby or a part-time project this might be a great bet. Developers who participated in the development process of our commercial product as part of our team will receive a token coin (based on the blockchain, of course), however, as a certificate of joining the product development. Then we will pay you when we receive seed funding according to the amount written on the token. For example, if you have a token that says '15%', you will receive 15% of our seed investment money after our initial funding, even after you left the company.
You can apply for both jobs using the comment section below or emailing us at shhong@initinvent.com. Thank you!


Hertz Real Estate Services in Nevada, IA, proudly announces that agent Kyle Hansen, ALC, will serve on the REALTORS® Land Institute Board of Directors as 2019 National President-Elect. Kyle will serve on the RLI National Board of Directors as a part of their Executive Committee alongside 2019 President Jeramy Stephens, ALC, of Stuttgart, AR, with National Land Realty and recently-elected 2019 Vice President Renee Harvey, ALC, from Paris, TX, with Century 21 Harvey Properties.
The 2018 version of the fall harvest season is continuing across the State of Iowa. A more complete accounting of yield results will soon be reported. Despite widespread early season struggles, as we approached fall harvest, expectations were high for prospective yields totals. Time will tell if pre-harvest expectations were met, or not, and the answer to that question will likely to show up to impact the land market this season.
The conclusion of the 2018 growing season is rapidly approaching, and harvest operations are officially beginning in the central Corn Belt. Like many years, there has been a good deal of variation in weather across the state of Iowa during 2018, and the various weather patterns have impacted growing conditions. Many areas have enjoyed a generally smooth growing season, with adequate moisture throughout the spring and summer (central and east central).
An update on our new hires as well as recognition of our Hertz professionals who earned awards and accreditations.


text:
4: Practice
Reading List for Seminar 4
Amīn, Khālid; Laamiri, Mohammed (Eds.) (2010) Performing cultural diversity;Critiquing postcolonialism. 1st ed. Tetouan: Universite Abdelmalek Essaadi, Faculty of Letters and Humanities, Research Group of Performance Studies (Series: Conderences and colloquia). (recommended by Lisa Gaupp)
Appignanesi, R., (2012) Thoughts on Cultural Diversity, Contemporaneity andGlobalisation. In: Changing Perspectives. Dealing with Globalisation in thePresentation and Collection of Contemporary Art, ed. by M. ter Horst, 86-90.Amsterdam: KIT Publishers. (recommended by Lisa Gaupp)
Bhabha, Homi K. (2004) The location of culture, London: Routledge (recommended by Gudrun Wallenböck)
Brault, Simon/Loft ,Steven (2017) Choosing change and reconciliation in the arts
https://beta.theglobeandmail.com/opinion/choosing-change-and-reconciliation-in-the-arts/article36201909/?ref=http://www.theglobeandmail.com& (recommended by Ruhi Jhunjhunwala and Amy Walker)
Butler, J. (2010) Performative Agency. Journal of Cultural Economy, 3 (2), 147–161 (recommended by Mafalda Damaso)
Defourmantelle, A. (2000) Of hospitality – Anne Defourmantelle invites Jacques Derrida to respond, USA: Stanford, California, Stanford University Press. (recommended by Mihai Florea)
Deleuze, G. (2004) Desert Islands and Other texts, USA: Los Angeles, New York, Semiotext(e). (recommended by Mihai Florea)
Charles Dorn (2004) The Deterritorialization of Art, The Journal of Arts Management, Law, and Society, 34:2, 141-150. (Recommended by Lisa Gaupp)
Essig, Linda (2014) Arts Incubators: A Typology https://www.researchgate.net/publication/265383776_Arts_Incubators_A_Typology (recommended by Kristin Cheung)
Fischer-Lichte, Erika / Jost, Torsten / Jain, Saskya Iris (Eds.) (2014) The Politics ofInterweaving Performance Cultures. Beyond Postcolonialism. Routledge New York /London. (recommended by Lisa Gaupp)
Flusser, V. (2002) Writings; Stohl, Andreas (ed.), USA: Minneapolis, University of Minnesota Press. (recommended by Mihai Florea)
Gaupp, Lisa (2016) Die exotisierte Stadt – Kulturpolitik und Musikvermittlung im postmigrantischen Prozess. Hildesheim: Universitatsverlag Hildesheim/Hildesheim,Zurich, New York: Georg Olms Verlag (Center for World Music – Studies in Music; Bd.1). Open Access Download: https://hildok.bszbw.de/frontdoor/index/index/docId/547 (recommended by Lisa Gaupp)
Gielen, Pascal (2010) The Art Institution in a Globalizing World, The Journal of Arts Management, Law, and Society, 40:4, 279-296. (recommended by Lisa Gaupp)
Glissant, Eduard (2005) Kultur und Identität, Heidelberg: Das Wunderhorn, Heidelberg (Original: Eduard Glissant: "Introduction á une poétique du divers".) (recommended by Gudrun Wallenböck)
Glissant E. (2010) Poetics of Relation. Ann Arbor: University of Michigan Press. (recommended by Mafalda Damaso)
Guattari, F. (2006) The Anti-Oedipus Papers, USA: Los Angeles, New York, Semiotext(e). (recommended by Mihai Florea)
Hampel, Annika (2017): Fair Cooperation? Partnership-based Cooperation in Cultural Policy & Cultural Management, in: Dragićević Šešić, Milena (ed.), Global Culture: Arts, Festivals and Geopolitics, Ministry of Culture Republic of Serbia & University of Arts, Belgrade, 2017, pp. 89 -107. (recommended by Raphaela Henze)
Henze, Raphaela (2017): Why we have to overcome paternalism in times of populism, in: Dragićević Šešić, Milena (ed.), Global Culture: Arts, Festivals and Geopolitics, Ministry of Culture Republic of Serbia & University of Arts, Belgrade, 2017, pp. 73 – 88. (recommended by Raphaela Henze)
Henze, Raphaela (2016), Einführung in das Internationale Kulturmanagement, Springer VS, Wiesbaden. (recommended by Raphaela Henze)
Hesmondhalgh, D. & Saha, A (2013) "Race, Ethnicity, and Cultural Production", Popular Communication, 11(3), pp179-195.
Tehran / Vienna / Lahore / Islamabad, 2016, hinterland, Vienna. (recommended by Gudrun Wallenböck)
hinterland (2016) Being Kurdish", Vienna, 2015, hinterland, Vienna. (recommended by Gudrun Wallenböck)
Julien, François (2016) Il n'y a pas d'identité culturelle, L'Herne, Paris. (recommended by Karsten Xuereb and Mafalda Damaso)
Kaasila-Pakanen, A. L. (2015). A Postcolonial Deconstruction of Diversity Management and Multiculturalism. The Oxford Handbook of Diversity in Organizations, 175.(Recommended by Lisa Gaupp)
Knüsel, Pius (2014) A slippery slope – state, the arts and international reconciliation, in: Exporting Culture – Which role for Europe in a Global World?
Raphaela Henze/Gernot Wolfram (eds.), Springer VS, Wiesbaden, pp. 97 – 109. (recommended by Raphaela Henze)
Lind, Maria (Ed.) (2012) Performing the Curatorial. Within and Beyond Art. SternbergPress: Berlin. (recommended by Lisa Gaupp)
Malik, S. (2013). "Creative Diversity": UK Public Service Broadcasting after Multiculturalism. Popular Communication, 11(3), 227-241.(Recommended by Victoria Durrer)
Mattocks, K. (2017, forthcoming) 'Uniting the nations of Europe? Exploring the European Union's cultural policy agenda'. In Durrer, V., Miller, T., O'Brien, D (eds.). The Routledge Handbook of Global Cultural Policy. London: Routledge, 397–413 (recommended by Mafalda Damaso)
Mitchell, Jon P. (2002) Ambivalent Europeans. Ritual, Memory and the Public Sphere in Malta, London: Routledge, London. (recommended by Karsten Xuereb)
Modood, Tariq (2017): Intercultural Public Intellectual Engagement, in: Mansouri, Fethi (ed.), Interculturalism at the Crossroads. Comparative Perspectives on Concepts, Policies and Practices, UNESCO 2017, Paris, France, pp. 83 – 102. (recommended by Raphaela Henze)
Monitoring and Advisory Panel (2017) Valletta European Capital of Culture 2018: Second Monitoring Meeting, Brussels. (recommended by Karsten Xuereb)
O'Brien, Dave/Kim, Allen/Sam Friedman/Anamik Saha (2017): Producing and Consuming Inequality: A Cultural Sociology of the Cultural Industries, Cultural Sociology 2017, Vol. 11(3) 271– 282. (recommended by Anamik Saha)
Obrist Hans Ulrich (2008) "A brief history of curating, Zurich: JRP Ringier Kunstverlag, Zurich http://www.on-curating.org (recommended by Gudrun Wallenböck)
Proctor, L. M. (2014). English and globalization in India: The fractal nature of discourse. Journal of Linguistic Anthropology, 24(3), 294-314.
Saha, Anamik (2013) 'Curry Tales': The production of 'race' and ethnicity in cultural industries, http://journals.sagepub.com/doi/abs/10.1177/1468796813487829 (recommended by Anamik Saha)
Rösler, B. (2015) "The case of Asialink's arts residency program: towards a critical cosmopolitan approach to cultural diplomacy", International Journal of Cultural Policy, 21(4), pp463-477. (Recommended by Victoria Durrer)
Rowntree, J., Neal, L., and Fenton, R. (2010) International Cultural Leadership: Reflections, Competencies and Interviews, London: Cultural Leadership Programme.
Available at: http://creativeconomy.britishcouncil.org/media/uploads/files/International_Cultural_Leadership_report.pdf [Accessed: 11 February 2016] (Recommended by Victoria Durrer)
Said, Edward (2003) Orientalism, London: Penguin Classics. (recommended by Gudrun Wallenböck)
Sauvagnargues, A. (2016) Artmachines: Deleuze, Guattari, Simondon, UK: Edinburgh, University of Edinburgh Press. (recommended by Mihai Florea)
Smith et al. (Eds.) (2008) Antinomies of Art and Culture. Modernity, Postmodernity,Contemporanity, Durham/London: Duke University Press
Von Bismarck, Beatrice/Schafaff, Jorn/Weski, Thomas (Eds.) 2012: Cultures of the Curatorial. Sternberg Press: Berlin. (recommended by Lisa Gaupp)
Stein, T. (2000) Creating Opportunities for People of Color in Performing Arts Management, The Journal of Arts Management, Law, and Society, 29:4, 304-31.
Tolia-Kelly, D. P. (2016). Feeling and Being at the (Postcolonial) Museum: Presencing the Affective Politics of 'Race'and Culture. Sociology, 50(5), 896-912.(recommended by Lisa Gaupp)
Vertovec, S. (Ed.). (2014). Routledge international handbook of diversity studies. Routledge.(Recommended by Lisa Gaupp)
Xuereb, Karsten (2016) 'Can nation branding be a successful tool for the practice of public diplomacy? A Maltese case study', Place Branding and Public Diplomacy https://doi.org/10.1057/pb.2016.7 (recommended by Karsten Xuereb)
More Online Sources:
About the Global Cultural Leadership Programme: (recommended by Ruhi Jhunjhunwala and Amy Walker)
European Commission's Joint Communication to the European Parliament and the Council: Towards an EU strategy for international cultural relations: (recommended by Ruhi Jhunjhunwala and Amy Walker)
British Council, Our Strategy for the Arts (recommended by Ruhi Jhunjhunwala and Amy Walker)
Background on India's Cultural Policy: (recommended by Ruhi Jhunjhunwala and Amy Walker)
"Canada Council for the Arts confronts cultural appropriation in 'post-Truth and Reconciliation era'" – a news article giving more context on the above:
(recommended by Ruhi Jhunjhunwala and Amy Walker)
Artnet – Where Social Media Sensation Kimberly Drew Sees the Art World in 10 Years (recommended by Kristin Cheung)
Huffington Post – Five Macro Trends That Arts Organizations Need to Watch Tomorrow's Leaders Need Opportunities for Development and Growth (recommended by Kristin Cheung)
LinkedIn Launches An Incubator To Turn Employees Into Entrepreneurs (recommended Kristin Cheung)
New Yorker – Art of Protest; The Met's social-media manager, Kimberly Drew, on the evolution of her popular blog, Black Contemporary Art.(recommended by Kristin Cheung)
Teen Vogue – The Met's Social Media Manager Kimberly Drew on Black Contemporary Art, Public Speaking, and More (recommended by Kristin Cheung)


