In the Name of the Father and of the Son and of the Holy Spirit one God. Amen.
In order to grow more and more into the likeness of God, we must constantly be changing. Growth implies change. In this Gospel we see the birth of Christian discipleship beginning with an invitation to change that would alter the lives of four fishermen and ultimately the entire world. These four set off on an adventure with no hope of security leaving behind everything. Such a change! Now let me read a quote from Anthony DeMello.
It is interesting to me that the early Christian document called THE DIDACHE specifies that the best place to do a baptism is in "living water," that is, running water like in a river. Always moving, always changing. You cannot put your foot into the same river twice, they say.
How brilliantly Jesus peppers his invitation with a metaphor about fishing . In this way Jesus validates them. He shows respect for their way of life. If they follow him, he will make them "fishers of men." The metaphor carries with it mystery. What could it mean to be a fisher of men? The mystery makes it more appealing. In order to understand what he meant they would have to enter the mystery and in order to do that, they would have to change.
Like Abraham who accepted the invitation to leave his homeland to become the father of nations in a land of promise. As Tito Colliander tells us in the beginning of his amazing little book WAY OF THE ASCETICS, to enter into the Lord's new way of life we too, like Abraham, must rise from our complacency, our comfort and all that is familiar and go where the Lord leads.
It is also a mystery when people respond to this call which is offered to everyone. We might love more information, more explanation. It is not given, perhaps because although the invitation is the same, each must enter it in her own way. I think it was Thomas Merton who said that if you recognize the path you are on, then you must be on someone else's path. Each step is a step into newness. There are no cookie-cutter Christians. There are as many ways of saying yes to Jesus as there are human beings to answer. Holiness appears in a life like a new facet in a gemstone; each different and each beautiful, reflecting the light in its own way.
"You gotta walk that lonesome valley, you gotta walk it by yourself, nobody else can walk it for you, you gotta walk it by yourself," says the old song folksong. It is true, of course, that we are never really alone.
As to why exactly they left the security of their homes and work and families again we are given no explanation. And we are even told that they did so immediately. Still no explanation. I think the Dutch theologian Edward Schillebeeck gives us a clue when he writes, "There is a moment when the interior light of the "eyes of faith" becomes one with the exterior light that shines from Christ..." It seems to me that something like this must be occurring here in this story. It is true that in the spiritual life there are moments of theophany when the light of Christ meets the light of God that is in all of us and those moments can be explosive. And then there is a sense that the invitation to follow Christ occurs every time we wake up and with every step we take. Our spiritual lives cannot consist of memory only because it flows like DeMello implies, ever moving, ever changing. The faith we had yesterday is not sufficient for the faith we need today.
For example, the glorious services of Pascha each year energize us, but are forgotten not long after the Liturgy of ended. But every moment we live in the light of the Resurrection as each moment gives way to a new and always different present. So we must keep our eyes open in a conscious effort to respond to the light of Christ that is always shining in each moment. To see in every moment and in everything his face.
Many of us saw the weeping icon that came to St. George a few years ago and were amazed at the power of the experience. But the moment faded the moment we left the church and we notived that life kept flowing on.
The center of our spiritual lives is not the past, it is the present, not a well-known path, but a new one that will reveal itself step by step. We walk always into mystery on a path that cannot be spelled out by anyone or replicated by someone else. How each of us will become "fishers of men," we must discover by doing.


We believe that out of boundaries comes greater freedom within. We provide an environment where the pupils feel safe, secure and happy in which they can flourish.
Our outstanding Ofsted report showcases why our values-based approach works. The students are at the centre of all that we do, and we've found success because of that.
We accept admissions from pupils in Herefordshire and elsewhere. Please view our latest Prospectus for more information on our Admission Policy, or contact us directly.
We have a very clear vision that is shared and supported by the school, and the wider community. We offer a broad and balanced curriculum, and encourage our pupils to reach their academic potential.
Do you have a question? Contact us via phone, email or visit us in person.


text:
Q: How to get replies or quotes on a specific tweet I am getting the tweets and the corresponding id of that user in an object obj. I want to know why I don't get the other informations like conversation_id. I want to use it to get the replies and the quotes. That's the solution that I found in the internet but didn't know how to make  it work.
Does any anyone know to extract the conversation_id or any other parameters like geo.place_id? I am using tweepy but if anyone has any other solution using another library to get the same result it will be also helpful. Thanks for your help!!!
You can try the code if you create another file config and define your tokens. I can't share mine due to security purposes.
import tweepy
import config
users_name = ['derspiegel', 'zeitonline']
tweet_tab = []

def getClient():
    client = tweepy.Client(bearer_token=config.BEARER_TOKEN,
                           consumer_key=config.API_KEY,
                           consumer_secret=config.API_KEY_SECRET,
                           access_token=config.ACCESS_TOKEN,
                           access_token_secret=config.ACCESS_TOKEN_SECRET)

def searchTweets(client):
    for i in users_name:
        client = getClient()
        user = client.get_user(username=i)
        userId = user.data.id
        tweets = client.get_users_tweets(userId,
                                         expansions=[
                                             'author_id', 'referenced_tweets.id', 'referenced_tweets.id.author_id',
                                             'in_reply_to_user_id', 'attachments.media_keys', 'entities.mentions.username', 'geo.place_id'],
                                         tweet_fields=[
                                             'id', 'text', 'author_id', 'created_at', 'conversation_id', 'entities',
                                             'public_metrics', 'referenced_tweets'
                                         ],
                                         user_fields=[
                                             'id', 'name', 'username', 'created_at', 'description', 'public_metrics',
                                             'verified'
                                         ],
                                         place_fields=['full_name', 'id'],
                                         media_fields=['type', 'url', 'alt_text', 'public_metrics'])
        if not tweets is None and len(tweets) > 0:
            obj = {}
            obj['id'] = userId
            obj['text'] = tweets
            tweet_tab.append(obj)
    return tweet_tab

searchTweets(client)
print("tableau final", tweet_tab)

A: my guess is that you need to put the ids into a list through which the function can iterate. Create the id list and try:
def get_tweets_from_timelines():

    tweets_timelines_list = []
    for id in range(0, len(ids), 1):
        one_id = (ids[id:id+1])
        one_id = ' '.join(one_id)

    for tweet in tweepy.Paginator(client.get_users_tweets, id=one_id, max_results=100,
            tweet_fields=['attachments', 'author_id', 'context_annotations', 'created_at', 'entities', \
                'conversation_id', 'possibly_sensitive', 'public_metrics', 'referenced_tweets', \
                 'reply_settings', 'source', 'withheld' ],\
            user_fields=['created_at', 'description', 'entities', 'profile_image_url', 'protected', \
                'public_metrics', 'url', 'verified', 'withheld'],
            expansions=['referenced_tweets.id', 'in_reply_to_user_id', 'attachments.media_keys', ],
            media_fields=['preview_image_url'],

