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An Oral History of Goosebumps: The Television Series
August 20, 2020 ConventionalRelations writings 3 comments
If you were a kid in the 90s, it's almost impossible that "Goosebumps" didn't have some sort of presence in your life.
Created by R.L. Stine in 1992, the creepy and quirky book series rapidly exploded into a pop culture phenomenon with titles like "The Haunted Mask" and "Night of the Living Dummy" enthralling young readers worldwide.
Once the books became a success, it was only a matter of time before a screen adaptation followed. In 1995, "Goosebumps" made its way to television and the mania surrounding the franchise rose to a new level. The series would go on to be the highest rated kids show for three years and produce iconic episodes that are still fondly remembered today.
To celebrate the upcoming 25th anniversary of the "Goosebumps" TV series, Andrew interviewed various people involved with the show! Get ready to learn about the trials and triumphs of the most ambitious kids show of the 90s!
Viewer beware…
Players in alphabetical order:
Timothy Bond (director)
Amos Crawley (Chuck, "The Haunted Mask I & II")
Steve Levitan (producer)
Kathryn Long (Carly Beth, "The Haunted Mask I & II")
Ron Oliver (director, writer, associate producer)
Corey Sevier (Eddie, "A Night in Terror Tower"/Ryan, "Cry of the Cat")
Ron Stefaniuk (creatures creator, puppeteer)
I. One Day at TV Land…
Levitan: In the late eighties and early nineties I was running a production company that produced a TV series called "My Secret Identity" with Scholastic. After my contract with that company was up, I started my own company, Protocol Entertainment. I flew to New York and met with the people at Scholastic to talk about new projects. At that point they were telling me they had these new, what they called in those days, chapter books that were flying off the shelves called "Goosebumps." They gave me a few books, I read them on the plane and I called them when I got back to Toronto and said "Let's do this. Let's make a TV series out of this." Their first response was "I don't think we can make a deal with you because Fox bought the movie rights." It turns out Fox did not buy the TV rights. Oddly enough, once we got the TV rights Fox Kids Network was our broadcaster in the states.
In those days, technology was not what it is today. The children's television business was not what it is today. The idea of making a TV series based on an anthology series of books where every episode has different characters, different locations, different monsters, different animals… for the TV production business, that's very expensive to shoot. I think I was the only one whose plan was to make it a live action show rather than animated and I think that's what persuaded R.L. Stine.
One of the biggest keys to making the series work was the special effects. With only a few years of animatronic work under his belt, Ron Stefaniuk and his team were hired to take on the daunting role of bringing the monsters to life in every episode.
Stefaniuk: I went into the interview and I didn't have the biggest portfolio, but I had a unique portfolio. Our team didn't just do make up and gore and zombies. Our background was a lot wider in the sense that we did animatronic puppets, we did Muppet style puppets, we did giant creature suits. When we looked at the covers of the books, it was clear the show was going to need a range of odd creatures. I think I got the job because when I went in to pitch it I said "A lot of people might come into this work thinking that you'll be lucky to have them. If I were you, I'd hire someone who would kill themself to impress you everyday. I would go out of my way to make you never regret the fact that you hired our company."
It was important that the show's creative team captured the style of Stine's books while also making sure the stories were technically achievable for children's television. It was also essential to stand out from popular horror series "Are You Afraid of the Dark?"
Levitan: We had a fantastic writing team led by Billy Brown and Dan Angel. They were the heart and soul of the show. Our deal with R.L. Stine gave him the right to approve or reject every script based on first drafts. We started going through all the books published up to that point to figure out which ones could be successfully adapted into a TV show. Not many of them could.
Oliver: I was doing "Are You Afraid of the Dark?" in Montreal and Fox called me and asked me if I wanted to do Goosebumps. I flew to Toronto and met with the executive producer Deborah Forte from Scholastic. We were trying to define the difference between "Are You Afraid of the Dark?" and "Goosebumps." There was a specific tonal difference.
Levitan: "Goosebumps" and "Are You Afraid of the Dark?" were in the same genre, but "Goosebumps" always had an ironic, humorous, tongue-in-cheek self consciousness that "Are You Afraid of the Dark?" didn't have. I'm glad we went in that direction because I don't think there would have been enough room for two completely similar shows.
II. Act Naturally
One of the challenges Goosebumps regularly faced was casting. Almost every episode required a different cast and finding enough talented child actors was a frequent concern.
Levitan: The talent pool of adults was really easy because they didn't have much to do. The tough part was finding kids. In each episode, the main characters were twelve years old and they always had an eight or nine year old brother or sister. Twelve is a difficult age to work with. The hardest thing was finding directors who could work with kids. The best directors would find a way to have the kids say the lines the way they would really say them instead of acting them. You don't want acting chops. You just want kids who aren't gonna be spooked by the camera and can be themselves. There were some who were naturally talented and super bright.
R.L. Stine (via The Verge, 2015): "We used every Canadian kid there was. It was a totally Canadian production. I would do book signings here in the United States. Kids would be in line and they'd say, "I'm an actor. How can I be on the Goosebumps show?" And I would say, "You have to be Canadian," and every time the kid would say, "What's that?"
Long: I honestly don't remember much about my audition. They auditioned a lot of girls for the role. I think I went to a few callbacks and they narrowed it down to three people before I got it. Goosebumps was a little bit like the Harry Potter of the 90s, but I wasn't really into it. I didn't realize how big it was. After I got the part, my mom bought me a huge set of the books and I started reading them.
Sevier: I was a huge Goosebumps fan. When I found out I had an audition for the show, I was very excited. I actually hadn't read "A Night in Terror Tower" yet, so when I went in to audition, I only had the provided scenes to go off of. Maybe that was for the best because I might have been more nervous had I already read the book. What made the process unique for me was after reading the first callback alone, they had me come back and read with Kathryn Short, who was cast as my sister "Sue" in the episode. I was only eleven at the time and it was my first experience with a chemistry read. Luckily for me, Katie and I clicked right away, and I was told shortly after that I had gotten the part.
Side note: Kathryn Short also coincidentally starred alongside Kathryn Long in "The Haunted Mask." Why they didn't become a full time show business duo, we'll never know…
Bond: I think I remember some "long and the short of it" jokes going around on set. Who could resist?
Long: We thought it was really funny. I remember at one point, there were people on IMDB who thought we were related. There were all these weird rumors that circulated about her being the daughter of Martin Short and us being half-sisters or something.
One of the many young actors who appeared on the show throughout its run happened to be Ryan Gosling who starred in the episode "Say Cheese and Die."
Oliver: I met Ryan when we were working on an episode of "Are You Afraid of the Dark?" in Montreal. He had just come back from "The Mickey Mouse Club" and he was trying to figure out what to do next. I was headed to Toronto for Goosebumps, so I talked to his mom and said "Look. Why doesn't he come to Toronto and he can come do an episode of this show?" Then he started working in Toronto a lot more often and we became great friends.
Stefaniuk: I remember we were working late at the half torn down Labatt beer factory. We would film Goosebumps on the third floor of this place. We were there in the middle of the night filming and Ryan Gosling was having trouble with the scene. I remember Ron Oliver coming over to him and saying "Listen man, you've got nothing to worry about. You're going to be a huge star. Trust me on that one." I remember thinking "Well, that's nice to say, but how does he know that? Why would he say that?" The next time I heard Ryan Gosling's name, he was a massive star [laughs]. That memory always stuck with me.
Occasionally, the series would score a well known adult guest star. Most notably, the original Batman himself Adam West.
Levitan: I remember the star we had the most fun with was Adam West in "Attack of the Mutant." It was really hard to get him. We went back and forth with his agent numerous times because we really wanted him to play that part. His agent kept saying "No. He's sworn that he would never perform in tights again!" We finally got him to do it and his agent said "He'll do it, but you have to promise that you'll let him keep the costume." So he went home with the costume, but he was a delight to work with. He was just great.
III. Behind the Haunted Mask
Goosebumps started shooting its first season in the summer of 1995. Kicking off the show would be the one-hour primetime special "The Haunted Mask," based on the eleventh book in Stine's series.
Levitan: Goosebumps was very unusual because there was no pilot. Once we got the rights to do the TV series, there were already a number of broadcasters interested in picking it up. They didn't want to see a pilot, they wanted to go right in production. It's unusual for a show to go straight to a production order.
Crawley: I remember being aware they were sparing no expense as far as kids TV was concerned. Kids TV doesn't generally have a huge budget and "The Haunted Mask" probably looks a little cheesy by today's standards, but at the time they were really putting money into it. I seem to recall that there was a TV exec from Fox whose kid loved the books so she was convinced that it was an important project.
Bond: One of the neatest things about the whole experience was meeting RL Stine. Mainly because he hardly talked to adults. He spent all of his time with the young actors.
Long: Meeting him was really cool. He had kind of a Stephen King vibe to him. He's a very stoic and quiet guy, but he was actually very warm once you talked to him.
Crawley: Despite what most would assume about people with horror leanings or slightly deranged imaginations, he could not have been a more lovely guy. He was great with us. He actually kept in touch a bit over the years through social media.
"The Haunted Mask" relied on the performance of its lead actress Kathryn Long who would spend long hours performing under a grotesque, skin tight mask.
Long: To make the mask, they made a mold of my whole face. They put two straws in my nose and covered my whole face with plaster. They were all worried about me and saying "You're not going to be able to see. You're only going to be able to breathe out of these two straws." Someone was even holding my hand and making sure I was okay. I was a kid so I wasn't super worried, but I remember when everything got closed in for a while and I couldn't hear or see, I started to panic a little bit.
Stefaniuk: I sculpted her mask and then each guy in the shop was told to sculpt a mask for the scenes in the costume store. It wasn't written in the script, but we decided to base each mask off the seven deadly sins. They were all made of soft prosthetic foam. Because foam shrinks when it's finished cooking, it fits the head quite snug. In the part of the episode where the mask sucks to her head, we put air bladders into the mask and deflated them and it stuck to her face. Then we went in and glued around the eyes and put artificial gums and teeth on top of her lips.
Long: The makeup process was about two to three hours which really wasn't that bad. It was the glue around the eyes that was really difficult to get off at the end of the night. I remember there were a few nights where I would cry because I'd be getting the glue off at like six in the morning after filming all night. The mouth was also just icky. I remember I would rip off the glue during lunch and then they'd have to put it back on. I had to eat lunch wearing my mask and it was so weird.
Bond: She was a real trooper. It wasn't much fun being inside that mask, but she never complained. I remember her being lovely and I remember R.L. Stine just adoring her.
Long: Tim Bond was the best director. He gave me so much creative freedom. I remember him saying we were going to dub over my voice when I was wearing the mask. I had been doing voice training for so long in musical theatre and I just said "No. I can do it!" All of my evil mask voice was actually done live on camera. It wasn't dubbed over in ADR which a lot of people might think. It wasn't computer modified. It was actually a bit strenuous. I had to use the front of my vocal cords for a long time to do that, but it was so worth it.
Viewers might remember a scene where Carly Beth bites into a sandwich and discovers a worm. The crew was originally going to use a rubber worm, but Long insisted on using a real one.
Long: It was a real worm and I bit into it. I didn't swallow it though. I remember going "If it's not real, I'm not really gonna gag. It would look so much better and realistic if I actually bit into it." They just said "Here, do your own stunts. Eat your worm!"
Crawley: I haven't seen her in many many years, but I'd be interested to know if she's a vegetarian now.
Thanks to Long's committed performance and the episode's eerie visuals, "The Haunted Mask" was a powerhouse episode that managed to frighten the networks.
Levitan: After watching the initial cut of "The Haunted Mask," the broadcasters said "We cannot put this on the air because it's too scary." In every Goosebumps episode, there's kind of an ironic twist at the end. In "The Haunted Mask" the brother comes out wearing the mask and Kathryn screams. The initial way we shot that scene was too scary for adults. Her performance in that take was so fantastic and we loved it, but Fox just said "It's way too far. We should make it milder." That footage exists in a vault somewhere, but nobody will ever see it.
R.L. Stine (via Scholastic, 2012): My favorite TV episode was The Haunted Mask. I think it's very scary, the mask is horrifying, and the actress playing Carly-Beth was just perfect.
When the episode premiered on October 27th, 1995, it was watched by almost eight million households in the US. It continued to be a hit when it was released on VHS the following year, selling close to 3 million copies and being ranked by Billboard as the 75th best selling home video of 1996. The Goosebumps franchise quickly found a successful second life on television.
Levitan: We were expecting it to be really big. When we got the rights to make the show, I think there were only eight or ten books published, but they were growing. We knew during shooting it was going to be huge. Before we went on air with Fox, the books were selling a million a month. When the show started airing, they went up to five million a month. We knew the series was becoming as popular, if not more than the books. I used to drop my kids off at school and there would always be seven or eight kids there wanting to talk about the show.
Long: I think I recognized the scale the night it premiered. My mom wanted to throw a party for the premiere and literally the whole school wanted to come to my house. Then after it came out on video, the fame and scale of people recognizing me became really intense. I couldn't even go out in public for like a year, it was so bad. I would go to the skating rink or shopping mall and then get mobbed by kids and have to leave.
Bond: At the time, I had a publicly listed phone number and I had to delist it because lots of little boys were calling asking to talk to Kathryn Long. I guess it was that first shot of testosterone that got them going.
Levitan: One year, right before Power Rangers hit its peak we had more kid viewers than any other show on the planet for a brief time.
IV. Blood, Sweat & Fears
Working behind the scenes on Goosebumps was rarely an easy task. The show strived for the highest production value despite any budgetary restrictions that came its way.
Levitan: Almost every episode was a huge challenge. We broke all the rules that you're not supposed to when you're making a movie or TV show: don't work with kids, don't work with animals, don't do anything dangerous, don't do anything that could never happen in real life. Every episode involved all of those things.
Stefaniuk: I had worse hours than a lot of surgeons. We only had five days to build these things. We were building all the way through the day and all the way into the night. Then it was raced off to set and puppeteered by the same people. Sometimes the shooting day would go on for fifteen or sixteen hours and then there'd be an hour and a half of celebrating after it was done. Then in eight hours the whole thing starts up again. That went on for four years.
Levitan: We were essentially making a half hour movie every week. Every part of every show was different. Our set designer designed what we call "lego sets" or "modular home sets." If we were shooting in the studio you could literally take walls apart and make each living room look different with the same flats. That was really ambitious.
Stefaniuk: The original idea of the show was supposed to be one creature per episode because of budget. In "One Day at Horrorland," we had five guys in horror outfits and the entire fun house ride had three or four prosthetic creature gags in it. I was actually in one of the horror outfits. All of this was being created by the same five or six people in about a week's time. People say they know what tired is, but I don't think they really do!
Oliver: One of the episodes of Goosebumps that I directed was "Perfect School." It was originally supposed to be a half hour episode, but while shooting, it became a bigger story. When we cut the footage, it was about thirty six minutes long. I went to the network and said "There's a lot of great stuff here. What if we went back and shot for three extra days and we could give you an hour-long special?" They said it would be great.
An episode that contained the biggest spectacle was the two-part special "A Night in Terror Tower" which was partially filmed at Toronto's Casa Loma, a gothic revival style castle built in the 1910s.
Sevier: I have so many great memories of working at Casa Loma. You really can't ask for a more exciting and authentic shooting experience as a kid! Acting scared while being chased through underground tunnels and down narrow spiral staircases by a man with an ax, albeit a fake one, comes pretty naturally. I've been back to the castle a few times as an adult and I still marvel at how incredible it is.
Levitan: Our prop, set, and costume design teams were brilliant on that episode. It reminded me of Monty Python's Life of Brian. I think we had better costumes and period aesthetic than they did.
Sevier: I've always loved roles that are physically demanding and "Terror Tower" allowed for plenty of that. One of the biggest challenges was making sure we didn't hyperventilate after long takes, since our characters were often frantically out of breath. I remember there was a scene where Kathryn and I had to climb out of a sewer in the middle of a downtown Toronto street. We pop our heads up, just as a car zooms past, narrowly missing us. It was the middle of winter and VERY cold that day. I remember that being a huge logistical challenge for the entire set. It was all done safely though, and everyone is proud when you can pull something like that off.
On other occasions, the show was able to execute its stories in simpler and smaller ways.
Levitan: On the other end of the scale, we had an episode called "Bad Hare Day" which involved a talking rabbit. The script had about thirteen pages of rabbit dialogue. We had to figure out how to actually do this. We had three teams running at the same time: a video effects team, an animal wrangler, and Ron Stefaniuk's monster shop. We held a meeting on a Saturday which was unusual, but we were pressed for time. The CGI guys went first and said "It's gonna cost a little bit more, but we can do the same thing they did for the movie Babe. We don't know how long it will take or how expensive it will be." They always said the same thing and they were always late and over budget. Then the animatronics guys said "No problem. I'll make you a mechanical rabbit and nobody will be able to tell the difference." The animal wrangler came in with a rabbit and said "I can make this rabbit talk. Where do you want it?" So we had our DP set up cameras and we put the rabbit on a barrel. We started rolling and the wrangler pulled out a water gun and squirted the rabbit in the face with sugar water. For the next twenty minutes the rabbit kept moving its mouth like it was talking. That cost nothing. It was a really brilliant, creative way to do it on a budget and make it successful. We later had Colin Mochrie record the voice of the rabbit.
Stefaniuk: I think I'm actually most proud of the shrunken head from "How I Got My Shrunken Head." It is smaller than your fist and it's a completely autonomous, no cables attached, radio controlled puppet that blinks its eyes, opens its mouth, and moves its jaw. I remember after I finished Goosebumps, I was one of the puppeteers on "Bride of Chucky" and I controlled Chucky's left arm. I brought in the animatronic head to Kevin Yagher who designed Chucky and he thought it was amazing you could get so much out of such a small package.
V. Slappy Days
While the show featured a variety of villains, the most popular was the sinister ventriloquist dummy, Slappy. Bringing him to life would present its own set of obstacles.
Levitan: Slappy was in a bunch of episodes. The first time we used him was when we had the most difficulties. Anytime you're making a mechanical thing like a puppet or a monster and it has to be run remotely, you're gonna have glitches. If we had the time, we'd do tests before shooting. Sometimes we'd be playing it by ear on the floor.
Stefaniuk: People ask "Puppeteering, how hard could that be?" and I give them an orange and say "Okay. Hold the orange above your head for five minutes" and then leave it at that. A puppet can sometimes weigh two and a half pounds. Slappy weighed more than that because he was built like a ventriloquist doll. He wasn't built like Kermit the Frog. When you take all of that and hold it above your head while you're lying on the ground for a couple hours, you find out that blood is affected by gravity.
Bond: I loved doing that episode ["Night of the Living Dummy III"] and conquering the challenges of it. The funny thing about directing shows like that is you have to have people perceive this dummy as a dummy, yet also be creepy which is hard to achieve. I used a little actress to play him in a lot of the wide shots. It was really fun working that out and the girl who played him in those shots was really good.
One question fans have pondered through the years: Why was the first "Night of the Living Dummy" book not adapted into an episode? Some have theorized there could be a lost episode, but that doesn't seem to be the case.
Levitan: There were a bunch of books we tried during the outline stage before there was a first draft script. We would just decide "No, this isn't going to work. Let's move on to another one." There's no lost episode that was shot.
Also, Ron Stefaniuk wants you and IMDB to know that he did not do the voice of Slappy.
Stefaniuk: People keep saying I was the voice of Slappy. I was not the voice! I was just the puppeteer. I actually had the voice of Slappy call me and leave me a rather snotty message blaming me for being credited as the performer of Slappy. I said to him "I am the performer of Slappy." We designed him. We built him. All three shows that we puppeteered him, I was the one lying underneath him, walking him, and providing the guide track for the voice. Even though the person that did the voice and the guide track weren't all that considerably different, they did dub the voice.
VI. Be Careful What You Wish For
Prior to its fourth and final season, the show saw behind the scenes tension with the networks that would lead to changes in its creative personnel.
Oliver: Dan and Billy didn't want to come back for season four. They wrote a script for "Werewolf Skin" and the network didn't like it, but they were sticking to their guns to keep it the way it was. They parted with the franchise, so I went back and rewrote it. We had no showrunners, so I was drafted into doing it. We only did four two-part episodes for the final season.
Though short lived, the last season would feature an underrated highlight in "Cry of the Cat," an episode that was almost entirely different from its literary counterpart.
Oliver: The book was an homage to "Pet Sematary." I read it and thought "We've done scary animal stuff before, we've done monsters. What can we do that's different, but might still be interesting?" I turned it into a meta version of the show. "Cry of the Cat" became about the behind-the-scenes documentary of Goosebumps and then it becomes a horror story. I remember sending the script to R.L. and Jane Stine to get their approval. They sent me a note back saying "You're either completely insane or this is the best episode of the entire series. We're not sure which it's gonna be." It was my absolute favorite episode of the show to shoot.
Sevier: "Terror Tower" will always be special because it was my first time doing anything like it. "Cry of the Cat" had its own special appeal, though. We got to explore so many fun tropes like playing a spoiled actor screaming for "HAIR!" and reenacting anything from a classic like the "The Exorcist" is pretty cool. Being a little older, I really enjoyed the horror combined with the tongue-in-cheek humor. I'd have to say that eating a mouse at the end of "Cry of the Cat" was a pretty sweet way to finish off my stint in the Goosebumps world. Hint: it involved a rubber mouse and some black licorice.
While it had a successful run, all good things must come to an end. After four seasons and seventy-four episodes, the Goosebumps television series was put to rest.
Oliver: I think it ended because the books stopped selling at a certain point. The sales dropped and they were like "Well, I guess that's the end of that." They bounced back again in subsequent years, but it's because you've got that wave of kids who will read the books and then they age out of them, and you have to wait for the next generation to discover them which has certainly happened.
Levitan: I think what happened was Fox as a kids network was coming to an end. A few years after, it stopped being a kids network. One of our episodes was called "Be Careful What You Wish For." One concern we had originally doing the show was that for kids programmers, they depend on kids watching the same show over and over again. They didn't know if kids would watch a live action show over and over again like they would for an animation. It turns out we held up just as well in reruns so they figured they didn't need more episodes. Other things came along that were more lucrative for networks. Pokemon and Power Rangers were toys. That's big business. Goosebumps was just a TV show and even though we tried to get merchandising going, there's just no defining character. There's no one look for Goosebumps, there's no one tone for it. It's an anthology, so it's hard for that to work.
VII. Final Words
Stefaniuk: Even when we were awake for thirty hours, one thing we never lost sight of was the privilege to work on that stuff. Those were exciting days when we brought those creatures to life on set. When you put it together and look back on everything, Goosebumps was one of the catalysts of what our creature shop became. The core people I did the last few years of Goosebumps with were with me for twelve to fifteen years. We were really a family.
Oliver: It was a wonderful creative experience and I loved every second of it. Some of the stuff I did on those shows like "Perfect School" is creatively some of the best stuff I've ever done. I've got young people on my crews now who became filmmakers because of "Goosebumps" or "Are You Afraid of the Dark?" They watched those shows, loved them and wanted to make movies. That's probably the greatest reward out of doing that work.
Crawley: I remember having a really good time. Tim was awesome, the other kids were awesome. I have these cool conversations every now and then like you reaching out to me or I'll be chatting with someone and they'll figure it out and go "Oh my god, I remember you from when I was a kid!"
Sevier: When I look back on Goosebumps, I will always feel very lucky. As a young person, not only did the books have a profound effect on my love of reading and teaching me about the possibilities of storytelling, but I also got to play a part in bringing a few of these stories to life. "Terror Tower" was my first lead role in a show, and the demands of that, the focus and stamina it took, those are lessons I've kept with me my whole career. I feel grateful to have been a young actor in Toronto at a time when such an amazing kids show was being produced.
Long: I always look back on Goosebumps very fondly. I think it set a work ethic precedent for me at a young age because it was so demanding to film. It's also really great to know that it's something people fondly remember. I think there are things that define our childhoods and Goosebumps defined that for a lot of kids. I've always thought it would be super funny if they did another movie or even just a one time special where I could come back and play the mom of the new girl. I would love that so much.
Bond: It was so long ago! It's funny how people keep a hold of Goosebumps. Through my agent, I got a letter several months ago from an autistic, twenty six year old kid from Australia who's a fan. I wrote back and he started finding other people from the show and there's a whole network spreading from that.
Levitan: It was a totally positive experience all the way through. It was fantastic coming to work everyday and hanging out with guys like Billy Brown and Dan Angel. That's not to say it wasn't stressful and there wasn't a lot of pressure, but it was a lot of fun. I would do it again in a second.
R.L. Stine (via Reddit, 2013): I was very pleased with the Goosebumps TV show. They did a quality job.
a night in terror towerabobAdam WestAmos Crawleyandrewandrew bobulinskiAttack of the MutantBilly Brownbooksbooks turned into television showsbooks turned into tv showsColin MochrieCorey Seviercry of the catDan AngelDeborah ForteFoxFox Kids Networkgoosebumpsgoosebumps booksgoosebumps tv seriesgoosebumps tv showhayden christensenKathryn Longkathryn long's first interview in yearsKathryn Shortnight of the living dummyone day at horrorlandperfect schoolPokemonpower rangersR.L. StineRL StineRon OliverRon StefaniukRyan GoslingSay Cheese and DiescholasticSlappySteve Levitantelevisionthe haunted maskTimothy Bondtvwerewolf skin
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gregory bobulinski says:
Great work Andrew and Kinsey. I have watched most of the episodes in your article/interview and it is interesting to go behind the scenes to see how the show actually gets fully realized.
Pingback: R.L. Stine Explains Why the 'Goosebumps' TV Show Was Unforgettable – Yasmine Shemesh | Music and Culture Journalist
Why didn't you do monster blood 2