An art exhibit displaying outfits recreated from stories told by sexual assault survivors of what they were wearing at the time of their assaults. The exhibit asks participants to understand that it was never about the clothing, and the act of shedding those clothes is never enough to bring peace or comfort to survivors. Participants need to simply stop by the exhibit for a few minutes and swipe in for attendance.
Don't forget to bring your mobile devices with your event pass and MT ID cards to each event.


text:
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Cappadocia_Turkey_Hot_Air_Ballon
Cappadocia Turkey Travel Guide gives you handy information on the city and the area and interesting things you can do in and around, like organised tours and vacation packages.
The region known as Cappadocia includes the centres of Ürgüp, Göreme, Avanos, Üçhisar, Derinkuyu, Kaymaklı and Ihlara. It is a stunning area of rock formations, subterranean churches and underground dwellings, the scale of which is overwhelming. The area is also famous for its carpet-weaving, wines and the distinctive red pottery of the Avanos area. Cappadocia was a refuge for the early Christians, who escaped persecution by living and worshipping underground. There are an estimated 3000 rock churches in this region, not all of which are open to the public
The village of Göreme itself is at the heart of the area's tourist industry, and many of its villagers still live in cave dwellings, some of which have been converted into pensions. Surrounding the area are the amazing rock formations known evocatively as Peri Bacaları or 'Fairy Chimneys'.
Located to the west of Niğde, is the stunning Ihlara Valley, a gorge which is 10 km long and some 80 metres wide. Popular for trekking, about 12 of its 60 churches are open to the public including the impressive Eğritas Church.
There are hundreds of underground cities in the region. Two of the most impressive are Kaymaklı, which has 8 levels, and Derinkuyu, which reaches down to 55 metres. They were used by the Christians fleeing persecution in the 7th century, who created a self-sufficient environment underground including bedrooms, kitchens and storage rooms.
Uçhisar The splendid scene of the town of Uçhisar, seven kilometres from Nevsehir has an appeal that is irresistible. From the heights of the Uçhisar citadel, you have a magnificent and unrivalled view of the whole region.
Göreme Göreme and its environs, located ten kilometres from Nevsehir, are thought to have been used as a necropolis during Roman times by the inhabitants of Venessa (Avanos). The Göreme region is often referred to as the "belief centre". The Göreme Open-Air Museum is where the "educational system that unified all the ideas of Christianity" of St. Basil the Great and his brothers, was born. In the Tokalı church, the Convent of Monks and Nuns, the Chapel of St. Basil, and the Elmalı, Yılanlı, Karanlık, and Çarıklı churches, the architectural details and frescoes seem as alive today as when they were when they were new.
Ürgüp Ürgüp, near Göreme, is a famous city with wines, as its historical places and natural beauties. Whether your wine is served to you in a rustic earthenware pitcher or an elegant crystal goblet, it will be an experience that you'll never forget. Although some local winemakers have adopted modern techniques of wine-making, there are still many that remain faithful to the ancient and time-proven methods.
Mustafapasa Six kilometres south of Ürgüp is Mustafapasa (Sinasos), a town justifiably famous for its splendid stone works. The Chapel of St Basil is decorated with motifs reflecting the Iconoclastic system of thought. In Avanos, located 18 kilometres from Nevsehir, there is a tradition of pottery-making that has been alive since Hittite times.
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The most important sport in the area is the hot air balloon.
The Hattis, followed by the Hittites, Phrygians, Persians, Romans, Byzantines, Seljuks, and Ottomans were all enchanted by the allure of Cappadocia and left the imprint of their own presence here including important trade routes, such as the illustrious Silk Road which traversed east, west, north and south. As a result of this heavy traffic, the region was a complex web of historical and cultural influences.
Cappadocia was the place where different faiths and philosophies met and influenced one another. Frescoed churches and dwellings carved into the cliffs extend from Ihlara Valley, which is 40 km from Aksaray, and as far as 14 km to the town of Selime. Some of these structures can be dated back to as early as the 4th century A.D. Among the many sights worth seeing are the Eğrita#1;, Ağaç Altı, Kokar, Yılanlı, Pürenli, Kırkdamaltı, Ala, Direkli, the Kale Manastırı churches, and the Selime Cathedral.
Because of its location, Cappadocia was an extremely critical and strategic region. As Cappadocia's trade and resources were tempting prizes, the region was frequently invaded, raided, and looted. To protect themselves from such depredations, the local inhabitants took to living in the region's caverns and grottos whose entrances could be concealed, so as not to be noticed by trouble-making outsiders. Since it might have been necessary to lie low for extended periods of time, these troglodytic dwellings eventually became subterranean cities that included sources of water, places to store food, wineries, and temples. Some of them date back to before the Christian era.
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Cappadocia Classical Greece all together. In 15 days you have the opportunity to visit the most important places of Greece and Turkey with visits to Athens, the Classical Greece 4 days tour, Istanbul, the Cappadocia area, ancient Ephesus and Izmir.
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The original christmas songs
Find album reviews, stream songs, credits and award information for The Original Christmas Classics [Classic Media/Genius CD/DVD] - Various Artists on AllMusic - 2007 The Top 20 Christmas Songs You Never Get Sick Of. I'll Be Home for Christmas While the original Bing Crosby recording captures the heartbreaking daydreams of a GI in World War II, this song.
Amazon. com: The Original Christmas Classics. Jimmy Durante narrates this Christmas story that is based on the song of the same name. To make up for the fact that. Find album reviews, stream songs, credits and award information for The Original Christmas Classics [Classic Media/Genius CD/DVD] - Various Artists on AllMusic - 2007 Mix - Dean Martin - Let it Snow! YouTube; BRENDA LEE - Rockin' Around the Christmas Tree (1960).
3 Hours of Christmas Music Classics and Holiday Scenery - Duration: 3: 02: 59. THIS SITE IS DEDICATED TO ORIGINAL CHRISTMAS SONGS WRITTEN and PERFORMED by artists all over the world. Check out our Facebook page at: i do not claim the song or pictures as my own: I posted this version because I could'nt find the orginal Donny Hathaway myself.
Merry Christmas, Enjoy! Copyr. pure and simply you -a christmas song by bat mcgrath (read blog for info) category: music pure and simply you is a beautiful christmas story written by bat that really touches the heart. BACK TO BETHLEHEM - JOE DOYLE This category is for all completely original songs by The Chipmunks and/or The Chipettes.
Most Viewed The following pages are the most viewed in this category. The best" original" Christmas songs that aren't on this list are" Christmas Is a Time to Say I Love You" by Billy Squire, " Christmas Wrapping" by the Waitress and" Last Christmas" by Wham/George Michael. " The Chipmunk Song (Christmas Don't Be Late)" is an original (all versions) song sung by The Chipmunks. The original version was released as a single in 1958 and 1968 while the 2007 version was released in 2007 as a single.
Being Jewish, songwriter Johnny Marks didn't celebrate Christmas, but in the '40s and '50s he wrote some of the greatest Christmas songs of all time. Among them are 'Rudolph, The Red-Nosed Reindeer', 'I Heard The Bells of Christmas Day', and this – an easy-on-the-ear rock 'n' roll tune sung by a 13-year-old Brenda Lee, which really needs no introduction. " This Christmas" was released as a single in 1970, where it saw little success, charting only once on any of Billboard magazine's weekly published music charts.
Find album reviews, stream songs, credits and award information for Original Christmas Album - Various Artists on AllMusic - 2007 The Christmas Song is a classic Christmas song written in 1945 by Bob Wells and Mel Tormé. According to Tormé, the song was written during a blistering hot. The following is a list of popular Christmas songs recorded by various artists, many of which.