                     ):
            tweets_timelines_list.append(tweet)
    return tweets_timelines_list

redpajama_set_name: RedPajamaStackExchange


text:
Minions Holiday Special Trailer Features Surprising Illumination Crossovers
By Andy Swift / November 20 2020, 12:00 PM PST
Santa's elves are so last Christmas. NBC is pulling its talent from the naughty list this year for the first-ever Minions Holiday Special (Nov. 27, 8:30/7:30c).
As you'll see in TVLine's exclusive trailer, Gru's banana-hued henchmen will assemble for four mini movies — Puppy, Minion Scouts, Training Wheels and Santa's Little Helpers — that promise to deliver "action, romance, poor judgment and explosions." In other words, it's a typical day in the life of a Minion.
The trailer also promises "special guests," some of whom we catch a glimpse of at the 18-second mark. Gunter (aka the flashy performing pig from 2016's Sing) is seen doing some sexy Santa breakdancing, surrounded by familiar faces from his movie.
According to NBC's official synopsis, the Minions Holiday Special — from Illumination and Universal Pictures — also includes characters from 2016's The Secret Life of Pets.
NBC's Minions Holiday Special will be available to stream on Peacock beginning Saturday, Nov. 28.
Hit PLAY on the trailer above for your first look at the holiday crossover of your dreams, then drop a comment with your thoughts below. Will you tune in for some Minion madness next month?
TAGS: Minions Holiday Special, NBC, Peacock
GET MORE: Exclusive, Kids TV, Trailers and Promos, Video

redpajama_set_name: RedPajamaCommonCrawl


Counselling and support. Casey 360. Youth events. Australia Day Study Tour. Placements for tertiary students. Youth Services Network.
Having run for over 30 years, the Australia Day Study Tour is a fantastic way to experience and learn about local, state and federal government.
In-school programs are designed to improve young people's connection to their peers, school, family and the community.
The Casey 360 Bus is a Mobile Youth Information Centre for young people that services the suburbs of the City of Casey.
Our Youth Services Network provides opportunities for schools and other youth workers across Casey to share resources and information.
Our Youth Counselling and Support team offer a free, confidential counselling service for young people aged 10 to 25. You can talk about anything that's on your mind.
The i sea, i care ambassador program gives primary school students the opportunity to learn about the wonders of Western Port and the impact human activity has on the local marine environment.
We can help eligible learner drivers gain their 120 hours of driving experience to apply for their probationary licence (P plates).
We offer occasional placements to tertiary students studying youth work or other related disciplines.
Participating schools can hire a fully-equipped bicycle trailer free of charge to help deliver on-site road safety programs to students.
Get involved in a project with the Casey Youth Action Committee.
We run a range of events, programs and activities for young people. You can also join Spectrum Entertainment, our events committee of young people aged 12 - 25 years, to help plan, organise and deliver our FReeZA events.
Our Youth Information Centres provide a place for young people to get information and advice on issues that concern them. They also include a range of recreational activities, programs and personal development programs.