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Next up is a 2007 film called Borderland. It was a Zip.ca special, which means it arrived on my doorstep many months after I put in my queue, thus all memory of why it was there had long faded. Nevertheless, it had been on my coffee table for a while and this April Showers thing gave me a good reason to cross it off.
Three young guys head into Mexico during spring break. They quickly help themselves to the cheap booze and easy women, but things turn deadly when one of them vanishes.
Admittedly, I did roll my eyes when I saw the 'based on true events' thing come up on the screen. I would find out later however, that this was actually the case for once. After the first scene, I was ready to write this off as another Hostel clone set in Mexico – which would have been easy to do considering all the torture early on – but by the end it actually turned into a solid little movie. The acting here is quite good. Rider Strong doesn't look like he's aged much since I last saw him in Cabin Fever and Sean Astin shows up cast against type. I'd also like to point out that Martha Higareda is a fucking rocket! I have to say I kept thinking I had this movie pegged – who thought Spellbinder towards the end? – but this is a straight up story. It's an extremely dark one to be sure, yet with no tricks. It was kind of refreshing really.
In the interest of balance...
The strange thing about Borderland is that I don't know if I would even call it a horror film. It has several elements of the genre, but it definitely feels more like a crime story with a third act that would be at home in an action flick. That's not a complaint; I'm just making the observation. This was after all, an 8 Films To Die For Horrorfest title. Now, I'm not pretending to be an expert on the kind of movies After Dark puts in their yearly programme – the only other 2007 entry I've seen is Mulberry Street – but I would assume horror would be prominent on their shopping list. The subject matter is certainly horrifying enough to qualify though. Borderland takes place in an area of the map that I have absolutely no knowledge of, which always makes me uneasy. I wasn't aware that these border towns essentially exist independently of the two countries that surround them. It's really kind of scary when you think about it considering how popular they are with the college kids during spring break.
So, at the end of Borderland I found out this story – though obviously embellished – was, in fact true. What is most crazy about this is not what happened, but WHY they did it. I mean, these cats were cuckoo for Cocoa Puffs. The documentary on the DVD about the real case did not do anything to restore my faith in humanity either.
Though it comes off as more of a true crime tale than a horror flick, Borderland is a well-done and worthwhile venture. It's not going to make you feel good about the world, but then again… what were you expecting?
You Were Right To Be Afraid.
Ze Germans
Android Update
Don't Kill The Messenger XV.
Time For A Look Back.
A HorrorBlip On The Radar.
Stop Looking At Me!
Don't Kill The Messenger XIV.
Day Seven.
Day Six.
Day Five.
Day Four.
Marilyn Chambers 1952-2009.
April Showers Day One.
Don't Kill The Messenger XIII
One By One.
Don't Kill The Messenger XII
Ready, Partner?
What Are The Chances?
Oh, Japan...