. The song's original title was the longer" (Christmas Ain't Christmas New Year's Ain't New Year's) Without the One You Love". Reissued by the. This is a list of Christmas carols organized by country, language or culture of origin. Originally. . " Ere zij The original christmas songsDutch original (often confused with" Eer zij God in onze/deze dagen" ), 1857, First print in Isaac Bikkers, Het nachtegaaltje - rendered.
Dec 24, 2015. For this playlist I've picked out 50 classic Christmas songs that you'll hear every year. Each one has passed the test of time and show no sign of.
Christmas Time Is Here (1965) - Vince Guaraldi Trio 32. I Saw Mommy Kissing Santa Claus (1952) - Jimmy Boyd 33. Happy Holiday (1956) - Jackie Gleason 34. Christmas Time's A-Comin' (1951) - Bill Monroe and his Blue Grass Boys 35. I'll Be Home For Christmas (1957) - Frank Sinatra 36. Silent Night, Holy Night (1941, 1962) - Mahalia Jackson 37. The Sad Story Behind 'White Christmas, ' America's Favorite Christmas Carol.
The web version of this story has been updated with information about the original recordings of the song. Tags.
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There are few things in family law (or law in general) as certain a child support. Generally speaking, if you have a child, and that child lives with another person around 40% of the time or more, you must pay child support. The amount you must pay is usually set in a table based on your income and the number of children you are paying for. (As long as all those children live together–if not, things may be slightly more complicated).
If you end up in front of a judge, you will almost certainly be ordered to pay child support if the above is true. If you are negotiating with the other parent of your child, you can make an agreement about child support that differs from the normal "table amount" but if the agreement isn't fair and doesn't properly care for the child, a judge may change the agreement if he or she is ever asked to.
In Ontario, the obligation to pay child support comes from both the Divorce Act and the Ontario Family Law Act. If you are or were married to the other parent of your child, the Divorce Act and the Ontario FLA will apply to you. Even if you were never married, the Ontario FLA will apply.
Both these laws say the same thing: if either you or the other parent of your child asks a judge, the judge can make an order for one of you to pay child support. Practically speaking, you can bet that a judge will make that order.
In BC, the obligation to pay child support comes again from the Divorce Act and the BC Family Law Act. The Divorce Act works the same in BC as it does in Ontario and it still only applies to people who are or were married. The BC FLA is extremely similar to the Ontario FLA and the Divorce Act. The only real difference is that the BC FLA talks about guardians of children (which usually but not always means the child's parents) and it allows a few other people to make applications for child support.
As I said above, the amount of child support you pay is based on a table. The only things that matter are how many children are in question and what your income is. The other parent's income does not matter (unless he or she also has to pay you child support–see below).
If you earn over $150,000 per year, the amount you must pay may be different from what the tables say. If your income is $155,000 per year, don't get your hopes up. If it's significantly above $150,000, and if your situation is complicated, you may have an argument to pay something different than the normal Guidelines amount. Those cases are the exception though–if you think they apply to you, you should talk to a lawyer.
The tables vary a bit from province to province, because each province has the right to create their own Child Support Guidelines, including their own support tables.
The Guideline tables are updated occasionally. They have been updated twice since they came into force on May 1, 1997: first on May 1, 2006 and again on December 31, 2011.
The amount of child support a person pays differs slightly between Ontario and BC, but not enough to worry about. For example, with two children, and an income of $100,000 per year, in Ontario you must pay $1,416 per month. In BC, you must pay $1,478 per month.
Generally, you use the table for the province that the payor lives in. If the payor lives outside of Canada, you use the table that the recipient lives in. If both parents live outside of Canada, you use the Federal Tables.
Above I said if your child lives with another person about 40% of the time or more, you must pay child support. But what if your child lives 50% with you and 50% with the other parent?
In that case, you owe each other child support. Rather than both of you sending money to the other, though, almost all parents arrange for the parent who owes the higher amount to just pay difference.
So if you earn $100,000 and the other parent earns $40,000 (for example), you live in Ontario, and you have two children that live equally with both of you, then presumably you would pay $1,416 – $579 = $837 per month.
Note, though, that calculating how much time a child "lives with" each parent is not as straightforward as you might imagine. People get into creative arguments about that issue.
Even though child support is support owed to a child, almost always, the support is paid to the other person (usually the other parent) that the child lives with. This irritates some people because they really dislike their children's other parent–regardless, it's a bad idea to unilaterally pay support directly to your child instead of to your child's parent. Child support is supposed to pay for basic needs like clothes, food and shelter. Those are things the other parent pays for.
It's a good idea to always keep some record for any child support you pay. You might need it to prove you paid later.
Ontario and BC both have government organizations that collect and forward support payments from payors to recipients. In Ontario, this organization is called the Family Responsibility Office (or "FRO") and in BC it is called the Family Maintenance Enforcement Program (or "FMEP"). Other provinces have similar organizations.
There is no charge to use the services of the FRO or FMEP. Either the recipient or the payor can register. Once one of them registers, all payments should be made directly to the organization that the party registered with.
Assuming payments are made, FRO or FMEP will keep a record, and forward the entire payment directly on to the recipient.
If the payor misses payments, the FRO or FMEP will take care of all enforcement proceedings, so the recipient doesn't need to waste time and money chasing the payor for support.
In some very rare cases, a person may convince a judge that he or she should pay less than the table amount of child support because of an "undue hardship" to the payor. If you think you have an argument to pay less than the Guidelines amount, you should talk to a lawyer. And don't get your hopes up–judges want children to receive child support, the rules about undue hardship claims are reasonably strict and judges are very reluctant to lower child support below the table amount.
If the information on this site doesn't answer your question, you can book a free, no obligation consultation in Toronto about your divorce and family law rights in Ontario and BC.


text:
#ifndef _PICTURESTR_H_
#define _PICTURESTR_H_

#include "scrnintstr.h"
#include "glyphstr.h"
#include "resource.h"
#include "privates.h"

typedef struct _DirectFormat {
    CARD16	    red, redMask;
    CARD16	    green, greenMask;
    CARD16	    blue, blueMask;
    CARD16	    alpha, alphaMask;
} DirectFormatRec;

typedef struct _IndexFormat {
    VisualID	    vid;
    ColormapPtr	    pColormap;
    int		    nvalues;
    xIndexValue	    *pValues;
    void	    *devPrivate;
} IndexFormatRec;

typedef struct _PictFormat {
    CARD32	    id;
    CARD32	    format;	    /* except bpp */
    unsigned char   type;
    unsigned char   depth;
    DirectFormatRec direct;
    IndexFormatRec  index;
} PictFormatRec;

typedef struct pixman_vector PictVector, *PictVectorPtr;
typedef struct pixman_transform PictTransform, *PictTransformPtr;

#define pict_f_vector pixman_f_vector
#define pict_f_transform pixman_f_transform