text:
Harry and ginny meet after the war fanfiction twilight
All the Way Into Twilight Chapter 1, a Harry Potter + Twilight Crossover fanfic | FanFiction
Login | Sign UpFanFiction | unleash your imagination So, this takes place after the Hogwarts Battle and during the events of as our books kinda went missing but still sticking to the Harry Potter books. . It was an awkward first meeting, that's for sure, but that had been a week ago and she seemed nice. Login | Sign UpFanFiction | unleash your imagination HP and Twilight crossover. a few months after the final battle Ginny, George George would be the guardian of Ginny and Harry who would attend Forks High School. . The rest of the day went by quickly and soon they all met up in the parking lot. After a few years they move to Forks where they meet Sheriff Swan. Rated: Fiction M (Dreams). After the war Harry took in his godson Teddy.
Severus to was pissed. He had finally came to terms with the fact that he could not blame an innocent child with what his father had done to him. He was starting to care for the young man and even the young child he took care of. Kingsley arrested all three of them and then Severus gave them all veritasium. Kingsley started with the youngest first. I am going to be the next Lady Potter, I'll be famous and rich" Everyone was angry at her.
They all knew that Harry was gay. They never knew how shallow and disturbed Ginny was. Kingsley turned to Ron next. He refused to marry my sister to give us his money and he kept all that fame to himself. He is now taking care of a werewolf. He is letting that thing near my family and I won't have it. They thought they had raised them to be opened minded people. Everyone started to get very angry and they didn't want to hear what Hermione was going to say.
Harry's gay and Teddy is a half werewolf. Plus since Harry isn't going to marry Ginny, I won't get any money. They couldn't believe what they just heard. Even Severus was looking at them in disbelief. Those freaks deserve to die. All three were cuffed, and had magical dampers placed on them, levitated and Kingsley left.
Everyone turned and saw that Bill was trying to calm Harry down. Severus gave Bill a calming draught and Bill forced Harry to drink it.
Harry calmed down a few seconds later. It was an awkward first meeting, that's for sure, but that had been a week ago and she seemed nice. We could see the effects of the break-up, but we didn't look any better either. Both Ginny and I were thin, the ghosts of our pasts shown on our face. Today, was the first day at the muggle high school known as Forks High and it was also the school Bella attended. We did have the choice of going back to Hogwarts and continuing our studies there, but we wanted the fresh start, and so, with the help of magic and Charlie, we had enrolled into Forks High and gave the school a cover-story, saying that we were half-sisters that were home-schooled by our parents, until they passed away.
It was partly true, and it was needed. Although Ginny was a year younger, we had managed to convince the school to place her in the same year as Bella and myself, saying that because we were home-schooled, we both learnt the same things. I bet he would say that it's a good idea that I'm learning about muggles and their way of learning education. He'd say to learn as much as I can and then report to him as soon as the day is done. Ginny then stopped, her eyes glistening.
We can start fresh here…I don't know if I am in denial or just wanting to start everything over so badly but I know that we going to be okay here…there's something about this place that lets me know that we're going to be fine and that we will learn to heal…" I assured her. What happened to her that made her scream in pure agony? If I'm honest, I don't think I want to know. By the sounds of it, it pretty awful…" "It was and I would appreciate you not talking about it We both turned to the doorway, only to see Bella, dressed in a pair of skinny jeans and a brown t-shirt, staring at us.
She raised her hands. All I know about you is that you're both witches and that's awesome, but I also know that your people had just won a war and of course that would leave scars…like the one on your forehead…which is an awesome scar by the way…but I can relate.
And I agree…and I know have bad dreams, so do you…I may scream in my sleep, but so do you…when you tell me about the war, I'll tell you about Edward…my ex…oh god…" I nodded, thoughtful about her words.
It was true that we had nightmares that made us all wake up in the night screaming. Poor Charlie had a lot to deal with, but he was there for all of us. Ginny and myself are survivors of a war and you're the survivor of a really bad break-up.
Sounds like a punchline for a movie…Survivors! Oh, wait, isn't that a TV show? I rolled my eyes and huffed in mock annoyance. Listen, I am sorry about my behaviour when you guys first got here.
I wasn't myself…I know that now. But I'm willing to make it up to you and first, we need proper introductions I know that we have a long way to get to know each other, but I am looking forward to it. She had been a bit out of it when Uncle Charlie came to pick us up at the airport in the town of Port Angeles. At first I blamed the break-up but no-one could be that rude and snarky.
But after Uncle Charlie threatened to return her to her mother, I noticed some changes in her. It's amazing though, as both Ginny and I had only been in Forks for a week, and had seen Bella miraculously change before our eyes.
When Will This War be Over? Chapter 1, a Harry Potter + Twilight Crossover fanfic | FanFiction
Yes, maybe Ginny and I did make a rash decision moving here, but with most of friends gone, we really didn't have a choice. During our week here, we had gotten to know Charlie well and although I could call him Uncle, I wasn't quite there yet. Bella rolled her eyes and held out her hand to Ginny. From what Charlie, sorry Dad, told me, he said that your war was devastating and that you lost a lot of people.
I can't imagine losing my parents…even though one is like in another state but I still can't imagine not ever being able to talk to my mother or have dinner with Charlie…so, I'm sorry. What is wrong with that saying? I shivered, knowing she was right. In fact, Hermione had been all for the move to America.
She had returned to us from her stay with her parents just to help us move. We had placed charms over both the Burrow and Grimmuald Place, knowing that one day we would be back and converted more than half of our savings at Gringotts into muggle money and helped us open a joint account.
With myself being sole beneficiary of Sirius's savings and my own family savings, we didn't need Ginny's and so she packed hers away safely and really, we both had money to last us several lifetimes. Hermione had even suggested that we'd buy a place instead of moving into Charlie's three bedroom house, but I then suggested that if she would come, then we would.
But she didn't, though I still had the hope that one day she would join us. I think the war did her head in…" Ginny teased. Although I was annoyed at their teasing, my heart leapt a little when she joked about the battle.
I gave her a small smile and she returned it, somehow knowing what I was thinking. Although Ginny and I weren't as close as Hermione, Ron and I were, we had become closer and I considered her a sister. After everyone had either left or passed away, she and I were the only two left and stuck together. She may not have been with me during my time on the run and the hunt for the horcruxes, but she was here with me now and I wouldn't have it any other way.
Ginny and I nodded to her. We had gone shopping the day before for all our school supplies, plus clothes to help us fit in at school. I don't think that robes were exactly appropriate school attire and so we had brought things to make us fit into our new lifestyle. For today, I had on a long grey maxi skirt, a white patterned shirt and my book bag was leather and brown.
I put my feet in beige coloured flats and slipped on my denim jacket, checking myself in the mirror. My ebony hair was pulled up in a messy bun, and I had on a pair of contacts, which had been magicked to stay in place.
I missed my round-eye glasses, but Ginny had suggested that contacts were better than my glasses. My lightning bolt shaped scar still rested above my forehead and I wondered if I should glamour it, but shook my head no. There were other scars that were visible on my body and it would seem strange to just glamour the bolt and not the others. I rubbed the scar that was on my hand, wondering if I should glamour that.
While the bolt may seem strange, having the words 'I Must Not Tell Lies' permanently on my hand was even more strange, but instead, I just pulled the sleeve down and hoped that no-one would take notice. Ginny must have sensed my worry. I noticed that Bella bit her lip and I frowned. Not that I mind, but what happens if someone spots it or something?
I mean I know that you know about us but if someone spots it, we can just obliviate their memories…" "Oh…okay…" Bella said, shocked. I looked to Ginny, who was pulling on her brown leather boots. She was wearing black jeans, a white tank shirt and a rust cardigan. Her book bag was black and it was a backpack. She picked up her black wood wand and placed inside her boots and smiled at us. Well, it felt like that as we walked out of the head office and on our way to our first class.
We had arrived to the school and had met the principal and got our timetable for our classes. Both Lexie and I were relieved to know that most of our classes were with Bella, and that Bella was apparently our 'buddy', which was the person who had to show us around the school and help us settle in.
It was quite overwhelming, being in a muggle school. So unlike Hogwarts… I so wished I could go back, but I needed a new start. The death of my parents was hard, not just on myself, Bill and George, but on Lexie too, as she had considered Mum and Dad as her own parents. But although I missed them, I couldn't bear to be in the house that beared their memories. The war had been over for three months, but it still felt like yesterday.
So, when Lexie asked me to accompany her to America, I said yes, grateful for the opportunity. Lexie Potter was truly a brave soul with the heart of a lion, even though her animagnus was a dire wolf. I bet that if she was a male, she'd be a lion.
I giggled to myself as I thought of my best friend as a male.
I saw Lexie frown. She rolled her eyes. We then reached a classroom, and it looked like small science classroom. Students were already sitting at the tables that were lined up and the teacher, a man with a moustache smiled at Bella, who introduced us to the teacher, whose name was Mr Molina. Bella nodded to us and walked away, heading to an empty seat next to a boy with blonde hair.
They are from Britain and will be joining this class. Girls, there's an empty table behind Bella there, so just head there.
I know dad is excited to see you. Who are your friends? I thought you said there were more of them.
Will you guys come over for dinner? You can bring some people if you'd like. Merlin knows the house is big enough! Jake go tell the other boys and they can come to. But fair warning you might want to make extra the boys eat like wolves.
Harry and Ginny fanfiction; Another chance, Ep.1
I'll see you guys then. Its just th…" she was cut off by the doorbell. She walked over to the door and opened it. Glad you could make it. Dean, Amarissa, and Liberty are going to stop by everyone and a while they aren't staying though. The night went on successfully. Her family and friends got along great and to soon it was time for them to leave. Everyone was staring at them as they got out of their cars and walked towards their first classes.
When Hermione and Harry got to their first period class there was two seats open, one next to a pixie like girl and the other by a boy with bronze hair.
They both had gold eyes so Hermione guessed they were related. Granger you can go take a seat next to Mr.
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Google Play Music v8.22.8261-1.P Cracked APK
by View ViewPosted on August 1, 2021
Google play music web player download offers free ad-supported radio for what you do, how you feel, or what you want to hear. Instantly start radio stations based on songs, artists, or albums, or browse by genre, mood, activity, decade, and more. Bring your own music collection by uploading 50,000 of your own songs; then listen to it for free on Android, iOS, and the web. Subscribe to access millions of songs on-demand and download everything to listen to even when you're disconnected – or sign up for the family plan on Android to offer access to up to six family members for one low price. Plus, subscriptions come with a YouTube Music Premium membership, so you can enjoy YouTube Music without ads, in the background, and offline.
Google play music cracked APK:
google play music download for pc is the one you were looking for. If you are a music fan then you must know the app we are talking about. We are talking about the one and only Google Play Music. And this one is a product from Google itself, which is great in itself. . And it has all those things you need to enjoy the music all day long. If you are interested in listening to the radio, look no more. You just found the app you were looking for. Not only a perfect music app, but it is also the best radio app without a doubt. Accessibility is also one of the most important things to talk about in this app. You can now access the music the way you want.
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Free music on google play hack is no limitation in the accessibility of the music with this app. Search and discover all the music you want to hear. And this is very easy while using this app. It doesn't matter if you know the song name or not, just the artist name or album name is more than enough for you when using this app. is also an extremely intelligent feature to talk about. That is what the song is looking for in its genre. The boundaries are now gone for you. This is the only app that allows you to upload your favorite music, and a large number too. We are talking about a song big enough to blow anyone's mind, yes we are talking about 50,000 of your own songs. Not only this, but you can now use all the premium features of this app for free.
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Play music download mp3 To install Google Play Music V7. Before you decide what you want, you can try out free music or book, check ratings, reviews and screenshots, or watch a movie trailer. The browser and other applications provide means to send data to the internet, so this permission is not required to send data to the internet. Prevent the device from sleeping: Allows the app to prevent the device from going to sleep. Buy Now, Listen Now, Never Sync There are hundreds of free songs and millions more for sale on Google Play.
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Import existing music library. In addition to a large streaming library, Google Play Music makes it easy to integrate your pre-purchased songs, even if they come from other services such as iTunes.
Free subscription to YouTube Music. Although you need to download a separate app, you can access all of YouTube Music's music and video content for free.
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In this post, I will show you how you can perform a full system backup of Windows 8.1 with built-in backup features and tools. Maybe you don't know it, but Windows 8 as well as Windows 7 has a built in bare-metal Backup & Recovery options for you to use. In Windows 8 these features can be a bit tricky to find, but I will show you where you find them and how you use them.
When I first switched from Windows 7 to Windows 8. One of the first things I noticed was that even I was running Internet Explorer 11 on both operating systems, spelling control was not working the same way in IE 11 on Windows 8/Windows 8.1. In Windows 7 I was used to right click on a misspelled word and chance the language in case I was writing in another language in my default. In Windows 8 that is not the possible. My default language is Danish, but I often write in English as well. It toke me quite some time to figure out how I could get it to work in Windows 8, because I think it is a nice feature when writing in another language that is not my native born language.
Microsoft's newest operating system, Windows 8, released back in October 26, 2012, has not been as popular as Microsoft could have wished for. In October 2013 the free upgrade (Windows 8.1) to Windows 8 will arrive to try and fix some of the issues and criticism of Windows 8. I have been able to test and get a look on what Microsoft have changed in this update and will give you a little tour of the changes Windows 8.1 brings to Windows 8.