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Problemas con la conexion a la base de datos Estoy realizando un cambio en los diferentes registros, que estan asociados con un numero de servicio que es la primary key pero al momento de realizar el cambio me muestra este error:

Warning: mysqli_error() expects exactly 1 parameter, 0 given in
  C:\xampp\htdocs\Aeroasistencia\Pruebas\conexion.php on line 17

conexion.php
<?php
session_start();
class MySQL {
    private $conexion;
    private $servicio_No;
    private $total_consultas;
    public function MySQL() {
        if(!isset($this->conexion)) {
            $this->conexion = (mysqli_connect("localhost","root","admin123","database")) or die(mysqli_error());
        }
    }

    public function consulta($consulta){
        $this->total_consultas++;
        $resultado = mysqli_query($this->conexion,$consulta);
        if(!$resultado){
            echo 'MySQL Error: ' . mysqli_error();
            exit;
        }

        return $resultado;
    }

    public function fetch_array($consulta){
        return mysqli_fetch_array($consulta);
    }

    public function num_rows($consulta){
        return mysqli_num_rows($consulta);
    }

    public function getTotalConsultas(){
        return $this->total_consultas;
    }
}
?>

index.html

    <form name="frm" method="post" action="recibe.php">

                Situacion :

                    <select name="situacion" id="situacion">
                        <option>Finalizado</option>
                        <option>Fallido</option>
                        <option>Cancelado</option>
                    </select>

                Servicio No :

                    <input type="text" name="servicio_No" id="servicio_No" placeholder="Numero del servicio">

                Valor:
                <input type="text" name="txtEtiqueta" />

                <input type="button" onclick="agregar();" value="Agregar item" />
                <input type="button" onclick="eliminar();" value="Eliminar item seleccionado" />
                <input type="button" onclick="modificar();" value="Modificar item seleccionado por caja de texto" />

        <input type="submit" value="Enviar" />
    </form>

recibe.php
<?php
include "conexion.php";
$servicio_No = $_POST['servicio_No'];
$situacion = $_POST['situacion'];
$db = new MySql();
$query = "INSERT INTO servicio(servicio_No,situacion) VALUES ('$servicio_No','$situacion')";
$consulta = $db->consulta($query);
echo "Se inserto en la base de datos el valor de $situacion
";
echo "Regresar";
?>