#define PICT_GRADIENT_STOPTABLE_SIZE 1024
#define SourcePictTypeSolidFill 0
#define SourcePictTypeLinear 1
#define SourcePictTypeRadial 2
#define SourcePictTypeConical 3

typedef struct _PictSolidFill {
    unsigned int type;
    CARD32 color;
} PictSolidFill, *PictSolidFillPtr;

typedef struct _PictGradientStop {
    xFixed x;
    xRenderColor color;
} PictGradientStop, *PictGradientStopPtr;

typedef struct _PictGradient {
    unsigned int type;
    int nstops;
    PictGradientStopPtr stops;
} PictGradient, *PictGradientPtr;

typedef struct _PictLinearGradient {
    unsigned int type;
    int nstops;
    PictGradientStopPtr stops;
    xPointFixed p1;
    xPointFixed p2;
} PictLinearGradient, *PictLinearGradientPtr;

typedef struct _PictCircle {
    xFixed x;
    xFixed y;
    xFixed radius;
} PictCircle, *PictCirclePtr;

typedef struct _PictRadialGradient {
    unsigned int type;
    int nstops;
    PictGradientStopPtr stops;
    PictCircle c1;
    PictCircle c2;
} PictRadialGradient, *PictRadialGradientPtr;

typedef struct _PictConicalGradient {
    unsigned int type;
    int nstops;
    PictGradientStopPtr stops;
    xPointFixed center;
    xFixed angle;
} PictConicalGradient, *PictConicalGradientPtr;

typedef union _SourcePict {
    unsigned int type;
    PictSolidFill solidFill;
    PictGradient gradient;
    PictLinearGradient linear;
    PictRadialGradient radial;
    PictConicalGradient conical;
} SourcePict, *SourcePictPtr;

typedef struct _Picture {
    DrawablePtr	    pDrawable;
    PictFormatPtr   pFormat;
    PictFormatShort format;	    /* PICT_FORMAT */
    int		    refcnt;
    CARD32	    id;
    unsigned int    repeat : 1;
    unsigned int    graphicsExposures : 1;
    unsigned int    subWindowMode : 1;
    unsigned int    polyEdge : 1;
    unsigned int    polyMode : 1;
    unsigned int    freeCompClip : 1;
    unsigned int    clientClipType : 2;
    unsigned int    componentAlpha : 1;
    unsigned int    repeatType : 2;
    unsigned int    filter : 3;
    unsigned int    stateChanges : CPLastBit;
    unsigned int    unused : 18 - CPLastBit;

    PicturePtr	    pNext;	    /* chain on same drawable */

    PicturePtr	    alphaMap;
    DDXPointRec	    alphaOrigin;

    DDXPointRec	    clipOrigin;
    pointer	    clientClip;

    unsigned long   serialNumber;

    RegionPtr	    pCompositeClip;

    PrivateRec	    *devPrivates;

    PictTransform   *transform;

    SourcePictPtr   pSourcePict;
    xFixed	    *filter_params;
    int		    filter_nparams;
} PictureRec;

typedef Bool (*PictFilterValidateParamsProcPtr) (ScreenPtr pScreen, int id,
						 xFixed *params, int nparams,
						 int *width, int *height);
typedef struct {
    char			    *name;
    int				    id;
    PictFilterValidateParamsProcPtr ValidateParams;
    int				    width, height;
} PictFilterRec, *PictFilterPtr;

#define PictFilterNearest	0
#define PictFilterBilinear	1

#define PictFilterFast		2
#define PictFilterGood		3
#define PictFilterBest		4

#define PictFilterConvolution	5
/* if you add an 8th filter, expand the filter bitfield above */

typedef struct {
    char	    *alias;
    int		    alias_id;
    int		    filter_id;
} PictFilterAliasRec, *PictFilterAliasPtr;

typedef int	(*CreatePictureProcPtr)	    (PicturePtr pPicture);
typedef void	(*DestroyPictureProcPtr)    (PicturePtr pPicture);
typedef int	(*ChangePictureClipProcPtr) (PicturePtr	pPicture,
					     int	clipType,
					     pointer    value,
					     int	n);
typedef void	(*DestroyPictureClipProcPtr)(PicturePtr	pPicture);

typedef int	(*ChangePictureTransformProcPtr)    (PicturePtr	    pPicture,
						     PictTransform  *transform);

typedef int	(*ChangePictureFilterProcPtr)	(PicturePtr	pPicture,
						 int		filter,
						 xFixed		*params,
						 int		nparams);

typedef void	(*DestroyPictureFilterProcPtr)	(PicturePtr pPicture);

typedef void	(*ChangePictureProcPtr)	    (PicturePtr pPicture,
					     Mask	mask);
typedef void	(*ValidatePictureProcPtr)    (PicturePtr pPicture,
					     Mask       mask);
typedef void	(*CompositeProcPtr)	    (CARD8	op,
					     PicturePtr pSrc,
					     PicturePtr pMask,
					     PicturePtr pDst,
					     INT16	xSrc,
					     INT16	ySrc,
					     INT16	xMask,
					     INT16	yMask,
					     INT16	xDst,
					     INT16	yDst,
					     CARD16	width,
					     CARD16	height);

typedef void	(*GlyphsProcPtr)	    (CARD8      op,
					     PicturePtr pSrc,
					     PicturePtr pDst,
					     PictFormatPtr  maskFormat,
					     INT16      xSrc,
					     INT16      ySrc,
					     int	nlists,
					     GlyphListPtr   lists,
					     GlyphPtr	*glyphs);

typedef void	(*CompositeRectsProcPtr)    (CARD8	    op,
					     PicturePtr	    pDst,
					     xRenderColor   *color,
					     int	    nRect,
					     xRectangle	    *rects);

typedef void	(*RasterizeTrapezoidProcPtr)(PicturePtr	    pMask,
					     xTrapezoid	    *trap,
					     int	    x_off,
					     int	    y_off);

typedef void	(*TrapezoidsProcPtr)	    (CARD8	    op,
					     PicturePtr	    pSrc,
					     PicturePtr	    pDst,
					     PictFormatPtr  maskFormat,
					     INT16	    xSrc,
					     INT16	    ySrc,
					     int	    ntrap,
					     xTrapezoid	    *traps);

typedef void	(*TrianglesProcPtr)	    (CARD8	    op,
					     PicturePtr	    pSrc,
					     PicturePtr	    pDst,
					     PictFormatPtr  maskFormat,
					     INT16	    xSrc,
					     INT16	    ySrc,
					     int	    ntri,
					     xTriangle	    *tris);

typedef Bool	(*InitIndexedProcPtr)	    (ScreenPtr	    pScreen,
					     PictFormatPtr  pFormat);

typedef void	(*CloseIndexedProcPtr)	    (ScreenPtr	    pScreen,
					     PictFormatPtr  pFormat);

typedef void	(*UpdateIndexedProcPtr)	    (ScreenPtr	    pScreen,
					     PictFormatPtr  pFormat,
					     int	    ndef,
					     xColorItem	    *pdef);

typedef void	(*AddTrapsProcPtr)	    (PicturePtr	    pPicture,
					     INT16	    xOff,
					     INT16	    yOff,
					     int	    ntrap,
					     xTrap	    *traps);

typedef void	(*AddTrianglesProcPtr)	    (PicturePtr	    pPicture,
					     INT16	    xOff,
					     INT16	    yOff,
					     int	    ntri,
					     xTriangle	    *tris);

typedef Bool	(*RealizeGlyphProcPtr)	    (ScreenPtr	    pScreen,
					     GlyphPtr	    glyph);

typedef void	(*UnrealizeGlyphProcPtr)    (ScreenPtr	    pScreen,
					     GlyphPtr	    glyph);

typedef struct _PictureScreen {
    PictFormatPtr		formats;
    PictFormatPtr		fallback;
    int				nformats;

    CreatePictureProcPtr	CreatePicture;
    DestroyPictureProcPtr	DestroyPicture;
    ChangePictureClipProcPtr	ChangePictureClip;
    DestroyPictureClipProcPtr	DestroyPictureClip;

    ChangePictureProcPtr	ChangePicture;
    ValidatePictureProcPtr	ValidatePicture;

    CompositeProcPtr		Composite;
    GlyphsProcPtr		Glyphs; /* unused */
    CompositeRectsProcPtr	CompositeRects;

    DestroyWindowProcPtr	DestroyWindow;
    CloseScreenProcPtr		CloseScreen;

    StoreColorsProcPtr		StoreColors;

    InitIndexedProcPtr		InitIndexed;
    CloseIndexedProcPtr		CloseIndexed;
    UpdateIndexedProcPtr	UpdateIndexed;

    int				subpixel;

    PictFilterPtr		filters;
    int				nfilters;
    PictFilterAliasPtr		filterAliases;
    int				nfilterAliases;

    /**
     * Called immediately after a picture's transform is changed through the
     * SetPictureTransform request.  Not called for source-only pictures.
     */
    ChangePictureTransformProcPtr   ChangePictureTransform;

    /**
     * Called immediately after a picture's transform is changed through the
     * SetPictureFilter request.  Not called for source-only pictures.
     */
    ChangePictureFilterProcPtr	ChangePictureFilter;

    DestroyPictureFilterProcPtr	DestroyPictureFilter;