text:
← Elisabeth Barakos on her book, Language Policy in Business
Crystal Biruk on her book, Cooking Data →
Jane Goodman on her book, Staging Cultural Encounters
Interview by Janina Fenigsen
https://iupress.org/9780253049629/staging-cultural-encounters/
Janina Fenigsen: You've written a fascinating account of the 2016 US tour of the Algerian theater troupe Istijmam, which was sponsored by the Center Stage program of the US State Department's Bureau of Educational and Cultural Affairs. How did you come to be involved with this tour? More broadly, what led you to study Arab Algerian theater after writing a first book on Berber/Amazigh music (Berber Culture on the World Stage: From Village to Video)?
Jane Goodman: As I discuss in the book, Algeria underwent a very difficult period in the 1990s, referred to as the "Dark Decade." That period of conflict escalated during my doctoral research, when I was working in a Kabyle Berber mountain village. I had to leave Algeria at the end of 1993, when it became unsafe for me to remain and unsafe for the village to continue hosting me. When I was ready to return to Algeria in 2008, I was not given permission by the US Fulbright program to go back to the Kabyle region, as it was still considered too dangerous. I had good research and personal connections in the western city of Oran, and it was among the safest areas of the country. For those reasons, I decided to change regions. At the same time, in my earlier research (both ethnographic and archival) I had noticed that Algerians had long been practicing amateur theater, and I was curious about what contemporary theater troupes were doing. Oran is the city where Algeria's renowned playwright, the late Abdelkader Alloula, had been based (and where he was tragically assassinated in 1994). I was fortunate to have had a personal introduction to the Istijmam Culturelle theater troupe, which included several members of Alloula's family and was working in his legacy. Istijmam was only in its second year of existence at the time, but they were already invested in working in an experimental or laboratory mode. The actors were open to me being present for their rigorous daily rehearsals. To them, my engagement was another way for them to experience other disciplinary perspectives and approaches. During my stay in Oran in 2008-2009, I also carried out research with several other troupes (which I've written about elsewhere). Fast forward a couple of years: I saw an announcement flash by on email that the Center Stage program of the US State Department was inviting nominations of music and theater troupes from Algeria and Tanzania, the program's featured countries in 2016. I nominated Istijmam, and when they were accepted, I knew instantly that I wanted to write about the tour. The book unfolds very much in relation to the tour itself: I take up the play Apples that they presented, the historical context of the early 1990s when the play was written, the actors' engagement with the play some 25 years later, and the genre of the Algerian "halqa" or marketplace theater that inspired both the playwright Alloula and the troupe. I also write about our process as we translated the play from Arabic to English, and, of course, about the various encounters that took place with a range of US audiences on the tour itself.
Janina Fenigsen: You discuss the scenarios of cultural exchange encounters as heavily scripted genres that create "a sense among participants that they have seen it all before"—both comfort and constraint—while noting the potential for a space of critique to open up. You also say that to the members of the troupe, the tour was somewhat disappointing. To what extent and in what ways in their engagements with American publics were they able to break out of the script? Was this particular script more difficult to shake off than those of their other tours? Did they feel that they were able to open up a space of critique at all? if so, in what ways?
Jane Goodman: In the book, I developed the idea of scenarios of cultural exchange from Diana Taylor's work on scenarios as repertoires of scripted encounters that tend to unfold in similar ways time and time again. I saw this tour as situated within a decades-old scenario of cultural exchange and cultural diplomacy through the arts, which has been informing artistic exchange since at least the early 20th century (and even earlier, if we want to include the worlds' fairs). As a form of "soft diplomacy," these exchanges are based on the premise that encounters at the interpersonal level can "scale up" to become signs of good will between nations. The Center Stage program, formed under President George W. Bush, was envisioned as a way to provide a softer, friendlier view of America to countries where populations did not necessarily see the US in a positive light. Yet the scenario of cultural exchange entails a familiar repertoire of encounters or social roles through which the tours are structured, such as meet-and-greet events, classroom visits, workshops, or panel discussions. It relies on all participants knowing the script. Whereas the tours are structured around valorizing cultural difference, in fact, as genres of encounter they are deeply familiar. Although the cultural content itself may be different, the encounters through which a cultural exchange tour unfolds are similar worldwide. If they weren't, it would not be possible to orchestrate a tour like this successfully. So this is the paradox I take up in the book: Cultural exchange tours are organized around a premise of cultural difference, but in fact they require deep familiarity on all sides with the performances associated with genres of encounter.
As to whether this script was more difficult to "shake off" than some of their other tours, I think that Istijmam felt that they were on display as cultural others more in the United States than they had felt during their work in Europe. In Europe, they were involved in producing an original work with troupes from France and Germany. Participants from the three countries were co-eval: they were all working together in a process of co-creation. But, in the US, Algerians were framed as representing Algerian culture and Algerian theater, but the Americans were not framed as representing American culture or American theater (with one happy exception). Instead, the Americans were, by and large, consuming what the Algerians had to offer, whether it was the play or, especially, the workshops. This was often frustrating for the actors.
Janina Fenigsen: You point to this disparity in part through the term "celebratory otherness." There is a rich irony at the heart of the "celebratory otherness" that you describe as underpinning the paradigm of cultural exchange. While in the Center Stage promotional materials for the US audiences the untranslated language tokens of halqa and goual emphasize and evoke the folklorized otherness, the traditions and rehearsal discipline of Brecht's and Grotowski's "poor theater" that are at the heart of Istijmam's practice seem to be erased. How does it work for the members of the troupe themselves? Do they view their blending of Algerian street theater and European performance principles and philosophy as an example of a cultural encounter in its own right? As an evidence of shared human experience? Something else?
Jane Goodman: I drew the term celebratory otherness from Rupert Stasch to refer to the ways figures of cultural difference become marked as folklorized forms of pleasurable consumption. Artistic traditions such as music and theater are among the most common ways that figures of celebratory otherness circulate globally. Of course, there is nothing inherently wrong about enjoying other artistic traditions. But celebratory otherness tends to erase more problematic forms of difference. US audiences could see Istijmam's colorful dress and joyful music making in the streets of New York, but they did not see the difficulty one member had in obtaining a visa to the US. They did not see the behind the scenes labor that the troupe engaged in to be able to create theater with little support in Algeria. The troupe members did seek to make Algerian theatrical traditions known in the United States, and they did want to talk about these traditions with US audiences. At the same time, however, they wanted to learn about what US troupes were doing. This was where the encounters in the US fell short. The Algerians were the only ones understood to be sharing culture. This made the exchange unequal and incommensurate and is part of what contributed to their being cast in terms of celebratory otherness. Celebratory otherness is one of the systemic, historically shaped ways that the global north has viewed the global south. This is not to say that this was the only way the troupe was seen, but it was certainly part of it, as it is part of the wider scenario of cultural exchange through the arts.
As for Istijmam's blending of Algerian street theater and European performance principles and philosophy, you are right to suggest that the troupe members also viewed this as an encounter. I write about the ways that their rehearsals in Algeria brought together the space of halqa, or improvisational marketplace performance, with Brechtian principles of identification and distanciation. They saw both of these as evoking a similar kind of space, an example of shared human experience if you will. To them (as well as to the playwright Alloula), Algerian halqa-style performance had been operating for centuries through performance techniques that Brecht, much later, would term identification and distantiation. That is, the street performer would go into and out of multiple roles, identifying with one character and that moving out of that character to go into another. Istijmam adopted this style of performance in their own work, with each actor playing multiple roles. They also brought to halqa theater the embodied discipline they drew from the work of Jerzy Grotowski, which very much influences their brand of physical theater.
Janina Fenigsen: How might the Istijmam actors script the tour and cultural exchange events it involved if given an opportunity? How would you?
Jane Goodman: I imagine Istijmam's ideal tour as consisting of similar kinds of engagements (performances, workshops, theatrical exchanges), but the balance of activities would have been different. On the tour itself, the performances of the play, followed by audience talk-backs, went well on the whole. Certainly the play would have remained a central part of any tour. But the actors and I would have liked more conversation around it. If the scheduling could have been done in reverse, such that Istijmam would have first presented the play, and then gone into a classroom presentation able to talk with students about it, that would have made for a richer exchange. We all understood that scheduling constraints made this impossible. In fact, even at my own university, the conversations and panel discussions came first, and the play was the last item on the agenda, due to scheduling and travel needs. The exchanges with theater troupes could have been done differently. What performance theorists call emergence – that sense of unexpected, creative novelty that performance can generate – is part of what the actors were looking for. The closest engagement that featured a balanced, two-way, emergent cultural exchange came with the Hartbeat Ensemble, as I write about. Here, the troupes co-created improvisational scenes and participated together in a panel discussion on theater in times in crisis. But it was a brief encounter. The actors would have loved to return and spend focused time with a theater troupe in the US to develop a truly cross-cultural co-creation, as they had done in Europe.
Janina Fenigsen: I view your book as an excellent teaching resource, even more so when paired with the video of the play and guided by your notes that collate the text with the portions of the video. What kind of student audience would you envision for the book? What would you like the students to get out of its reading?
Jane Goodman: I wrote the book with my students in mind. I regularly teach about performance in North Africa and the Middle East, and my students come alive when they see video of the material we're discussing. Usually I have to do my own searches to find audiovisual support for what we're reading about. I wanted to include this material in the book itself, so from the beginning I envisioned a multimedia project. The e-version of the book includes embedded hyperlinks where readers can go directly to the specific video they are reading about. Readers of the hard copy can find these links on the book's website . The website also includes two performances of Istijmam's play Apples, around which the book is based. For a full multimedia experience, instructors can screen and discuss the play (60 minutes)and then have students read the book and view the associated videos. The website also provides more information about the troupe and the six actors, and it includes ancillary footage both from the tour and from the rehearsal residency the troupe and I held in Algeria in the month before the tour.
Another reason I wanted to do this project is because I felt that students could relate to it. Much of the ethnography took place among students just like them in the United States. Universities are among my field sites: the book engages with students from the University of New Hampshire, Sarah Lawrence College, Yale University, the University of St. Joseph, and Indiana University. Students today have almost all experienced performances by travelling groups from abroad. Students can also relate to the six Algerian actors, who, like them, are young people with similar hopes and aspirations. I anticipate that future student readers will recognize themselves (as participants or audience members) and their own institutions (as hosts) in cultural exchange tours like this one. My hope is that readers will come to a deeper understanding of some of the systemic global imbalances that underpin cultural exchange and cultural diplomacy through the arts (despite the very best of intentions on all sides), and to reflect on their own positionalities within a broader global arts community.
Posted in Author Interviews, Weekly Post	| Tagged Algeria, cultural encounters, performance, theater