A: Te falta poner la conexion en el mysqli_error
mysqli_error($this->conexion)

Fuente
PD: Obviamente la query falla.

redpajama_set_name: RedPajamaStackExchange


Car accidents are a leading cause of head and brain injuries. Brain injury can occur when the head has been struck, usually by striking an object such as a windshield. Sometimes the brain undergoes a sudden acceleration/deceleration movement (as in a whiplash injury) without direct external trauma to the head. Many brain injuries are the result of bruising, bleeding, twisting or tearing of brain tissue. Damage to the brain may occur at the time of the accident, or develop over time as tissues swell and bleed within the head.
With traumatic brain injury, the victim's brain may swell, bruise, and tear, while anoxic brain injury causes the brain cells to die from lack of oxygen. Traumatic brain injury is more common than anoxic brain injury, however both injuries have similar consequences and treatments.
Personal injury laws are complex. It is a good idea to have an experienced attorney represent you in court. Insurance companies and opposing lawyers will attempt to bully you into settling for a smaller amount than you are rightfully owed.
The expert lawyers at DeZao Law will fight for you. We have a wealth of experience and knowledge to call upon for your benefit. Others do not have your interest at heart. We know how traumatic and damaging it is to have suffered from a brain injury, and we will defend you.
We also have our national team of forensic economists who are prepared to substantiate and project future loss as well as current and prior economic loss. You must make sure when selecting an attorney and law firm to handle a traumatic brain injury case that the law firm has the resources to expend the necessary money to present such a case to the fullest.
If you or a loved one has suffered an injury as a result of Brain Injury, call The Law Office of James C. DeZao at 1-855-432-2489. The initial consultation is free of charge, and if we agree to handle your case, we will work on a contingency fee basis, which means we get paid for our services only if there is a monetary recovery of funds. In many cases a lawsuit must be filed before an applicable expiration date, known as a statute of limitations. Therefore, please call right away or fill out our online contact form to ensure that you do not waive your right to possible compensation.


text:
MIDWAY: It's just a game
By Andrew Mueller
Published: 12:00 am Aug 26, 2008
To a degree that this Australian resident of Britain finds bemusing and baffling, media coverage of Team GB's splendid medal haul has been framed almost exclusively in reference to the relative lack of success enjoyed — this time — by my homeland. BBC commentators gloat incessantly over the medal table. News crews wander Sydney crowing at bypassers.
"Find an Australian," jeered the headline above Simon Barnes's dispatch for the London Times, "so I can talk about sport." "Aussies no longer rule, OK," hooted the same day's Sun tabloid.
"Having got our nose in front of the off-colour wizards from Oz, the battle now is to keep it there." Indeed. And perhaps, even, one day Britons will own their own newspapers.
This country has been as kind and encouraging to me over the past 18 years as it has to many other newcomers, and I'd be churlish to the point of deportability to be other than delighted by the triumphs of Hoy, Adlington, Ohuruogu et al.
However, as Great Britain begins greedily anticipating a tonnage of gold on home turf (London 2012) four years hence, I'd modestly counsel being careful what you wish for. If British sportspeople have, as conventional wisdom has decided, slung aside the plucky underdog mantle, it may not be altogether a good thing.
Australians do not merely play to win. We play to destroy: to choke the opposition's rivers with dead, sow their pastures with salt and burn what little we've left standing. There's a lot to be said for winning. Like, for example, that it's preferable to losing.
But other things matter, perhaps more: grace, sportsmanship, some understanding that it's just a game. These are qualities which, I am wincingly aware, have not been dominant in Australian coverage of Britain's Olympic success — but which are still at large in British sport to a commendable degree.
Something precious would be lost, were the British to become more like the less enlightened
foreigners of whom Flanders & Swann sang in their Song Of Patriotic Prejudice: "They argue with umpires, they cheer when they've won/And practice beforehand, which ruins the fun."
EDITORIAL: Fighting virus together


T leonorr t., 0 l t, o "I t ,lOltd| 1t-ll,t,%'% t 11L. It1it , tO,9ll lat' L Ot, i 0,.nl N .
i,. .11y thnr Inlttlrat nlta ml.. It -. I. 1."r I.r,.~ w1.h t,..."v07 ""
Joh Lok. A-. .lJt IH r I.V.t .
for the Distrlet or Louisiana.
EDWIN D. MOBORGAN AND JAMEB A. RAYNOR.
tered in the ov entitled and numbered cause.
trust etabliehed in and by the decree aforesaid.
ouses, water tanks, wood sheds, section.
in the State of Mieesissippl.
sat bidder.subject however to the liens, prefer.
,pot Corner Canal and Basin Streets.
By H. & N. Samory.
NEW ORLEAN8. ON DUMAINE STREET.
BETWEEN MIIRO AND TONTI STREETS.
Filth District Court for the Parish of Orleans.
BY H. & N. SAMOIIY. Auctioneers-FRIDAY.
1. l'RHEE OERTAIN LOTS OF GROUND.
oity. in the square bounded by Dumaine, St.
hundred feet. between nqual aralletiinnes.
2. A CERTAIN PORTION OF GIOUND. sit.
tioned lan by the Non, 5.
tioned plan by the No. 9.
publlo, at the expense of purchasers.
ROGATED. VS. GUSTAVE J. FRERET.
ING No e55 Lulisiana Avenue.
3. ONE HALF SQUARE OF GROUND.
sisting in two brick slated sheds.
raised cottage and two outbuildings.
of al debts due by the two successelonse.
Seized in the above suits.
REAL MARBLE STATUARY AND VASES.
The importation of Mesars. U. Glovanonl & Co.
"J DAY. April 7. each day at 12 o'clock m.
uettes, Vases. Gard Receivers. Tnzz-is, etc.
Consigtanments of stock soliclted. aul?
Now. therefore. I. LOUIS ALFRED WILTZ.
thought proper to issue this my proclamation.
State of Louisiana. at the city of New Orleans.
Lord one thousand eight hundred and eighty,.
dependence of the United States of Amerlia.
ufnplies Boardinghouses and Families in sen.
ll marketing delivered free of charge. a?
IUDIOIAL ADVfIRTI ,lE rW TS.
Adrlen U'ansard vs. John P. Exnlelom.
trict Court for the Sixth and Seventh Muni.
tril,t of this city, on THUItRDAY. Mar 6. 10,o.
all the bulodings and Improvemeotstthereon.
certain plan drawn and dated August 15, 15es.
street by one hundred and flfty feet in depth.
wife, as per an passed before Wm. B. Kleinpeter.
Yale ar owling vs. 1. aerre J Co.
tory on file in my office.
Seoled in the above suit.
WmI. H. Pierson vs. J. W. Madden.
Orleans, in the above entitht d cause. I will pro.
Second District of this city, on FRIDAY.
firm of Madden t Oatls.
num from date of sale until final payment.
iff's anti clerk's fees, say about sixty dollars.
J. P. Walworth vs. John C. Stevenason.
A LOT OF GROUND (the property of Wm.
W. Wilson. defendant in theaboveentitled suit).
in equare bounded by Relitlous. St. James, St.
eleven inches and two lines.
Civil Sheriff of the Parish ot Orleans.
City of New Orleans vs. John P. Exnleos.
West Bouligny in the square bounded by Camp.
of Charles Stringer, then a notary In this city.
Soizied in the above suit.
ing described property. to wit.
Lafavette. In the square bounded by St.
number twenty-three on a plan drawn by W.
ween parallel lines, Ameloan measure.
BAR ROOM! BAR ROOM !
Counter and Fixtures for Sale.
ap4 Iw Stalls No. 1 to 4. Poydras Market.
either N~BVOUS or PHYSICAL DEBILITY.
eases treated with suoeess. Bright's Disease.
Diseases of Females Suspension. Betention.
A CARD TO THIE PUBLIC.
the frst and five cents for each subseauent In.
their address to Look Box 548, New Orleans P. O.
in monthly instalments with good security.
Bellef for Corns and Bunlons.
" at se6 Magae1ne street. D. LEECH.
nes every month. Books sent free ezlain.
SOBT OR MISLAID-TWO CERTAIN MORT.
mhles31t JOHN CHAFFE. BRO. & SON.
apply to R. FRANCIS, Agent.
mbal lm No. 5 Cotton Exchange (up stairs).
the late firm. P. O. FAZENDE.
business for my own account at No. 19 Oa.
rondelet street. H. O. SEIXAS.
Administrator's Office. Roon 12, City Hall.
New Orleans. April 8, 188o.
hands high. with a white star on forehead.
said pound on April 8. 1880, at 12 o'clock m.
SUMS OVER ONE HUNDRED DOLLARS.
loned, bungly, annoying and expensive style.
I $JAB. Bo. B NonL eetreet.
BID WEl.l ' ACADEMY OF MUSIC.
D. BIDWELL. Proprietor and Manager.
Intelligent. Active. Beautiful and Graceful.
Morning, 10 to 12; Afternoon. 2 to 4; Evening.
FRENCH OPERA HOUS RBON STR T.
A SEASON OF SEVENTY-FIVE PER.
day, without exception, from 2 p m. till 7 p. m.
Werleln's musico store, 15 OCanal street.
half on the fifteenth day of January lest.
mbo 2w JOHN DAVIS. Agent.
HTALL YOUNG MEN'S CHBISTIAN ASSO.
CIATION. 87 Cam p street.
Menday Evening, April 5, at $ O'eleek.
Directed by Prof. H. A. Blake.
Wednesday, April 5 1-2, at 7 p. m.
Doors open at 7 o'clock.
Chorus .......................Come Back to Erin.
bong-You and I.. ..Mr. T. . McGovern.
Comic Song-Waltzing Around with Julia.
Miss Kennedy and Prof. Newman.
Song-Awfully Clevr ..... Mster Louis Blake.
Song-Jennie, the Flower of Kildare.
Moore. Mr. M. F. Bigney.
Messrs. Delaney and Drumm B. b.
of Father Terry, delivered at Utica N. Y..
S By Mr. J. B. Guthrie.
John v olmers, B. D.
flute by Messrs. . . , Dlrmerbr and E B.
Duet-A Flower from My Anael Mother's Grave.
Mr. Davln and Mr. Bell.
Song--Kathleen Mavourneen ... Prof. Newmao.
Masters Wm. and Chas. Zimmarman, Louis.
Miah and Harry Blake. Robert Lee and Eu.
Admlsslon fifty cents. Children half price.
TMPAIRBMENTS OF ANY OBGANIC lUNO.
tion. impediments to marriage, private dise.
BSupplied with Bill of Fare.
market. Give us a trial and be eonvineed.
ia7 athsam wW. . lTRN. Prswleteu.