    TrapezoidsProcPtr		Trapezoids;
    TrianglesProcPtr		Triangles;

    RasterizeTrapezoidProcPtr	RasterizeTrapezoid;

    AddTrianglesProcPtr		AddTriangles;

    AddTrapsProcPtr		AddTraps;

    RealizeGlyphProcPtr   	RealizeGlyph;
    UnrealizeGlyphProcPtr 	UnrealizeGlyph;

} PictureScreenRec, *PictureScreenPtr;

extern _X_EXPORT DevPrivateKeyRec PictureScreenPrivateKeyRec;
#define PictureScreenPrivateKey (&PictureScreenPrivateKeyRec)

extern _X_EXPORT DevPrivateKeyRec PictureWindowPrivateKeyRec;
#define	PictureWindowPrivateKey (&PictureWindowPrivateKeyRec)

extern _X_EXPORT RESTYPE	PictureType;
extern _X_EXPORT RESTYPE	PictFormatType;
extern _X_EXPORT RESTYPE	GlyphSetType;

#define GetPictureScreen(s) ((PictureScreenPtr)dixLookupPrivate(&(s)->devPrivates, PictureScreenPrivateKey))
#define GetPictureScreenIfSet(s) (dixPrivateKeyRegistered(PictureScreenPrivateKey) ? GetPictureScreen(s) : NULL)
#define SetPictureScreen(s,p) dixSetPrivate(&(s)->devPrivates, PictureScreenPrivateKey, p)
#define GetPictureWindow(w) ((PicturePtr)dixLookupPrivate(&(w)->devPrivates, PictureWindowPrivateKey))
#define SetPictureWindow(w,p) dixSetPrivate(&(w)->devPrivates, PictureWindowPrivateKey, p)

#define VERIFY_PICTURE(pPicture, pid, client, mode) {\
    int rc = dixLookupResourceByType((pointer)&(pPicture), pid,\
	                             PictureType, client, mode);\
    if (rc != Success)\
	return rc;\
}

#define VERIFY_ALPHA(pPicture, pid, client, mode) {\
    if (pid == None) \
	pPicture = 0; \
    else { \
	VERIFY_PICTURE(pPicture, pid, client, mode); \
    } \
} \

extern _X_EXPORT Bool
PictureDestroyWindow (WindowPtr pWindow);

extern _X_EXPORT Bool
PictureCloseScreen (int Index, ScreenPtr pScreen);

extern _X_EXPORT void
PictureStoreColors (ColormapPtr pColormap, int ndef, xColorItem *pdef);

extern _X_EXPORT Bool
PictureInitIndexedFormat (ScreenPtr pScreen, PictFormatPtr format);

extern _X_EXPORT Bool
PictureSetSubpixelOrder (ScreenPtr pScreen, int subpixel);

extern _X_EXPORT int
PictureGetSubpixelOrder (ScreenPtr pScreen);

extern _X_EXPORT PictFormatPtr
PictureCreateDefaultFormats (ScreenPtr pScreen, int *nformatp);

extern _X_EXPORT PictFormatPtr
PictureMatchVisual (ScreenPtr pScreen, int depth, VisualPtr pVisual);

extern _X_EXPORT PictFormatPtr
PictureMatchFormat (ScreenPtr pScreen, int depth, CARD32 format);

extern _X_EXPORT Bool
PictureInit (ScreenPtr pScreen, PictFormatPtr formats, int nformats);

extern _X_EXPORT int
PictureGetFilterId (char *filter, int len, Bool makeit);

extern _X_EXPORT char *
PictureGetFilterName (int id);

extern _X_EXPORT int
PictureAddFilter (ScreenPtr			    pScreen,
		  char				    *filter,
		  PictFilterValidateParamsProcPtr   ValidateParams,
		  int				    width,
		  int				    height);

extern _X_EXPORT Bool
PictureSetFilterAlias (ScreenPtr pScreen, char *filter, char *alias);

extern _X_EXPORT Bool
PictureSetDefaultFilters (ScreenPtr pScreen);

extern _X_EXPORT void
PictureResetFilters (ScreenPtr pScreen);

extern _X_EXPORT PictFilterPtr
PictureFindFilter (ScreenPtr pScreen, char *name, int len);

extern _X_EXPORT int
SetPicturePictFilter (PicturePtr pPicture, PictFilterPtr pFilter,
		      xFixed *params, int nparams);

extern _X_EXPORT int
SetPictureFilter (PicturePtr pPicture, char *name, int len,
		  xFixed *params, int nparams);

extern _X_EXPORT Bool
PictureFinishInit (void);

extern _X_EXPORT void
SetPictureToDefaults (PicturePtr pPicture);

extern _X_EXPORT PicturePtr
CreatePicture (Picture		pid,
	       DrawablePtr	pDrawable,
	       PictFormatPtr	pFormat,
	       Mask		mask,
	       XID		*list,
	       ClientPtr	client,
	       int		*error);

extern _X_EXPORT int
ChangePicture (PicturePtr	pPicture,
	       Mask		vmask,
	       XID		*vlist,
	       DevUnion		*ulist,
	       ClientPtr	client);

extern _X_EXPORT int
SetPictureClipRects (PicturePtr	pPicture,
		     int	xOrigin,
		     int	yOrigin,
		     int	nRect,
		     xRectangle	*rects);

extern _X_EXPORT int
SetPictureClipRegion (PicturePtr    pPicture,
		      int	    xOrigin,
		      int	    yOrigin,
		      RegionPtr	    pRegion);

extern _X_EXPORT int
SetPictureTransform (PicturePtr	    pPicture,
		     PictTransform  *transform);

extern _X_EXPORT void
CopyPicture (PicturePtr	pSrc,
	     Mask	mask,
	     PicturePtr	pDst);

extern _X_EXPORT void
ValidatePicture(PicturePtr pPicture);

extern _X_EXPORT int
FreePicture (pointer	pPicture,
	     XID	pid);

extern _X_EXPORT int
FreePictFormat (pointer	pPictFormat,
		XID     pid);

extern _X_EXPORT void
CompositePicture (CARD8		op,
		  PicturePtr	pSrc,
		  PicturePtr	pMask,
		  PicturePtr	pDst,
		  INT16		xSrc,
		  INT16		ySrc,
		  INT16		xMask,
		  INT16		yMask,
		  INT16		xDst,
		  INT16		yDst,
		  CARD16	width,
		  CARD16	height);

extern _X_EXPORT void
CompositeGlyphs (CARD8		op,
		 PicturePtr	pSrc,
		 PicturePtr	pDst,
		 PictFormatPtr	maskFormat,
		 INT16		xSrc,
		 INT16		ySrc,
		 int		nlist,
		 GlyphListPtr	lists,
		 GlyphPtr	*glyphs);

extern _X_EXPORT void
CompositeRects (CARD8		op,
		PicturePtr	pDst,
		xRenderColor	*color,
		int		nRect,
		xRectangle      *rects);

extern _X_EXPORT void
CompositeTrapezoids (CARD8	    op,
		     PicturePtr	    pSrc,
		     PicturePtr	    pDst,
		     PictFormatPtr  maskFormat,
		     INT16	    xSrc,
		     INT16	    ySrc,
		     int	    ntrap,
		     xTrapezoid	    *traps);

extern _X_EXPORT void
CompositeTriangles (CARD8	    op,
		    PicturePtr	    pSrc,
		    PicturePtr	    pDst,
		    PictFormatPtr   maskFormat,
		    INT16	    xSrc,
		    INT16	    ySrc,
		    int		    ntriangles,
		    xTriangle	    *triangles);

extern _X_EXPORT void
CompositeTriStrip (CARD8	    op,
		   PicturePtr	    pSrc,
		   PicturePtr	    pDst,
		   PictFormatPtr    maskFormat,
		   INT16	    xSrc,
		   INT16	    ySrc,
		   int		    npoints,
		   xPointFixed	    *points);

extern _X_EXPORT void
CompositeTriFan (CARD8		op,
		 PicturePtr	pSrc,
		 PicturePtr	pDst,
		 PictFormatPtr	maskFormat,
		 INT16		xSrc,
		 INT16		ySrc,
		 int		npoints,
		 xPointFixed	*points);

extern _X_EXPORT void RenderExtensionInit (void);

Bool
AnimCurInit (ScreenPtr pScreen);

int
AnimCursorCreate (CursorPtr *cursors, CARD32 *deltas, int ncursor, CursorPtr *ppCursor, ClientPtr client, XID cid);

extern _X_EXPORT void
AddTraps (PicturePtr	pPicture,
	  INT16		xOff,
	  INT16		yOff,
	  int		ntraps,
	  xTrap		*traps);

extern _X_EXPORT PicturePtr
CreateSolidPicture (Picture pid,
                    xRenderColor *color,
                    int *error);

extern _X_EXPORT PicturePtr
CreateLinearGradientPicture (Picture pid,
                             xPointFixed *p1,
                             xPointFixed *p2,
                             int nStops,
                             xFixed *stops,
                             xRenderColor *colors,
                             int *error);

extern _X_EXPORT PicturePtr
CreateRadialGradientPicture (Picture pid,
                             xPointFixed *inner,
                             xPointFixed *outer,
                             xFixed innerRadius,
                             xFixed outerRadius,
                             int nStops,
                             xFixed *stops,
                             xRenderColor *colors,
                             int *error);

extern _X_EXPORT PicturePtr
CreateConicalGradientPicture (Picture pid,
                              xPointFixed *center,
                              xFixed angle,
                              int nStops,
                              xFixed *stops,
                              xRenderColor *colors,
                              int *error);