When will the government evict the people who are masquerading as Jews in Hebron?
When people ask me, "Why shouldn't Jews be allowed to live in Hebron?" my answer is bevakasha, let Jews live in Hebron. But not the pseudo-Jews living there now. And only when it is a Palestinian city in a Palestinian state.
What do you mean by saying: "masquerading as Jews in Hebron"? The fact that Jews always settled in Hebron and slautered in the 20th an 30th means that no Jew has permmission these days to sit there? How Jews "masquerading as Jews" by acting as Jews? Settling in the land of Israel is an obligation for real Jews. Only Jews that are masquerading as Jews don't see this that way.
You put Maimonides and Mishneh Torah here as to allegely strengthen you case, but you fail to bring quotes and links so every one could judge your claims. Of course you are selling smoke and dust to hide the truth from the readers.
Jewish lineage is depended only by family links and by the behaviour of the one. You can be a thief or a lier and still be a Jew. The fact is that you pose yourself as a Jew, but you don't see how you more Jewish than any Jewish settler in the land of Israel.
I already said that Jews should live there, just like Arabs should live in Deir Yasin, now known as Givat Shaul Bet. But I can't believe that Jews are living in Hebron now, because the Jews I know don't write grafitti like "Arabs to the Gas Chambers" or act like the pseudo-Jewish woman in the youtube video.