Watched the season premiere of SNL over the weekend and for the most part was underwhelmed for some reason – nothing really clicked with me until Weekend Update.
That's when the show's 'Resident Young Person' appeared on the newscast to explain the 'How Much Money Would You Go Down on a Guy For?' game.
It's a scream! He makes a good point about how it would basically be irresponsible not to go down on a guy for $1 miliion – or even $3,000 – because money is money. And if you aren't gay and doing such a thing freaks you out, you will have plenty of dough to pay for therapy.
Thanks for the share, Greg! That *was* a hoot! And the guy is *so* non-chalant talking about it, too.


NEWS DIGEST–Three persons were yesterday feared killed and many others, including policemen, injured after violence broke out at Alaba Rago in Lagos State.
It was gathered that violence erupted at Okokomaiko before noon when some youths celebrated the victory of President Muhammadu Buhari in last Saturday's election on the expressway.
Sources said the youths, armed with cutlasses and bottles, sang songs of victory from Alaba Rago and marched towards Okokomaiko, blocking the expressway and challenging other road users.
They were said to have resorted to violence at Okokomaiko, attacking traders and destroying their shops.
A woman, who identified herself as Blessing, said: "They came from Alaba Rago and were celebrating President Buhari's victory. They shouted Sai Baba and marched towards Okokomaiko.
"When they got to Okokomaiko, they started destroying traders' goods and this made them (traders) to run for fear.
"The hoodlums went to Okokomaiko Police Division and the officers tried to stop them, but they were violent. They attacked the officers and injured some of the policemen.
"We heard gunshots and later news started spreading that they killed one of the policemen. Parents ran to schools to take their children.
A meat seller, Sule, condemned the violence, saying it made it impossible for him to sell.
"I am from the North and those who caused this violence are also from the North. I have not sold anything since morning. What will I do with this meat now?" he said.
A motorcyclist said policemen arrested some people when they got to the scene. He, however, alleged that those arrested were innocent bystanders and not the perpetrators of the violence.
At the time of this report, policemen from the Rapid Response Squad (RRS), the Special Anti-Robbery Squad (SARS) and soldiers were still on the scene. An RRS helicopter was hovering over the area.
The police yesterday morning averted a clash between hoodlums on Lagos Island after a faction attempted to prevent traders from opening their shops.
The Nation learnt that hoodlums stormed Oluwole, Nnamdi Azikwe, Tinubu, Bamgbose and Alli streets around 9am, accusing traders of not voting for their candidates during last Saturday's elections.
They were, however, confronted by another faction, who found their actions to be provocative.
Policemen from Area 'A' Command intervened to stem a potential crisis.
Police spokesman Chike Oti, a Chief Superintendent (CSP), said 37 suspects were arrested at Alaba Rago, adding that investigation had begun.
He confirmed that the hoodlums attacked police vehicles and injured personnel who attempted to take them off the highway.
Oti said: "Some youths blocked the highway and information was sent to the police. Policemen on traffic control duty were deployed and they tried to make them to leave the road, but they attacked the policemen. Some policemen sustained injuries. Reinforcement was dispatched to the scene and 37 persons were arrested. Investigation is on.


Not drinking enough water before a morning run, sweating a ton at the gym, forgetting a water bottle to sip during spin class, and steamy temps are surefire ways to put us on a path to dehydration doom. For most average exercisers and athletes, sports drinks can actually worsen the health of most who use them. Less than one percent of those who use sports drinks actually benefit from them. Most sports drinks are loaded with things you DON'T want, like refined sugars, artificial colors, and chemicals.
Coconut water has none of the unwanted additives of sports drinks and is one of the best and safest options to rehydrate yourself after a workout. If you need the electrolytes, it will provide them. If you don't need them, then it certainly won't hurt you.
One study in 2007 found sodium-enriched coconut water to be as effective as commercial sports drinks for whole body rehydration after exercise, with less stomach upset.
Natural Raw C straight up coconut water. 100% natural with absolutely no nasties added. Natural Raw C is GMO free & has low natural sugars. As Natural Raw C only sources it's young green coconuts from one single source your guaranteed to have the same quality product every time. Natural comes in resealable 330ml & 1 Litre. Natural Raw C is part owned by Chef Pete Evans & they are a partner of Australia's food charity Ozharvest.
Australia's first coconut water with dairy free protein. Using only 100% natural ingredients with no refined sugar, Natural Raw C protein drink with 20grams of protein is the perfect pick me up for people on the go. The ingredients include Natural Raw C coconut water, pea protein, cacao, coconut nectar & natural flavor, bringing you a smooth chocolate tasting drink. Being the first dairy free option on the market means everybody can enjoy this protein drink.
Australia's first coconut water with guarana. Without refined sugar or added nasties, this energy drink with Natural Raw C coconut water, acai & guarana is a great option for those who want a burst of energy without all the nasties of an energy drink.
All products are GMO free, refined sugar free, dairy free & vegan.
The Upside – Active Wear you Won't Want to Take Off!


text:
package com.facebook.litho.specmodels.processor;

import com.facebook.litho.intellij.LithoPluginIntellijTest;
import com.facebook.litho.specmodels.internal.ImmutableList;
import com.facebook.litho.specmodels.model.SpecMethodModel;
import com.facebook.litho.specmodels.model.UpdateStateMethod;
import com.intellij.psi.PsiClass;
import java.lang.annotation.Annotation;
import java.util.ArrayList;
import java.util.List;
import org.junit.Assert;
import org.junit.Test;

public class PsiUpdateStateMethodExtractorTest extends LithoPluginIntellijTest {
  public PsiUpdateStateMethodExtractorTest() {
    super("testdata/processor");
  }

  @Test
  public void methodExtraction() {
    testHelper.getPsiClass(
        psiClasses -> {
          Assert.assertNotNull(psiClasses);
          PsiClass cls = psiClasses.get(0);

          List<Class<? extends Annotation>> permittedParamAnnotations = new ArrayList<>();

          ImmutableList<SpecMethodModel<UpdateStateMethod, Void>> methods =
              PsiUpdateStateMethodExtractor.getOnUpdateStateMethods(
                  cls, permittedParamAnnotations, ImmutableList.of(), false);

          UpdateStateMethodExtractorTestHelper.assertMethodExtraction(methods);
          return true;
        },
        "UpdateStateMethodExtraction.java");
  }
}

redpajama_set_name: RedPajamaGithub


Unwind in this guest room which offers one king-sized clean and fresh Hampton bed®, a comfortable seating area and an HDTV. Refresh in the bathroom with a WaterPik showerhead and fluffy towels. The curved shower rod provides extra space and light when showering.
Work in comfort at the desk and stay connected with free WiFi access. Additional amenities include a handy coffeemaker.
King guest room, work desk and HDTV.
King guest room, work desk, HDTV and coffeemaker.
Standard bathroom in our guest rooms.
This spacious room features two queen-sized beds and HDTV. Refresh in the bathroom with a WaterPik showerhead and fluffy towels. The curved shower rod provides extra space and light when showering.
Our guest room with two queen beds.
Guest room TV, desk and queen beds.
Two queen beds and our bedside alarm clock.


text:
Welcome to Operations & Maintenance
PCSD Operations & Maintenance
The Operations and Maintenance Department for the Phoenix Central School District has countless responsibilities that help ensure our students and staff members' daily routines run smoothly. Our vision is to plan for and provide the highest quality environment for safety and wellness. We will work as a team with efficiency, professionalism and excellence, in support of the school district's mission and the needs of our students, staff and community.
To achieve these goals, we have 32 members in the department, including the Director of Facilities and department secretary. Through the dedication of our staff members, we aim to "help our students do great things," and we have adapted that as our motto for this school year.
In addition to cleaning and taking care of the school buildings, the O&M Department maintains 110 campus acres, equaling 220 ½ acre building lots. These acres include four baseball/softball fields, five football fields, five soccer fields, two playgrounds and other various small outside activity areas.
Cleaning for Health Program
We are currently using the Cleaning for Health program, which involves micro-fiber cleaning clothes and dust mops, backpack vacuums, a twice-weekly disinfection of students' desks and horizontal surfaces and C3 no touch bathroom cleaning machines. These procedures and tools help prevent the spread of germs and improve our indoor air quality.
Lead Testing
Safe and healthy school environments can foster healthy and successful children. To protect public health, the Public Health Law and New York State Health Department (NYSDOH) regulations require that all public schools and boards of cooperative educational services (BOCES) test lead levels in water from every outlet that is being used, or could potentially be used, for drinking or cooking. If lead is found at any water outlet at levels above 15 parts per billion (ppb), which is equal to 15 micrograms per liter (µg/L), the NYSDOH requires that the school take action to reduce the exposure to lead. The most recent lead test results, issued in April 2017, are now available.
Total square footage: 128,402
Cleanable square footage: 114,332 (equivalent to cleaning more than fifty-seven 2,000 square-foot homes per night)
Some of the fixtures that are cleaned include 1,939 chairs, 267 upholstered chairs, 433 tables, 398 desks, 135 whiteboards, 98 sinks, 79 toilets and 692 pieces of glass.
Cleanable square footage: 155,507 (equivalent to cleaning more than seventy-seven 2,000 square-foot homes per night)
Some of the fixtures that are cleaned include 2,004 chairs, 598 upholstered chairs, 1,158 tables, 655 desks, 263 whiteboards, 118 sinks, 73 toilets and 1,158 pieces of glass.
Cleanable square footage: 140,990 (equivalent to cleaning more than seventy 2,000 square-foot homes per night)
Some of the fixtures that are cleaned include 1,746 chairs, 1,573 upholstered chairs, 470 tables, 872 desks, 133 whiteboards, 105 sinks, 42 toilets and 1,746 pieces of glass.
Jason Godkin
11 Oneida Street
O&M Secretary


As I am closing another chapter of my life, I am thinking about experiences I am leaving behind and what I can expect in the future. Blame it on the spring but here I am with my random bouts of longing: I long for something or someone, not sure what. An experience to shake my world? An event to change my perspective? Assured longing, I call it. When you are assured that it will happen, you are just not sure what, when, and how.
I guess I'm longing for the sea. For waves and seagulls and sandy toes. Having grown up by the sea, I miss it terribly. This might be the only thing my beloved London lacks and the main draw of Stockholm for me.
I took a boat trip around Stockholm archipelago upon advice of a friend. It was a warm sunny day with a light breeze. The boat was travelling between the many little islands and islets with their lush greenery, fairytale wooden houses, and friendly fishermen, I was wearing the dress the colour of the waves, and my body and mind were full of assured longing.
A bit like freelancing really… We are assured that the next job is just around the corner.