#ifdef PANORAMIX
extern _X_EXPORT void PanoramiXRenderInit (void);
extern _X_EXPORT void PanoramiXRenderReset (void);
#endif

/*
 * matrix.c
 */

extern _X_EXPORT void
PictTransform_from_xRenderTransform (PictTransformPtr pict,
				     xRenderTransform *render);

extern _X_EXPORT void
xRenderTransform_from_PictTransform (xRenderTransform *render,
				     PictTransformPtr pict);

extern _X_EXPORT Bool
PictureTransformPoint (PictTransformPtr transform,
		       PictVectorPtr	vector);

extern _X_EXPORT Bool
PictureTransformPoint3d (PictTransformPtr transform,
                         PictVectorPtr	vector);

#endif /* _PICTURESTR_H_ */

redpajama_set_name: RedPajamaGithub


A guide and directory to Boone County Indiana genealogy, containing both online and offline resources for genealogy and historical research. This article contains sources of genealogical data about Boone County such as biographies, cemetery records, census records, church records, court records, family records, land records, military records, naturalization records, and vital records. The vast majority of the material on this page are free to access. If we find a particular set of data that is not free we'll place a $$$ at the end of it to signify it's currently only available on a membership website.
This list contains each cemetery found within Boone County Indiana and the libraries which have records of the actual cemetery transcriptions. Contained with each listing is the exact location of the cemetery in each township. At the end of the list are additional cemeteries whose records can be found within the libraries of Boone County.
This PDF file contains 13,400 + entries from cemetery reading, obituaries and funeral home books.
Digital reproduction of the original records.
The Boone County courthouse caught on fire in 1854 and many of the records up to that time were lost or damaged. See Burned Counties, by Michael John Neill, on tips to get around this issue.
Photographs compiled of different buildings and businesses from Thorntown.
Photographs compiled of the people from Thorntown.


text:
Q: Fire JQuery code on appearance of background image?     <script type="text/javascript">

            jQuery(function ($) {

                $.supersized({

                    // Functionality
                    slide_interval: 5000,       // Length between transitions
                    transition: 1,          // 0-None, 1-Fade, 2-Slide Top, 3-Slide Right, 4-Slide Bottom, 5-Slide Left, 6-Carousel Right, 7-Carousel Left
                    transition_speed: 700,      // Speed of transition

                    // Components
                    slide_links: 'blank',   // Individual links for each slide (Options: false, 'num', 'name', 'blank')
                    slides: [           // Slideshow Images
                                                        { image: 'http://farm9.staticflickr.com/8080/8339311971_cb6706842b_h.jpg', title: 'Image Credit: Maria Kazvan', thumb: 'http://farm9.staticflickr.com/8080/8339311971_cb6706842b_h.jpg', url: 'http://farm9.staticflickr.com/8080/8339311971_cb6706842b_h.jpg' },
                                                        { image: 'http://farm9.staticflickr.com/8345/8208481483_fc6b1bdf7d_h.jpg', title: 'Image Credit: Maria Kazvan', thumb: 'http://farm9.staticflickr.com/8345/8208481483_fc6b1bdf7d_h.jpg', url: 'http://farm9.staticflickr.com/8345/8208481483_fc6b1bdf7d_h.jpg' },
                                                        { image: 'http://farm8.staticflickr.com/7055/6866255833_cf22b71843_b.jpg', title: 'Image Credit: Maria Kazvan', thumb: 'http://farm8.staticflickr.com/7055/6866255833_cf22b71843_b.jpg', url: 'http://farm8.staticflickr.com/7055/6866255833_cf22b71843_b.jpg' },
                                                        { image: 'http://farm9.staticflickr.com/8487/8185988415_62ca8175e9_h.jpg', title: 'Image Credit: Colin Wojno', thumb: 'http://farm9.staticflickr.com/8487/8185988415_62ca8175e9_h.jpg', url: 'http://farm9.staticflickr.com/8487/8185988415_62ca8175e9_h.jpg' },
                                                        { image: 'http://farm9.staticflickr.com/8079/8340357550_397f7e09e3_h.jpg', title: 'Image Credit: Colin Wojno', thumb: 'http://farm9.staticflickr.com/8079/8340357550_397f7e09e3_h.jpg', url: 'http://farm9.staticflickr.com/8079/8340357550_397f7e09e3_h.jpg' },
                                                        { image: 'http://farm9.staticflickr.com/8490/8187033496_cf9587943c_h.jpg', title: 'Image Credit: Colin Wojno', thumb: 'http://farm9.staticflickr.com/8490/8187033496_cf9587943c_h.jpg', url: 'http://farm9.staticflickr.com/8490/8187033496_cf9587943c_h.jpg' },
                                                        { image: 'http://farm7.staticflickr.com/6002/5923622568_46d8e065cc_b.jpg', title: 'Image Credit: Brooke Shaden', thumb: 'http://farm7.staticflickr.com/6002/5923622568_46d8e065cc_b.jpg', url: 'http://farm7.staticflickr.com/6002/5923622568_46d8e065cc_b.jpg' },
                                                        { image: 'http://farm9.staticflickr.com/8502/8339293377_a1574a28be_h.jpg', title: 'Image Credit: Brooke Shaden', thumb: 'http://farm9.staticflickr.com/8502/8339293377_a1574a28be_h.jpg', url: 'http://farm9.staticflickr.com/8502/8339293377_a1574a28be_h.jpg' },
                                                        { image: 'http://farm9.staticflickr.com/8497/8339319687_629c824dc1_h.jpg', title: 'Image Credit: Brooke Shaden', thumb: 'http://farm9.staticflickr.com/8497/8339319687_629c824dc1_h.jpg', url: 'http://farm9.staticflickr.com/8497/8339319687_629c824dc1_h.jpg' }
                    ]

                });
            });

        </script>

<script>

    $(document).ready(function () {
        function loop(){
      $("#p1").delay("1000").fadeIn("slow");
      $("#p2").delay("1000").fadeIn("slow");
      $("#p1").delay("3000").fadeOut("slow");
      $("#p2").delay("3000").fadeOut("slow");
      $("#p3").delay("6000").fadeIn("slow");
      $("#p3").delay("3000").fadeOut("slow");
      $("#p4").delay("12000").fadeIn("slow");
      $("#p4").delay("3000").fadeOut("slow");
      $("#p5").delay("18000").fadeIn("slow");
      $("#p5").delay("3000").fadeOut("slow");
      $("#p6").delay("24000").fadeIn("slow");
      $("#p6").delay("3000").fadeOut("slow");
      $("#p7").delay("30000").fadeIn("slow");
      $("#p7").delay("3000").fadeOut("slow");
      $("#p8").delay("35000").fadeIn("slow");
      $("#p8").delay("3000").fadeOut("slow");
      $("#p9").delay("41000").fadeIn("slow");
      $("#p9").delay("3000").fadeOut("slow");
      $("#p10").delay("46000").fadeIn("slow");
      $("#p10").delay("4084").fadeOut("slow",loop);
        }
        loop();
    });

</script>

Ok dudes, here's the problem. I've got a full background slideshow which I would like to sync up with some text that will appear on screen. As you can see, this text is represented by the 'p' fadeIns. My problem is that my current method for ensuring that the text always appears on the correct background slide is just to delay the last image, which is less than ideal as it goes out of sync. I'd appreciate someone telling me a better way this can be done :D I was thinking we could tell the fadeIn function to activate as soon as the first background image appears on screen, but an unsure how to do this.

A: Ideally you should put the code to fade the text inside the theme's function theme.beforeAnimation(), if you are using the default theme (shutter) check the file supersized.shutter.js and search for 'beforeAnimation : function(direction){'.
Another (ugly) way could be:

*

*Setup the slide show to off

*Use the API to transition the slides 'manually' with the text you want using api.nextslide()
EDIT:
First make sure you are using the template version that is not minified: In the head of your html you will find this:
<script type="text/javascript" src="theme/supersized.shutter.min.js"></script>

replace with:
<script type="text/javascript" src="theme/supersized.shutter.js"></script>

then edit the supersized.shutter.js file and add the follow lines inside the beforeAnimation() function (line 239)
$('[id^="p"]').fadeOut();
$('#p' + (vars.current_slide + 1)).delay(500).fadeIn("slow");

Because I don't know how is your html I am hiding all elements with id that starts with 'p', it is better if you improve this selector $('[id^="p"]').fadeOut();.
That is it.
Hope it helps.

redpajama_set_name: RedPajamaStackExchange


Image Title: Eolia Series Bathroom Accessories Products KOHLER Inside Kohler Ideas 9. Post Title: Kohler Bathroom Accessories. Filename: eolia-series-bathroom-accessories-products-kohler-inside-kohler-ideas-9.jpg. Image Dimension: 760 x 592 pixels. Images Format: jpg/jpeg. Publisher/Author: Lourdes Gusikowski. Uploaded Date: Friday - October 12th. 2018 19:12:21 PM. Category: Architecture. Image Source: contemporist.com. Prepare To Ideas Bathroom 18. Kohler KOHLER Sinks Ritzcaflisch Furniture Regard Accessories Where In I Can 14. Bed Throughout 7. Shower Walk 0. And Plan Regarding Decor Pertaining 11. Brushed Within Sink Designs Architecture Bath With Statewide Beyond Nickel Inside Devonshire Home Remodeling 10. 17. 12. FashionGreat Hardware From Accessory 1. Find 19.


text:
Льви́нки () — род мух-львинок из подсемейства Stratiomyinae.