I am Canadian. I am a licenced hairstylist, makeup artist and fashion manicurist.
How long have you been in the industry and what inspired you to do nails?
I've been in the industry for 20+ years now. I'm… young at heart. When I did my hairstyling licence part of our licencing was in nails. So to be clear: I don't do 'nail art' or acrylics/gels or any permanent type of extensions. I started off doing nails on my sets as many models really neglect their hands and you can't have a beautiful shoot without all aspects coming together and then leave the hands out. What are you going to do? Gloves don't work in every shot!
I guess what inspired me to do nails was my attention to detail.
Truly an international nail artist, you are a native of Ontario who relocated to Singapore in 2007. Is there a story behind that extreme move?
You are back in North America now, how does Austin compare to Singapore?
And… I was in North America and now I am back in Singapore. LOL. Yes. Our entire household contents were shipped overseas three times.
The comparison… it's all the same. I get asked this a lot. I feel anticlimactic when I say that but being on set here is no different, except they don't cater for meals.
I'm used to the food spreads that we would have in Canada. Here you come to set and there's pretty much no food. Some sets don't even take a lunch. Relocating to Singapore was a challenge. You leave a market where you are well-known and requested on set weekly to entering a market where the culture is different and no one knows you. I wish I could say it was humbling but I would say it has been more frustrating than humbling. Thankfully the beauty PR people in NYC/LA and Canada know me so I've asked them to connect me with an intro to their brands here. MAC Cosmetics has been a huge supporter.
Although there were some difficult moments to start I'm pretty established in Singapore now. Since moving here in 2007 I have shot with Bazaar, Designare, ELLE, Seventeen, Alexis, Amica, Women's Weekly, Her World etc. [Singapore editions]… I did a great spread for Bazaar December 2010 using the Silver and Gold Lightning Minx and due out next week a 4-page makeup/nail story for Alexis magazine and I just appeared on a celebrity charity episode of Cash Cab, Asia!
You've worked in the celebrity world in a variety of areas including film, music videos and magazine shoots. Where is the most bizarre place you've given a manicure?
I've done beauty on the side of the road, in a proper film vehicle for makeup, in a closet, in a restaurant, on the fly in a moving vehicle… really the world of being on set is also being adaptable to various situations and just going with it. You have to be a 'Yes! Can do!' person.
Obviously you love Minx, do you have a favourite design?
For my personal wear I'm partial to the Gold Stud and the python… but I do become a kid in the candy store when I look at the styles available.
What makes Minx such a desirable product?
The versatility and how fast you can do it for sets and celebrities; and of course the zero drying time! Huge plus! When I did Hillary Scott's Minx it was 30 minutes before she was jumping on a plane. When the last Minx was on, she was out the door in 2 seconds.
What other nail products do you endorse professionally?
I use OPI, Zoya, Sally Hansen, RMK, Chanel… Minx has been very supportive and with me being in Singapore they have still managed to get Minx to me with short timelines for shoots.
Your career has taken you in front of the camera as well. Do you prefer to be in the spotlight or behind the scenes?
I love both. I've always loved to entertain [I think I'm entertaining…]; when I was a teen I was heavily involved with the drama club at my High School and often said I would be an actress. I also did hair and makeup for productions in school as early as Grade 6! I guess becoming a hair & makeup artist / fashion manicurist and with my drama club years, it's allowed me to do both.
But, I know when it's not about me. I show up with my 'set style' – barefaced, ponytail and gear ready to beautify whoever is in my hot seat. I never jump in for celeb photos because I think their time is with me, not another photo-op… although I am curious what my peers think? Agree or not? I'd LOVE to hear your thoughts.
I do my best to have a clean, ethical and morally friendly kit – how I feel is like asking someone about their religion or their political stance, it's a can of worms that is not a win-win.
Be a good person, do your best and then some, be sweet to everyone without ulterior motives … I truly believe and live this way and I am totally ok with sounding cliché.
Details. Sure, it's always good to upkeep and DIY at home but with all the facial anti-aging tricks women forget their hands and your hands, my friends, will reveal your true age if you aren't careful, so both at-home care and salon care is important.
Any superstar tips for those who like to do their own nails at home?
Don't soak them. Madge was so 80s, [for those who know the old Palmolive ads].
Use cream and cuticle oils every time you wash your hands and sunscreen whenever you go outside.
Thanks to Andrea for answering our questions and sharing a little more about her amazing career. To learn more about her and her work be sure to visit their website www.aclairebeauty.com.