Publicis Singapore has appointed Goh Jia Ying and Ho Pei Ling as creative directors. Both Goh and Ho will report to Publicis co-executive creative directors, Jeremy Chia and Fajar Kurnia.
The pair will be tasked with leading some of the agency's key accounts, with special focus on the Health Promotion Board. According to a statement, the appointment marks the return of the duo, who first began their careers in Publicis over a decade ago.
Prior to the move, Goh and Ho were associate creative directors at R/GA Singapore, and have been partners for almost 10 years. During their time at R/GA, they directed global and regional work for brands including Netflix, Google, Nikon and various Unilever brands out of Singapore, with a focus on innovation and data-driven methodologies.
"We're very excited by their inherent understanding and passion for storytelling, no matter what platform. They bring wide experience and creative ambition to the table, and the team is ready to drive great change and results for our clients," Kurnia said.
Publicis Singapore appointed Kurnia and Chia as its executive creative directors in April this year, roles which were previously held by Troy Lim and Jon Loke. Prior to the appointment, Kurnia and Chia were regional creative directors at Saatchi & Saatchi Singapore, and have been partners for almost a decade.
In January, the agency brought on board Sharim Gubbels as creative director of social. The role is a newly created one and will see him handling both local and regional clients. Prior to his appointment, Gubbels was creative director at We Are Social. The agency also promoted Joanne Theseira to managing director of Publicis Singapore.
It also saw the recent exit of head of social Avtar Ram Singh, who has since went to FALCON. Prior to the exit, he was with the agency for approximately three years as a business lead for its social media practice in Singapore.


text:
Externship: Legal Services - Immigration
Course Number: Law 829FP (Field Placement) & LAW 829S (Seminar), ULSR
Course Credits: 4 (3 FP, 1 Seminar)
The Legal Services Externship (Immigration) has two components: (1) a weekly two-hour seminar; and (2) 12 hours per week of fieldwork supervised by an attorney with the Empire Justice Center, housed within the Pace-Haub Law John Jay Legal Services Immigration Justice Clinic. Students spend a day and a half, or three half-days, per week "in the field" in court or in the Clinic. Students in this program will help represent clients in the JJLS Immigration Justice Clinic. The Clinic has served indigent people living, working, or detained in the Hudson Valley or in the five boroughs. Pro bono advice and representation has been offered to eligible immigrants fighting their removal from the United States and/or seeking to regularize their legal status through family ties, employment, asylum, or under specific federal categories such as Violence Against Women, Special Immigrant Juveniles, Diversity Visa, Anti-Trafficking, Temporary Protected Status, the U Visa, or Deferred Action for Childhood Arrivals. The Clinic has represented immigrants facing deportation (called "removal") and has appeared in the Immigration Courts of New York City and those located in numerous correctional facilities, notably Fishkill and Ulster. The Clinic has also appeared in the Board of Immigration Appeals and in the Federal Courts of Appeals for the Second and Third Circuits. Admission to the externship is based on the permission of the professors after application and interview. Immigration Law is recommended but is not a prerequisite.


Please join us for a fly fishing school. On Sunday September the 24th a Backwater Angler Guide will be teaching a fly fishing school that is ideal for beginners. If you're planning on fly fishing in Maryland, or anywhere else for that matter, this course is a great introduction to the sport. The school covers knots, casting, gear and fly selection. Class is held from 10:00am – 1:00pm. Cost is $125 per person and includes the use of gear. A Maryland non-tidal fishing license and trout stamp is required and may be purchased at the shop with check or cash the day of the school. Class size is limited to 4 and pre-registration is required. Please give us a call at 410-357-9557 to pre-register.
This entry was posted in events on August 28, 2017 by Theaux Le Gardeur.
Please join us for a fly fishing school. On Saturday September the 23th a Backwater Angler Guide will be teaching a fly fishing school that is ideal for beginners. If you're planning on fly fishing in Maryland, or anywhere else for that matter, this course is a great introduction to the sport. The school covers knots, casting, gear and fly selection. Class is held from 10:00am – 1:00pm. Cost is $125 per person and includes the use of gear. A Maryland non-tidal fishing license and trout stamp is required and may be purchased at the shop with check or cash the day of the school. Class size is limited to 4 and pre-registration is required. Please give us a call at 410-357-9557 to pre-register.
Low Water fishing on the Gunpowder.
The Gunpowder is flowing at 28cfs and gin clear. Water temperatures are starting out at 54 degrees and rising to the 60 degree mark at the warmest part of the day. Thanks to Stefan for the following report & photos.
With low water conditions on the gunpowder fishing has been tough. With that being said fish still have to eat and fishing long 10-13 foot leaders tapering to 6 or 7x will get them to do just that. Ants and beetles will draw the most consistent dry fly action in the heat of the day, if you are fishing in the morning or evening a small size 16-18 tan caddis should do the trick. Streamers fished early in the morning will also provide a few eats.
Gene with a brown taken on a small caddis.
This entry was posted in news on August 26, 2017 by Theaux Le Gardeur.
Please join us for a fly fishing school. On Sunday September the 17th a Backwater Angler Guide will be teaching a fly fishing school that is ideal for beginners. If you're planning on fly fishing in Maryland, or anywhere else for that matter, this course is a great introduction to the sport. The school covers knots, casting, gear and fly selection. Class is held from 10:00am – 1:00pm. Cost is $125 per person and includes the use of gear. A Maryland non-tidal fishing license and trout stamp is required and may be purchased at the shop with check or cash the day of the school. Class size is limited to 4 and pre-registration is required. Please give us a call at 410-357-9557 to pre-register.
This entry was posted in events on August 26, 2017 by Theaux Le Gardeur.
Please join us for a fly fishing school. On Saturday September the 16th a Backwater Angler Guide will be teaching a fly fishing school that is ideal for beginners. If you're planning on fly fishing in Maryland, or anywhere else for that matter, this course is a great introduction to the sport. The school covers knots, casting, gear and fly selection. Class is held from 10:00am – 1:00pm. Cost is $125 per person and includes the use of gear. A Maryland non-tidal fishing license and trout stamp is required and may be purchased at the shop with check or cash the day of the school. Class size is limited to 4 and pre-registration is required. Please give us a call at 410-357-9557 to pre-register.
Please join us for a fly fishing school. On Sunday August the 20th a Backwater Angler Guide will be teaching a fly fishing school that is ideal for beginners. If you're planning on fly fishing in Maryland, or anywhere else for that matter, this course is a great introduction to the sport. The school covers knots, casting, gear and fly selection. Class is held from 9:00am – 12:00pm. Cost is $125 per person and includes the use of gear. A Maryland non-tidal fishing license and trout stamp is required and may be purchased at the shop with check or cash the day of the school. Class size is limited to 4 and pre-registration is required. Please give us a call at 410-357-9557 to pre-register.
This entry was posted in events on August 7, 2017 by Theaux Le Gardeur.
Please join us for a fly fishing school. On Saturday August the 19th a Backwater Angler Guide will be teaching a fly fishing school that is ideal for beginners. If you're planning on fly fishing in Maryland, or anywhere else for that matter, this course is a great introduction to the sport. The school covers knots, casting, gear and fly selection. Class is held from 2:00pm – 5:00pm. Cost is $125 per person and includes the use of gear. A Maryland non-tidal fishing license and trout stamp is required and may be purchased at the shop with check or cash the day of the school. Class size is limited to 4 and pre-registration is required. Please give us a call at 410-357-9557 to pre-register.


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How London's 2020 Tube trains were designed
By Margaret Rhodes
The £2 billion subway cars will replace trains on the Piccadilly, Central, Waterloo, and City and Bakerville lines, and are aimed at accommodating London's booming commuter population for the next several decades
Priestmangoode
Gallery: How London's 2020 Tube trains were designed
Descend underground into London's subway system, and "Mind the Gap" is everywhere. It's spelled out in tiles on the edge of the platform, it's announced through the loudspeakers, and it's probably splashed across a tourist's t-shirt. But sometime around 2020, the actual gap -- the dangerous space between the train and the platform that prompted the transit system in 1969 to start warning passengers -- will begin to disappear.
Getting rid of the gap is one of several efficiencies that design firm PriestmanGoode will introduce in its redesign of the London Underground trains. Announced this week, the estimated $4 billion (£2 billion) trains (part of a bigger $25 billion (£16 billion) upgrade) will replace trains on the Piccadilly, Central, Bakerloo, and Waterloo & City lines, and are aimed at accommodating London's booming commuter population for the next several decades. "London may well go up again twice in size, so you have to think about how these trains will evolve," says Paul Priestman, director at PriestmanGoode. "We can't change tunnels and platforms and stations, so how can we let people get on and off the trains more quickly?"
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Going underground: how London's Central Line was built (and why it's so unreliable)
By Victoria Woollaston
Clever Details
To delete the gap, PriestmanGoode drafted up trains that have shorter carriages and more of them. This gives each train extra sets of joints, so it can pivot and nestle itself closer to the platform. That leads to swifter train exits for passengers.
Each train will also sport larger doors (and more of them as well) to help relieve the bottleneck of commuters getting on and off at every station. The effect is similar to the shiny AirTran system used at airports.
This wouldn't have been possible when the original cars were built: newer access to stronger, lightweight materials like aluminium and finishes used on aircrafts means that the bigger doors won't cause subway cars to grow weak and buckle. In an attempt to cut down on delays, they're also proposing to amp up the communications system with flashing lights that warn commuters when doors open and close. Hopefully, the idea goes, this will stop desperate passengers from shoving doors back open.
Given all the exterior glitz, much remains the same inside the new tube cars. "Familiar is good, it's moving forward and is still recognisable," Priestman says. Besides the fact that the London Underground required the same number of seats, Priestman wanted to preserve a detail that's unique to the Tube: "It's interesting that it's possible to have fabric, and they last," he says of the upholstered seats, which would never fly in a city like New York. "It says a lot about the character of the design. It's not like a jail, people have respect for it, the lighting is right. Even in Hong Kong you have steel seats on the metros."
To keep to the thesis -- make the trains as efficient as possible -- PriestmanGoode adjusted the floor-to-ceiling handrails so they tilt slightly outward, away from people's heads and upper bodies, freeing up valuable (and literal) breathing room. An even bigger change is how the cars connect: instead of disjointed carriages, these will be "through-cars" that allow for commuters to safely and easily disperse themselves, even after the train takes off.
All told, the London Underground estimates that PriestmanGoode's trains will allow for anywhere between 25 and 60 percent more passengers, depending on the line. "We need every square inch for the passengers," Priestman says. With these changes, "it's almost like getting grit out of the system."
This article originally appeared in Wired.com
Boris Johnson's driverless Tube dream is doomed to fail (again)
By Nicole Kobie
Parasite aside, the 2020 Oscars were completely baffling
Four budget bikes (and matching kit) for a super stylish commute
By Mike Dent
The return of the night train