Внешнее строение
Голова у львинок полушаровидная. Усики довольно длинные. Крылья в покое плоско прикрывают тело. Брюшко значительно шире груди. Личинки веретенообразные, плоские. На заднем конце тела звездообразно расположенные волоски. Живут в воде. Мухи издают звуки трением крыльев в их сочленении с грудью. Из европейских видов наиболее известна львинка обыкновенная (S. chamaeleon), чёрного цвета с серой грудью. Брюшко чёрное с жёлтыми пятнами, ноги красно-жёлтые, крылья светло-буроватые. Длина тела 13—15 мм. Весьма обыкновенный вид, распространённый почти по всей Европе и Сибири.

Классификация
В составе рода около 70 видов, распространённых в Голарктике и Ориентальной области, в том числе в Европейской части России встречаются:

Примечания

Литература

Львинки
Роды двукрылых


Fans of Man Men will be tuning in by the millions this evening to catch the second-to-last season premiere.
The long awaited return of the show has raised high expectations since the last episode of season five aired almost a year ago.
When CBS This Morning: Saturday interviewed the cast and asked the men to describe what to look forward to from their characters this season. Vincent Kartheiser, who plays Pete Campbell, didn't give much away about the upcoming season.
When the cast of Mad Men was asked about what the show has done for their careers, they all accredited the show for success in their careers and how fortunate they have been to be part of it.
Here's the lastest video from AMC leading up to the season 6 Mad Men premiere.


text:
Bournemouth Boss Eddie Howe Named Premier League Manager of the Month for October
Bournemouth boss Eddie Howe has been Premier League Manager of the Month for October after his Cherries team went unbeaten in the four games they played during the month and claimed 10 points from a possible 12.
It is the third time that Howe has been crowned Premier League Manager of the Month in his career to date, having previously won the prestigious prize in January 2018 and March 2017. He beat Pep Guardiola, Maurizio Sarri and Chris Hughton to the award.
Brilliant @afcbournemouth!
Your @BarclaysFooty Manager of the Month for October is Eddie Howe#PLawards pic.twitter.com/tOO6FaReWg
— Premier League (@premierleague) November 9, 2018
Bournemouth started October with back-to-back wins over Crystal Palace and Watford, impressively beating the latter 4-0 away from home. They subsequently drew 0-0 with south coast rivals Southampton, but returning to winning ways to thump Fulham 3-0 to end the month.
Striker Callum Wilson has been a key man and has himself been rewarded with a first senior England call-up this week. Young summer signing David Brooks has also earned plaudits.
"I'm so lucky here to have such a dedicated group of people who work so hard to make sure the players are at the best of their ability. So it is an award for the whole club and I'm very proud of everyone," Howe told PremierLeague.com.
"It's the unity, and not just with the players, but with the staff and with the supporters. I think that link through the club is stronger than ever.
"Now we've got to make sure that we grow that and it's something we pride ourselves on, the atmosphere between people, the family-like feel of the club.
"We've got to make sure we protect that at all costs."
Source : 90min
Source: 90min


Our Volunteers receive benefits knowing they are helping others as well as getting exercise through meal delivery.
Beet'N Boo's wants to be your favorite go to Bistro! They focus on all your favorite Comfort Classic Foods and adding a Fresh, Creative Twist. They're located at: 2496A Enterprise Way, Kelowna.


text:
The Château de Bricquebec is a castle in the Manche département of France.

The castle is listed as a Monument historique since 1840 by the French Ministry of Culture.

See also
List of castles in France

References

External links

Castles in Manche
History of Manche
Ruined castles in Normandy


text:
Biography of William W. Wright
After a long period of intelligent labor in developing and building up the various sections where he has resided, the gentleman whose name appears above is now living a quiet and retired life in Lookout, where he is also giving some attention to the duties of vegetable gardening and handle the business of a notary public. William W. Wright was born in Marion County, Indiana, on May 6, 1839, being the son of Adam and Judith ( Bollibaugh) Wright, natives of North Carolina, as also were their parents. The paternal grandfather of our subject served in the Revolution, died in Marion County aged cue hundred and four in the year 1842. The father of William was a staunch Democrat, active in politics find served for sixteen years as probate judge of Marion County. He died on September 12, 1851, aged fifty-two years. The mother of our subject came from a prominent Dutch family and she died in November 1850, aged fifty. William W. was raised in Indiana until thirteen and then came to Iowa with his brother-in-law, he being his guardian, both parents having died. This gentleman was Thomas Burns and when his ward came of age, a fair estate was delivered to him from the father's property. William remained with Mr. Burns until he was eighteen and then went to do for himself. When twenty-one he settled on the portion left him from his father's estate and later removed to Clarke County and bought land from the proceeds of the sale of the former property. Nineteen years he toiled in Clarke County and in 1882, he came to Idaho and took land near Kendrick. Seventeen years were spent there in its cultivation and he then came to Lookout, where he owns a small tract of timber land and considerable town property. Mr. Wright has one brother, Nathaniel T., with the Capital Mills Company, in San Francisco. Mr. Wright is a zealous and active Republican and has participated in the conventions, both County and state. For twenty years he did service on the school board and has also been a hard worker for good roads in the places where he has resided. Mr. Wright is a member of the Christian Church and holds a life scholarship in the Bible department of the Oskaloosa College in Iowa. This was secured in 1863. He is a highly respected citizen, a man of ability and has won the esteem and approbation of the people who know hint.
Source: An Illustrated History of North Idaho: Embracing Nez Perce, Idaho, Latah, Kootenai and Shoshone counties, state of Idaho; Western Historical Publishing Company, 1903


Tea Lane Caterers, Inc.™ is located in the wooded hills of Chilmark. The 900 square foot commercial kitchen was designed by Chef Dee, based on over 30 years of experience in the food service industry. It is one of the best equipped catering kitchens on the Island.
Dee Smith began her culinary career as a teenager working in restaurants along the Hudson River in New York. She expanded her working knowledge of the business at well known restaurants in Florida and then here, on Martha's Vineyard. In 1983, she graduated from the Culinary Institute of America, in Hyde Park, New York. Chef Dee shifted her focus from the kitchen to the business of food, and was employed over the next ten years by a Hilton Hotel, the Flatley Group of Hotels and Nursing Homes, and by Friendly's Ice Cream Corporation, where she was the SeniorBuyer for five years.
In 1993, Chef Dee opened Dee's Harbor Café, a renowned breakfast and lunch restaurant in Oak Bluffs. In the three years that the Café was open, it earned "Best Breakfast" and "Best Lunch" in the Vineyard Gazette Readers Poll. When her restaurant closed each afternoon, Chef Dee catered special events both at the restaurant and at venues around the Island. In 1997, with the construction of her home and commercial kitchen, Chef Dee began catering full time.
Chef Dee takes great pride in the diversity and quality of the food she prepares. She insists on only the best ingredients, and makes all of her menu items "from scratch" – frozen or pre-packaged items are never used. Chef Dee recognizes the importance of every event for her clients, and takes pleasure in consulting with them to create a memorable event. She insists on, and has complete confidence in, the attentive and professional service of her staff.


This now familiar standard of beginners' magic texts, in which a pencil is broken in half with a blow from a folded dollar bill or bank note, was originally called "Biffo" when it was marketed as an instruction sheet in October 1923 by the Thayer Manufacturing Co. (See The Sphinx, Vol.22 No. 8, Oct. 1923, p. 243.) Thayer did not credit the trick to anyone, so it is reasonable to assume that it was the invention of Floyd Thayer or one of his staff.
"Biffo" quickly moved into the public domain when it appeared in the Jan. 24, 1925 issue of the Brooklyn Daily Eagle, p. 5, in Thurston's syndicated newspaper column of tricks, ghosted by Walter Gibson.