Bucking the trend in most of the rest of the world, these two reports were generally good news, indicating the nation has stopped overfishing where it was occurring, and was rebuilding its fish stocks, with some already rebuilt. Moreover, the economics report made clear America's oldest industry was still strong with nearly $200 billion in sales in 2012 (the latest reporting period).
Three items, in particular, from the two reports caught my attention. Indeed, as I explain below, they might have triggered a self-congratulatory press release and celebration were there not more to each.
First, the Status of Fisheries report was a vindication for PCFFA and for its allies — other forward thinking commercial and recreational fishing groups across the country and most in the marine environmental community, all part of the Marine Fish Conservation Network. The reforms we worked for in the last two reauthorizations of the Magnuson-Stevens Act have now kicked in and are working to prevent overfishing and causing depleted stocks to be rebuilt.
Second, in the Status report, Sacramento fall-run Chinook (king salmon) were listed as one of the two rebuilt stocks. PCFFA and its allies in California, including recreational fishing groups and most of the conservation community, with support from Oregon, worked hard for that turn-around beginning with the 2005 lawsuit, PCFFA, et al., v. Gutierrez. The ruling in late 2007 from that litigation forced development of a biological opinion (BiOp) to protect ESA-listed salmon (Sacramento winter and spring-run Chinook) in Central Valley streams and the Sacramento-San Joaquin Delta estuary. Those protections also helped the economically important fall-run, which is the backbone of California's salmon fishery and Oregon's ocean salmon fishery.
Third, California was rated number one in fish sales and now employs more people in its fisheries than any other state. That was the news I really wanted to hear, not for boasting to other states, but to take that information and stuff it down the throat (or some other orifice) of a half dozen Central Valley Congressmen and their cronies — especially the winged monkeys of the state's water oligarchs who have sought to destroy these salmon runs and who dismiss our fisheries as unimportant.
But the reports' release was no Bobby McFerrin "don't worry, be happy" moment. Aside from the fact our nation's fishery agency still doesn't know its correct name (it used the demeaning alias "NOAA Fisheries" instead of the correct title of the agency, National Marine Fisheries Service (NMFS) in releasing the reports), parts of the reports were misleading, and other sections left me with deep doubts about the status and future of our fisheries.
Much as I'd like to use the economic data on California's fishery to score some points, that information has to be put in context — California, after all, is the most populous state and its per capita fish consumption is among the highest in the nation, so it stands to reason it would have the highest sales and employ the most people in its fishery, particularly in sales and distribution of fish caught all over the globe.
Thus California's fishery economic ranking is not a reflection of the value or volume of the domestic catches coming across the docks of its ports, even though landings by the state's squid, sardine and Dungeness crab fisheries have been good in recent years. The state's fishery economic ranking is likewise no indication of the health of its domestic fisheries.
Much of the seafood sold in California is from unsustainable aquaculture operations. Worse, if recent news is to be believed, one-third of the fish imported into the state were illegally caught and another third mislabeled.
Sacramento Fall Kings -Comeback or Comedown Kid?
NMFS' listing of Sacramento fall-run Chinook as a "fully rebuilt" stock in the Status of Fisheries report was audacious. These fish were not overfished; the fishing closures enacted in 2008-2009 were not because of any overfishing, but to prevent exacerbating the annihilation the fish had already encountered at the hands of the Sacramento-San Joaquin Delta pumps while migrating to sea.
Remember, NMFS had to be sued to enact protections in the Delta for these fish, and had claimed "bad ocean conditions" for the Central Valley Chinook collapse when no other Pacific salmon run suffered that level of decline. To their credit, NMFS scientists in Sacramento have been stalwart in their efforts to protect the fish but have been, and continue to be, undermined by agency leadership that has been a handmaiden to the BPA and Columbia River hydro operators and, now, the Central Valley water oligarchs.
The release of the Status of Fisheries report listing Sacramento fall-run Chinook as fully rebuilt also came in the middle of pitched battles to protect the Central Valley's runs of kings during a record drought. Due primarily to the hard work and tenacity of the Golden Gate Salmon Association (PCFFA is a member) and the efforts of the California Salmon Stamp Committee, state and federal fishery managers agreed this year to truck most of the hatchery salmon production to San Francisco Bay for release.
Trucking, combined with acclimation pens at the release site, should greatly increase survival of these fish over those released on-site at the hatcheries. This is particularly true in low water years that are typically accompanied by high levels of Delta pumping — i.e., exporting freshwater south mostly for agribusiness, instead of the water flowing naturally west through the Delta to San Francisco Bay. Given this year's severe drought, it was feared that none of the baby fish would survive migration downstream and through the Delta to the Pacific.
All this should be good news for 2016 when these hatchery fish are ready for harvest. True, there will be additional straying among the hatchery returns, since trucking interferes with imprinting, but there should be plenty of Sacramento falls for the 2016 catch, assuming normal ocean survival rates.
But the bigger worry is whether the fleet will be able to access this hatchery production in 2016. That's because there was no way to truck the natural-spawners the fishery is managed for — neither the ESA-listed winter-run, nor economically important fall-run. This year these fish have encountered the drought-related low water conditions in their migration. That, coupled with the lifting of the Delta protections that had been put in place by the BiOp, means few may have survived migration to the ocean.
What this means is that if winter-run numbers turn out to be low because the young fish couldn't get to sea, ESA protections will kick-in for the fisheries that could result in severe restrictions on fishing in 2016, even closures, no matter how plentiful hatchery fall-run may be.
Moreover, if the progeny of naturally spawning falls did not get downstream and through the Delta in sufficient numbers this past spring, fisheries in 2016 could also be restricted under the MSA. The ESA and the MSA are not the problem here; the problem is getting the baby fish out of the system and into the ocean. That's what's worrisome.
What happens beyond 2016 is equally worrisome. This spring the House and Senate both passed drought bills that waive key salmon protections in the Delta; the House-passed bill would annihilate Central Valley salmon and the Senate-passed bill was not much better. At the time of this writing, the best hope for the future of the salmon fishery is a Presidential veto of whatever bill comes out of conference.
In the longer term there is still the Bay-Delta Conservation Plan (BDCP) looming out there (see "Saving Salmon from Drought," FN April 2014, www.pcffa.org/oldsite/fn-apr14.htm), as PCFFA and other groups prepare to respond to a 34,000 page environmental impact statement, a report whose size is designed not to provide transparency, but to confuse and overwhelm in what could be one of the greatest water hijacks of all time.
Instead of celebrating the comeback of these fish, we've got to prevent their comedown.
I can still remember the first Fishery Conservation & Management Act being hailed as the "Renaissance of the American fisheries." For many fishermen, however, the first decades of the Act could best be described as medieval; it was no Enlightenment.
In recent years, there has been a lot of pain due to diminishing stocks and then the enactment of strong measures to address stock depletion. The two NMFS reports do provide some hope things may start getting better. The reforms to the Magnuson-Stevens Act (MSA), enacted in 1996 and 2006, were painful, but are beginning to pay off.
What is worrisome now is the effort coming out of the Gulf and Atlantic coasts to weaken Magnuson's strong language that prohibits overfishing, requires a timetable for stock rebuilding, enacts hard catch limits, and requires management based on science, not fish politics.
Weakening the MSA now would be a big mistake. It would mean little hope for improved catches if fishing is allowed on depleted stocks. Moreover, fishing on depleted stocks means there is no chance for increasing the value of the fish through a certification program.
Even on the West Coast, where both the Pacific and North Pacific Councils are committed to sustainable fisheries, a weakening of the MSA could mean lawsuits challenging existing fishery management plans or amendments (as opposed to the litigation we've seen to strengthen fish protection in the past). I worry that after all the years spent trying to put our fisheries on a sound footing, this could all be undone.
Will future Status of Fisheries reports tell of more overfishing, more stocks being depleted? Will future fishery economics reports tell of the declining value of American fisheries? "Flexibility" here seems more like foolishness.
There is also reason to worry about what may be left out of the Magnuson-Stevens Act (MSA) if reauthorization proceeds this year (see "Four Fixes for Magnuson-Stevens," FN February 2014, www.pcffa.org/oldsite/fn-feb14.htm). Two areas of particular concern are our fishing communities and the future of the small to mid-size vessel fleet.
Language is urgently needed to facilitate "community fishing associations (CFAs)" now, especially with the development of catch share programs, to ensure that community fishing associations are in place to receive and hold quota to protect the interests of a community and its access to the fish resources it has historically depended upon. The alternative, if no action is taken, is a U.S. fleet of seafaring sharecroppers.
MSA language is needed as well to facilitate electronic monitoring, less cumbersome catch reporting, along with facilitation of exempted fishing permit projects to ensure that small to mid-size vessel operators can afford to continue fishing.
It's time for Congress to direct NMFS to begin lending a hand to the small to mid-size fishing fleets, instead of trying to eliminate them.
For those of us who fought for extended national fishery jurisdiction, worked for passage of HR 200 — the Fishery Conservation & Management Act in 1976 — and worked the subsequent decadal reauthorizations of Magnuson-Stevens (MSA), as we refer to the Act now, it's been a long 40 plus years.
The two recent NMFS reports could lull some into believing that the work is finally done: that the late Congressman Gerry Studds can now proclaim from the beyond, "they've finally gotten it right!," and we can finally retire to travel and sit on the beach drinking margaritas with the dog.
But, not so fast. The threats remain, there is still much work to be done, and NMFS has to learn its name. And, oh yeah, climate change is looming out there.
This is no time for complacency. Yes, I worry.
Zeke Grader is the Executive Director of the Pacific Coast Federation of Fishermen's Associations (PCFFA), and can be reached at the PCFFA San Francisco Office at: PO Box 29370, SF, CA 94129-0370, (415)561-5080 or by email to: zgrader@ifrfish.org. The PCFFA Home Page is at: www.pcffa.org.
To Download a PDF version of this Article, click here!