October is Women's History Month. This year's theme is #MakeAnImpact. Every Wednesday we will be featuring a woman who made an impact on Dartmouth or Nova Scotia's history. All the posts will be gathered here for you to read en masse.
Margaret Floyer was born in Louth, England around 1755. Margaret made an impact on Dartmouth's history as the mysterious and intriguing resident of Brookhouse.
Margaret was born to Captain William Floyer and Frances Ayscoghe. Her family was a well-known, prominent family in England. Sometime in the 1780s, Margaret left England with her brother, Lieutenant William Floyer, and arrived in Dartmouth. They built a house near Old Preston Road, now the community of Woodlawn, where they resided together. The Floyer's did have servants coming in and out of the house, but aside from staff, with very little interaction with the community. It is described by historians as an exile. Nothing is really known about why Margaret Floyer came to Dartmouth or why she lived such a solitary life.
Most of the information available about Miss Floyer comes one of our previously featured #WomensHistoryWednesday woman, Mary Lawson. In Lawson's book, History of the Townships of Dartmouth, Preston and Lawrencetown, Margaret Floyer is described as "a refined, intellectual woman, with a sweet sad face, gentle and winning address, very reticent and quiet, but exceedingly courteous to all who knew her." Lieutenant William Floyer left Dartmouth sometime after 1795 to join his regiment in Jamaica. It was a surprise to the community that Miss Floyer did not join him. Nobody was sure why not. No reason was given when asked, which seems to be pretty common when it comes to Miss Floyer.
The marital status of Margaret Floyer is also a bit of a mystery, despite always being referred to as Miss Floyer. On a land deed from August 1786, she is described as a 'widow'. On another deed from January 2, 1789, the whole land was mortgaged to Lieutenant Floyer and Margaret Floyer, a 'single woman'. However, after that she is again listed as a 'widow' on mortgage documents. Community members at the time suspected William was her lover and not her brother, but historical records seem to support him being her brother.
Another interesting aspect of her story is the male lodger she had residing with her from 1793 to 1814 After St. Pierre was taken by the British, Monsieur Danseville, the governor of was transported to Halifax and after coming across her cottage, he asked to reside with her. Soon after he built a larger house on her property since he did not know how long it would be before he could return to France. It was known as the Governor's House or Brookhouse. They resided together until 1814 when Monsieur Danseville returned to France.
Margaret Floyer died on December 8, 1815 and is buried in Woodlawn Cemetery.


Lets watch and see what O will do about this. My guess is very little if anything.
We - the USA - have destabilized the Middle East and set up the area for Iran to physically gain territory in the area.
Because the USA no longer goes into war to win the war because of the access the so called journalist and media have to such areas we treat the activities as SWAT version police actions. Go in and get the bad guy with the least amount loss of life and then pull out. Not only is this only effective in the movies and TV shows apparently those who are power in the government know that the USA citizens expect the same type of quick sterile action. And you know what - they are correct. The old quote "War is hell" is a truth that our government and military try hard to avoid because of the politics involved not only in the Congress and White House but also the offices of the DOD and Pentagon. This will all play out as a repeat in Afghanistan unless Taliban actually gain control of the nuclear arsenal. Then we will withdraw in defeat on a philosophy of negotiations and sanctions (see Iran).
debkafile's military sources report increased Hizballah involvement in actions to terrorize, subvert and destabilize Iraq. A US intelligence source told debkafile's Iraq and counter-terror sources Monday Sept. 6: "Hizballah is striking US targets in Iraq as sub-contractor for Iran and Syria."
According to the Sunday Times of Sept. 5, Iranian "firms" in Kabul are shelling out $1,000 to Taliban for every American soldier they kill in Afghanistan.
These developments make nonsense of the dire predictions heard from some American military experts that an Israeli strike against Iran's nuclear facilities would unleash a wave of anti-US terror in Iraq and Afghanistan. It is happening anyway without Israel lifting a finger against Iran or its aggressive allies.
debkafile's counter-terror sources can exclusively reveal the nature and makeup of Hizballah's operation in Iraq: The Lebanese terrorists are working directly and through two Iraqi Shiite affiliates.
1. Asaib al-Haq (League of the Believers): Under a variety of names, such as the Qais Khazalis for its commander, this group spent the last four years under the tutelage of Hizballah officers at Revolutionary Guards bases in Iran.A few weeks ago, the Lebanese officersleft Iran and crossed into Iraq disguised as Shiite pilgrims to spread out in Baghdad and the southern Iraqi towns of Karbala, Najef, Nassiriyeh and Basra from which to attack attack US targets.
2. Kata'ib Hizballah (Hizballah Brigades): This organization is commanded by Abu Mahdi al-Muhandis who visited Damascus on Aug. 21 with the Revolutionary Guards chief Gen. Ali Jafaari. They got together there with Syrian and Hizballah officers to synchronize their campaigns of violence in Iraq, Israel and the West Bank.
The Iraqi operation was clearly uppermost on the mind of Hizballah secretary general Hassan Nasrallah, judging from the number of words he poured out on Iraq in his speech in Beirut on Palestine Solidarity Day of Sept. 3 and the way he bracketed the two "resistance struggles."
"The steadfastness of the Palestinians, Syria, Iran and the Iraqi people has been able to foil the US plot seeking to partition the region and liquidate its resistance," he said. "The US withdrawal from Iraq is a sign of weakness and defeat." Furthermore, "the Americans came to Iraq to stay there and control it, but years later, they were surprised by the early resistance and cited enormous and strategic mistakes in their reading of the Iraqi arena."
debkafile's military sources report that Hizballah's increased involvement in actions to terrorize, subvert and destabilize Iraq on behalf of Syria and Iran is their first practical step for reviving the Eastern Front which threatened Israel in the days of Saddam Hussein.
In its contemporary re incarnation, the Eastern Front would be orchestrated from Tehran and link up with the armed-to-the-teeth Northern Front composed of Iran's cohorts, Hizballah, Syria and the Palestinian rejectionists.


text:
Will Your Anchor Hold? is a play starring David G. Lees.
First performed 13 May 2016. Photography by Justinas Vilutis.
"Hello, you must be Robot. Please come in…"
People deal with break-ups differently. David's process: lots of sex and buy an organ.
In the seven years he's lived in London, David has owned six organs. These are Victorian Bellow organs, they're huge.
"I love my organ! And no, that isn't a euphemism…"
After the most recent break-up, David moved to a flat in Bethnal Green on Voss Street.
A backstreet, pitch black by night, Voss Street was perfect for pissing, kissing, shooting up, leading to possibly more.
What it must have inspired in those men approaching David's flat!
To then be buzzed through to a steep concrete staircase. Which led to a doorway. Where David would be waiting. Backlit. Ready to lead his date into…not so much a flat as a room in a flat which had been sliced into four further partitions to create a London home. One filled mostly with organ.
The ingredients were all there for theatre.
"I have Brewdog Punk IPAs chilling in the fridge…"
I had wanted for some time to make an original play with David and I knew it was in here but was wary of producing a sketch, some Grindr the Play kind of thing. I need something more from art.
When eventually I found that something, David had only gone and exited the inter-relationship zone, selling his organ, deleting Grindr and leaving Voss Street.
Fortunately he moved to an even more terrifying new home. Because David's bedroom is the setting for the play. Positioning the viewer as his date, audiences watch from David's bed.
The fear, uncertainty, excitement of going to a stranger's house for sex – I want a theatre that shares these. Will Your Anchor Hold? must thrill from the moment you arrive at David's flat and push the doorbell.
"Santiago was neither quiet nor discreet..."
Here are photos of some of our audiences. Note the happy, smiling expressions.


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"Living Proof" é uma canção da cantora cubana Camila Cabello, foi lançada pela Epic e Syco em 15 de novembro de 2019 como terceiro single do álbum Romance.

Antecedentes e composição
A música foi mencionada pela primeira vez em fevereiro de 2019 através das redes sociais de Cabello, "mostrei à minha família as músicas que tenho até agora para o álbum, a favorita por unanimidade é uma música chamada "Living Proof". Em 13 de novembro de 2019, Cabello apresentou a capa e a data de lançamento do álbum e, ao mesmo tempo, anunciou que a música seria lançada no final de semana para download junto com a pré-venda do álbum.

Em seu anúncio, Camila comentou: "É uma das primeiras músicas que escrevi e uma das minhas favoritas para o álbum". A música romântica e sensual inclui letras idealizadas que descrevem um romance perfeito.

Vídeo musical
O vídeo musical de "Living Proof", dirigido por Alan Ferguson, foi lançado em 24 de novembro de 2019.

Apresentações ao vivo
Camila cantou a música pela primeira vez no American Music Awards de 2019. Em 5 de dezembro de 2019, Cabello cantou a música no The Tonight Show Starring Jimmy Fallon. Em 6 de dezembro, ela apresentou a música no The Ellen DeGeneres Show.