Should You Join a Home Inspection Association?
You may wonder if you should join a home inspection association now that you have passed your home inspector exam and started your own business. What are these associations even about, and how can they help you in your new career or side business?
Home inspection can be an inexact science. Rules vary from state to state, and there are no federal laws that govern the profession. In some states, you don't even need a license to be a home inspector. This casts a pall on the industry because it leaves room for shady characters to set up shop.
Membership in an association can bring you and your home inspection business credibility, which is even more important for those starting out who haven't yet built the trust of the community.
Membership in professional home inspection associations presents you with increased opportunities.
The American Society of Home Inspectors is a nonprofit professional association with three membership categories. The associate category is for new members. They may either be new to the home inspection business, or they might be inspectors still working on meeting ASHI requirements. Members in this category have passed Standard of Practice and Code of Ethics module and agreed to abide by this code. These members must also do 20 hours per year of continuing education.
A step up from the associate category is the inspector category. These members must do everything an associate member has to do, plus pass the National Home Inspector Examination or a state exam that meets with ASHI approval. They must also meet work experience requirements, including having done 75 inspections. Certified inspectors must meet all of the above requirements, but must have completed 250 home inspections instead of only 75.
Any home inspectors taking courses with ICA get a free one-year associate membership in ASHI.
You can see from these stringent requirements that merely being a member of this type of home inspection organization lends you the kind of clout and validation small-business owners need to build a successful company.
As proof of your membership, you are allowed to use the gold ASHI logo on your business cards and marketing materials. In fact, you get access to all the ASHI marketing materials, including home inspection and advertising templates, brochures, magnets and more.
Moreover, you can list your information on the ASHI website, so anyone searching there for a home inspector will be able to find you.
An ASHI logo on your business cards lets clients know that you are a pro!
The National Society of Home Inspectors serves home inspectors, home buyers, and real estate agents. NSHI also has home inspector listings, and it even allows you to create a free website on their server.
With NSHI, you don't just get usage of their logo, but you also get free business cards.
Joining a professional home inspection association gives your business the boost in visibility and validity it needs. To start down the path of a new career in home inspection, check out our classes at ICA and enroll now.
Should You Expand into Commercial Inspections This Year?


With deeply discounted services, classroom technology is more accessible.
It's easier than ever for schools to make technology more accessible to students, thanks to the Universal Service Administrative Company (USAC) and its Schools and Libraries Program, more commonly known as E-rate.
Socket joined the 2011 Missouri Bankers Association Annual Convention Wednesday, June 8 to Friday, June 10 at the Hilton Hotel in Branson, MO. Socket took part in the exhibit hall at the convention, which offered the leaders of Missouri's community banks the latest banking products and services.
On the morning of Saturday, June 11, Socket set up camp for the Moberly Railroad Days. The weather was cloudy, cool and rainy keeping many people at home. However, as the afternoon approached and the sun poked its head out from the clouds, the town of Moberly seemed to burst with excitement.


Roadfly Car Forum & Off Topic Forum Community > Car Forum > BMW Forum > Past BMW Models > BMW Z3 Coupe Forum & M Coupe Forum (E36, E38) > 00 M Coupe available when ?
Just ordered a 00 for end of May or beginning of June.
My dealer claims no knowledge od delivery times for 00 M-Coupes.
One of the dealer's in my area has a 00 Estoril Blue/Black interior (not interested in the monotone interior). I went to the dealer that I usually do business with and ordered a Blue car with the blue/black interior. He managed to get another dealer's allocated car (end of May delivery)- if he didn't get that car, he would have just factory ordered one, which would have taken another month over that. We did a southwest, northeast, widwest search for a car (sunroof and CD)- there are only like 20 or so 00 Mcoupes out there so far (almost all silver)-from what I noticed. You should call another dealer.
a few bucks off- was like $1,950 (or $2,000). You don't live that far from me, I live on Long Island- Smithtown. You should try some dealer's in my neck of the woods.


Get to know this year's most adorable babies from around Central Florida.
The 2019 AdventHealth for Women Cutest Baby Contest was one of our biggest contests yet. We asked you to vote for the cutest babies in Central Florida and you provided a record number of votes. Now meet our top three winners.
What are some of Anabelle's favorite things? She loves her puppies, Stella and Cody, dancing while eating and playing peek a boo with her favorite blanket.
What is Anabelle's most precious moment? Our most precious moment was the day we got to meet our sweet girl. It was a whirlwind of an emotional day, but the second we got to hold her in our arms was the most amazing feeling ever. We will never forget it.
Tell us a cute story. A cute story with Anabelle was the first time that we made her have a good belly laugh. You know, the kind that you yourself can't help but laugh, too. Anabelle had reflux and colic so to be able to hear her have a good laugh made us so happy.
What are some of Victoria's favorite things? Victoria loves "singing" and dancing (especially to "Baby Shark" and "Moana"), waving to everyone, remote controls, cell phones and the dog's water bowl. Basically, anything she isn't allowed to play with.
What is Victoria's most precious moment? Victoria really is such a kind-hearted baby. When she learned to kiss her family, it seemed she always wanted to spread her love equally. For example, if she gave daddy a kiss, she would immediately look to give a kiss for mommy as well. It's almost as if she doesn't want anyone to feel left out.
Tell us a cute story. When Victoria's grandpa was traveling abroad to Israel, he became ill but hadn't notified the family. Somehow, Victoria managed to get into her mommy's phone and call her grandpa. It was 3 a.m. overseas, but he was thankful because we were able to book him a ticket early that morning back to the states. He still calls her his little guardian angel.
What are some of your Cutest Baby's favorite things? Her baby doll, picking out her shoes, jumping in her crib with her big brother William, making animal noises, riding in William's jeep, playing hide and seek under blankets, jumping on the trampoline at My Gym and snack time!
What is your Cutest Baby's most precious moment? When she signs, "I love you" in her special way by holding her hand up and out to daddy, mommy and brother William before she goes to bed every night. Melts our hearts every time.
Tell us a cute story. Annabelle's favorite song is the same as her brother since he plays it all the time on the guitar, "Big Rock Candy Mountain." One night I was singing it and she started stomping her foot, dancing and clapping like crazy. Every time I stopped she adamantly signed "please" and "more" while looking at me with the sweetest little face. The moment I started singing, the stomping feet and clapping came right back. It was adorable and very memorable.
AdventHealth for Women offers a whole person approach to health care that embraces women at every stage of their lives. The AdventHealth for Women care network includes four Baby Place locations as well as a host of extended care facilities. From well-woman checkups and mammograms to prenatal care and pelvic health, you'll always have a choice of experts in a variety of specialties. And our specially trained care coordinators help manage your health throughout your lifetime. To learn more, visit AH4Women.com.
With the help of Walt Disney Imagineering and input from patients, families and clinicians, this technologically advanced, flagship facility features a child-centered healing environment. Each floor of the hospital is themed to natural environments inspired by classic, Disney animated movies: The Little Mermaid, The Lion King, Brother Bear and The Jungle Book.


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10/31/22 Shelter that violates the law and does not castrate animals has been reported
Castration of all abandoned animals has been mandatory in Croatia since 2017
- The reports mention mating, mistreatment of female dogs, born puppies and adoption of non-castrated dogs
Based on the reports received, the Animal Friends association sent a report to the State Inspectorate and requested an inspection of the Sretna Šapica (Happy paw) shelter for abandoned animals in Slavonski Brod.
Namely, according to information from the reports, the dogs in the shelter are not castrated and have been mating with each other uncontrollably for years. Female dogs are abused and mistreated by several uncastrated males who fight for the females thus the dogs have traces of physical injuries. Moreover, it is not known where the puppies ended up, and the shelter gives up for adoption non-castrated animals.
The Animal Protection Act stipulates that all animal shelters "must ensure the permanent sterilization of found dogs and cats unless the animal is marked so that it is possible to find the owner and return the animal". That's why Animal Friends requested an urgent inspection to determine whether the shelter operates in accordance with the Animal Protection Act and the Rulebook on the conditions that animal shelters must meet and whether the information entered in the Unique Information Center for Lost and Abandoned Animals, in which shelters are required to enter all records of all animals received, including information on castration, is verifiable.
In 2020, Animal Friends requested a review of the work of all shelters in Croatia, with a particular emphasis on checking castrations and enrollment in the Unique Information Center, but this apparently did not happen. They strongly condemn any mistreatment of animals in the shelter. They stand for openness towards volunteers and the public, as well as transparency in the work of the shelter, while the castration of all animals is the most basic obligation of every shelter which must be regularly and strictly controlled.
The Association also states that many shelters in Croatia lack transparency and traceability and are not open to citizens and volunteers, which is devastating: "The reason for the existence of shelters are irresponsible citizens who do not castrate and who abandon animals and their offspring. This is precisely why shelters must have the highest standards in the treatment of animals since they are already suffering due to human irresponsibility."
The Animal Protection Act and the Rulebook on the shelters with the explanations of the changes can be found HERE, as well as a link to the Unique Information Center where you can easily check whether all shelters castrate all the animals they care for.
Visit To The Animal Shelter In Netherlands [ Gallery ]
Shelters for Abandoned Animals
01/29/21 Supervision over the implementation of the Law
04/09/20 Unique information center for lost and abandoned animals
12/07/15 Animal Shelter Pokupsko Cerje
11/18/15 Pokupsko Cerje Animal Shelter
09/03/11 Request for Closing the Shelter in Kutina
02/08/11 Functions of the Shelter