Desempenho nas tabelas musicais

Históricos de lançamentos

Canções gravadas por Camila Cabello
Singles de 2019

redpajama_set_name: RedPajamaWikipedia


text:
Learn about other Person In Recovery
Senior Rehab
Home >> How To Choose the Right Rehab > < Person In Recovery > Women-Only Addiction Treatment
Women-Only Addiction Treatment
View Women's Rehab Centers
For women struggling with drug or alcohol addiction, a women only rehab center can be a good alternative to traditional programs that include men. Women can find a greater sense of comfort and safety beginning recovery in a center that is tailored to meet their unique needs.
Female rehab centers focus on the female experience of addiction, recovery, and life in general. Women have a different physiological, mental, and emotional makeup than men. These differences can get downplayed or ignored in a coed rehab center and leave some women feeling misunderstood or dismissed.
Women Only Rehab Centers
A women's only rehabilitation center can offer a more comfortable and safer environment for women in recovery in either an inpatient or outpatient setting. Women can freely discuss issues such as domestic abuse, trauma, body image, or eating disorders with others who can more fully relate to their experience.
A women-only environment can make it easier to open up during the recovery process without feeling misunderstood or ignored due to gender differences. In group sessions, women can concentrate on taking care of themselves while building a support network with those alongside them in the program.
Women's rehab focuses on educating women about how they react uniquely to substance abuse, which improves chances of sustained recovery. Women have unique motivations for using substances, which can include self-medicating to combat emotional struggles, abuse, or traumatic events.
Physiological differences include higher amounts of the hormone estrogen, which creates a greater response to triggers like alcohol or drugs when compared to men. Women's bodies process alcohol more slowly and less efficiently than men's bodies, and they can become addicted to substances more quickly than men.
Alcohol Treatment Centers for Women
Alcohol rehab for women provides a more targeted treatment compared to coed rehab programs. Some women try to handle a drinking addiction on their own, with help from their primary care doctor, or possibly by joining a 12-step program. These are positive steps toward recovery, but many women need to remove themselves from their everyday circumstances to achieve sobriety.
A woman entering a treatment center will go through an initial intake process. This means that her physical, mental, and emotional health will be evaluated by staff members, including symptoms she is already experiencing. Information on any family history of alcoholism, as well as present circumstances will also be gathered.
The detox process is usually needed to clear the body of any remaining alcohol. For many, withdrawal can be difficult and even painful. Medical supervision offered at a women only alcohol treatment facility can ease detoxification and improve safety during the process.
Therapy sessions help to explore the reasons for drinking without any stigma attached. By sharing the causes of her drinking, such as depression or abuse, a woman can admit her struggles in a safe environment. During therapy, a woman is surrounded by other women who will offer support instead of judgement.
In this phase, time is also spent on education, including learning about the physical toll that alcoholism takes on a woman's body. For example, learning that women are more likely than men to experience severe liver and heart disease, breast cancer, and brain damage may add to the resolve to stop drinking. Knowing the risk of fetal alcohol syndrome can lead pregnant women to make better choices.
Ongoing support for a woman in alcohol rehab may consist of connecting her with an Alcoholics Anonymous meetings in her area, or matching her up with a female sponsor. Or, if she has a strong spiritual life, she could find a local church that hosts Celebrate Recovery. Either way, she needs continued help after her center stay to enjoy a life of sobriety.
Drug Rehab for Women
Drug treatment for women provides a safe environment that mitigates concerns to open the door for recovery. As with alcohol, many women who are struggling with drug addiction hesitate to seek help. They may be in denial about their problem, feeling guilty or ashamed, or they may fear the consequences of openly admitting their struggle.
Drug rehab centers for women offer fellowship and friendship as part of a recovery plan. Group meetings, fitness therapy or even leisure time spent together help women feel like part of a team. A woman who feels supported will be more likely persevere through the challenges of recovery.
Treating Depression and Mental Health Issues
Many times, substance or alcohol abuse is connected to depression and other mental illness. Some women use alcohol or drugs to feel better, while others turn to activities like gambling or overeating. Even if these coping mechanisms are helpful in the moment, a "withdrawal depression" sets in after the substance or activity is done. This can set up the temptation for more, and soon a habit forms.
The best rehab centers offer dual diagnosis treatment, where both the addiction and the underlying depression are addressed. In a women only center, patients go from feeling isolated by their struggles to feeling part of a compassionate group. Hearing how others like them handle life issues is part of a journey towards mental health.
Because of the hormonal fluctuations in the female body, women suffer from different types of depression than men. These disorders can hit at different stages in life, such as with postpartum depression after childbirth, or at the end of menopause. Being treated by staff who understand how to treat these specific conditions gives women reassurance and hope.
Antidepressant medication such as Prozac, given under close supervision, breaks the cycle of depression and elevates the mood. Then, behavioral and cognitive therapy helps people to become more aware of their mental habits and to start to think, and act, more positively.
Women-Only Depression Treatment Facilities From Our Directory
Paradigm Malibu (866) 202-3805
The Meadowglade (866) 416-6708
Omega Recovery (512) 759-8495
View all Women-Only Depression Treatment Facilities From Our Directory
Domestic Violence and Abusive Relationships
Women who are victims of domestic violence are faced with many challenges. After experiencing abuse, their self esteem can plummet. As a result, they can fall into a place of powerlessness and feel unable to make decisions for themselves. Then, mental health issues like PTSD, anxiety, and, in some cases, suicidal thoughts may take hold.
Treatment centers designed for women can be an especially powerful force in helping them deal with the physical, mental and emotional trauma they sustain. The center is a safe place to talk about any violence going on while away from the abusive environment.
Making connections between domestic violence and addictions helps a woman better understand her behavior. For instance, during treatment a women may realize she has felt pushed by her partner into taking substances, or that her addiction began as a way to cope with the fear and chaos surrounding her.
In recovery at a single-gender center, women learn how to take care of their needs in healthy ways, to set good boundaries and to break patterns that have kept them stuck. Sharing the process with peers empowers the whole group.
Eating Disorders and Body Image Issues
Recovery from eating disorders is possible, and calls for a long-term plan of care. Behaviors like anorexia, bulimia and binge eating are often connected to body image and weight, or as a response to stress. In a women only support group, members can more deeply explore the pressure they may feel by society to conform to a standard body type. They can speak to each other's experiences to replace negative self images with self-acceptance.
If a woman's bodily functions are already compromised, immediate hospitalization is called for. Once the patient is stabilized, a more holistic treatment approach to recovery can be started. This typically consists of therapy sessions, group activities, supervised exercise and nutrition education. The goal is to equip each woman to use food to nourish her body and to see herself in a realistic, positive way.
Regular follow-up after inpatient treatment is vital. Eating disorders put a great strain on the body, and medical concerns such as heart failure or organ malfunction can still occur even after the behaviors have changed.
Women-Only Eating Disorder Treatment Facilities From Our Directory
The Oaks at La Paloma (901) 610-0050
Westlake Recovery (512) 759-8495
Dogon Behavioral Medical Group (951) 341-8930
View all Women-Only Eating Disorder Treatment Facilities From Our Directory
How To Choose a Women's Rehab Center
With all the rehab center options available now, finding the right one can be a difficult task. Here are things to look for in a facility:
Fully Licensed Staff
The medical doctors, nurses and mental health professionals are responsible for supervising a patient's program, from intake and detox through outpatient care. States set standards for treatment centers and staff members that must be met. Independent agencies like the Commission on Accreditation of Rehabilitation Facilities (CARF) and the Joint Commission on the Accreditation of Healthcare Organizations (JCAHO) also perform inspections and list recommendations on their websites.
Variety of Treatment Options Tailored to the Individual Patient
Every patient comes into treatment with her own set of issues, circumstances and personality. In order to provide a successful experience, rehab centers must be able to provide the type of therapies and activities that are most appropriate in each case. Behavioral, talk and family therapy, group sessions, and peer activities can all play a part. Sometimes prescribed medicine is used, either to treat depression or to ease withdrawal symptoms or cravings. It's important that any treatment plan stay flexible to adjust to a patient's changing needs.
Dual Diagnosis Approach
Because there is often a connection between mental health issues and substance abuse, most centers are ready to treat both conditions at the same time. To do this, the staff must include mental health as well as medical professionals. It must be clear communication between staff, especially about any medications being used during Detox or Rehabilitation.
Women-Only Dual Diagnosis Treatment Centers From Our Directory
JourneyPure Louisville (844) 257-6588
Southeast Addiction Center 866-729-9866
View all Women-Only Dual Diagnosis Treatment Centers From Our Directory
Familiarity With Specific Issues of Women
Part of the effectiveness of a rehab center designed just for women comes from a staff that understands the unique concerns that women face. Many women have multiple roles in life and also face expectations that cause stress and lead to addictive behaviors. The best centers acknowledge and address the experiences women go through, with an aim of helping them see a better future for themselves.
Rehab can be expensive, and some women may not be in a position to afford it. Fortunately, many sources of funds are available. If they cannot borrow money, States, agencies, and even centers themselves can provide assistance. A Center should have someone on staff to help women find where to get the money they need, and to guide them through application processes.
There are additional concerns women may have as they consider entering a rehab center for treatment, such as securing child care and getting time off work. A treatment center should offer advice and assistance in organizing these things.
Women with addiction disorders don't have to hide their struggle or fight on their own. Rehab centers designed just for them can provide individualized care that addresses the specific issues that women face during recovery.
More Women-Only Addiction Treatment Programs
Costa Rica Treatment Center California
At Costa Rica Treatment Center, beyond addressing the obvious symptoms our dedicated multidisciplinary team offers you a holistic evidence-based treatment program focused on healing underlying issues resulting in addiction to alcohol and other drugs. Our treatment center brings you the highest staff to patient ratio in the region at the most affordable price. CRTC's bilingual treatment team is comprised of highly qualified professionals specialized in addictions treatment with an impressive track record.	(800) 708-3656 Learn More
The Hills Treatment Center California
The Hills Treatment Center is an exceptional drug rehabilitation facility in Los Angeles, dedicated to the most progressive addiction treatment and recovery modalities. The Hills offers a unique educational and therapeutic rehabilitation experience that aligns with the most highly regarded standards of drug addiction treatment.	(888) 534-0173 Learn More
Omega Recovery Texas
Omega Recovery is a counseling and wellness center that treats both addiction and mental health disorders. But more than just treating "disorders", which are often times merely the symptoms of deeper distress, OMEGA helps people who may be struggling to undergo a transformative evolution into a Self-actualized state.	(512) 759-8495 Learn More