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All Songs » Opeth Tabs
Opeth is a Swedish heavy metal band from Stockholm, formed in 1990. While the band has been through several personnel changes, singer, guitarist, and songwriter Mikael Åkerfeldt has remained Opeth's driving force since joining promptly after its inception.
While firmly rooted in Scandinavian death metal, Opeth has consistently incorporated influence by progressive music, folk, blues rock and jazz into their usually-lengthy compositions. Many compositions include acoustic guitar interludes and strong dynamic shifts, as well as both growling and clean vocals. Though they rarely toured in support of their first four albums, Opeth conducted their first world tour after the 2001 release of Blackwater Park.
Opeth has released nine studio albums, two live albums, two box sets, and two DVDs. The band released its debut album Orchid in 1995, but did not experience American commercial success until the 2008 release of their ninth studio album, Watershed, which peaked at number twenty-three on the Billboard 200, and topped the Finnish albums chart in its first week of release.
Patterns in the Ivy II (Acoustic)
By Opeth
Patterns in the Ivy II (Lead)


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Josef Locke – Galway Bay Lyrics
If you ever go across the sea to Ireland Then maybe at the closing of your day You will sit and watch the moon rise…
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If slow and steady really does tend to win the race over fast and fitful, then imaging-specific clinical decision support (CDS) software can, as a category, plan on a parade. Imaging CDS has long been widely considered a "when, not if" technology. But the smart money says to hold off at least a while longer before ordering, much less dropping, the confetti.
What's the holdup? In a word, complexity.
Under the Protecting Access to Medicare Act (PAMA) of 2014, imaging service providers will, as of January 2020, still be reimbursed for advanced imaging exams performed in outpatient settings on Medicare recipients. However, these reimbursements will be limited to those ordered by referring physicians who used an approved, evidence-based imaging CDS system that leverages appropriate use criteria (AUC)—such as the ACR's appropriateness-criteria guidelines, which are built into many EHR systems—to determine whether the exam up for order is right for the patient.
That may not sound like much, but there's more. To comply with PAMA, imaging service providers must, in every instance in which advanced imaging services were delivered to a Medicare outpatient, provide documentation proving that the referring clinician consulted an approved imaging CDS system prior to the performance of the scan.
Not surprisingly, policy changes of this scope—sometimes coupled with other CDS initiatives—are leading hospitals, as well as the radiology departments and practices that serve them, to add imaging CDS to their technology arsenals.
While their collective experience in doing so has had its ups and downs, a number of imaging CDS stakeholders report forward motion in advancing a key part of the unfolding evolution: persuading referring clinicians to ride the imaging CDS wave.
Four years ago, the University of Virginia (UVA) Health System in Charlottesville integrated ACR Select, which applies the ACR's appropriateness criteria to imaging orders, with its EMR's order-entry components. The guiding goal was to elevate the quality of the institution's care by ensuring appropriateness in imaging.
"The PAMA legislation didn't prompt us to make the move to imaging CDS, but it made the transition a more credible initiative," says Arun Krishnaraj, MD, MPH, who serves UVA Health as chief of abdominal imaging and vice chair for quality and safety. To date, he notes, feedback from referring clinicians has been notably positive.
Results of a study co-authored by Krishnaraj and colleagues, published in JACR in March, back up his observations. The study details how, as part of UVA's imaging CDS deployment, researchers mapped structured indications for imaging to exam appropriateness scores based on ACR Select. Referring providers using the system in inpatient and emergency settings (which in life-or-death situations will be largely exempt from PAMA reimbursement rules) were prompted to pick a structured indication for a particular study at the point of order entry. The CDS server was then queried, and an appropriateness score for the proposed study was generated and stored.
During the first six months of the study ("silent mode"), the CDS platform collected data but offered no feedback to ordering providers at the time of order entry. In the second phase of the study ("feedback mode"), upon ordering an exam, referring clinicians received real-time alerts indicating the utility of the study ordered, along with information on alternative exams.
Access to imaging CDS produced a significant improvement in imaging study appropriateness scores, especially for exams ordered by residents and fellows, Krishnaraj and co-authors report (Huber et al., "Impact of a Commercially Available Clinical Decision Support Program on Provider Ordering Habits"). Comparing silent mode to feedback mode, they found low-utility studies ordered by trainees decreased from 10.8 percent to 4.8 percent. At the same time, clinically warranted (i.e., "indicated") studies increased from 65.6 percent to 83.7 percent.
Using the same comparison, low-utility studies ordered by attending physicians and midlevel providers (physician assistants and nurse practitioners) decreased from 10 percent and 13.8 percent, respectively, to 6.7 percent and 10.2 percent, respectively. Appropriate studies ordered by attending physicians rose from 63.3 percent to 75.7 percent, while the percentage of indicated studies ordered by midlevel providers increased from 55.7 percent to 72.2 percent.
Much the same happened at Triad Radiology Associates, which serves eight hospitals and nine outpatient sites in and around Winston-Salem, N.C. Triad radiologist Lauren Golding, MD, says the decision to use CDS tools to assess imaging appropriateness initially caused consternation among some referring physicians. The few probably spoke for the many when some grumbled over perceived loss of autonomy. That tension dissipated in fairly short order, Golding says, when the system showed itself to be a reliable, evidence-based way to either validate ordering decisions or help make better ones.
Krishnaraj notes that opposition to CDS also can pop up in situations where the criteria on which it's based are weak or incomplete. He cites as an example a pronounced wariness among pediatricians that seemed widespread until around a year ago, when the Society for Pediatric Radiology updated its appropriate-imaging criteria.
Legislation or no legislation, pushback or no pushback, "selling" referring clinicians—and other stakeholders, including hospital administrators—on imaging CDS frequently entails extra effort from radiologists. Those successful in the drive tend to understand and anticipate referrers' objections, in the process building a sense of collaboration.
Providing ordering clinicians with a "crash course" in imaging CDS, for example, can begin with an explanation of how the technology differs from that used by radiology benefits management companies (RBMs).
When UVA Health introduced imaging CDS, Krishnaraj and his radiology colleagues "played the education card," a naturally hard-to-resist move in academic medicine. They gave presentations aimed at filling in clinicians on the basics and benefits of the technology, and much the same material went online as a lecture series for specialists and primary-care doctors on a physician web portal.
At Jamaica and Flushing Medical Centers, radiology began its imaging CDS education outreach at the executive level, then took steps to make sure it would "trickle down" to department chairs, directors, managers and staff. Topics covered ranged from how the technology works to the ways in which it leads to a better match between patients' clinical situations and referrers' diagnostic choices.
With administrators, Raoof and her colleagues took extra time to discuss the Medicare mandate for imaging CDS adoption. They emphasized the importance of immediately moving forward with CDS and the implications—for cost control as well as care quality—of delaying such an initiative.
In the article, titled "Partnering with Your Health System to Select and Implement Clinical Decision Support for Imaging," Jensen and Durand recommend ensuring that every imaging CDS system offers complete, comprehensive guidelines for ordering imaging studies. The aim, they note, is to maximize its utility while minimizing frustration among clinicians.
Other system "must-haves" on this front include flexibility when it comes to imaging requests scored as "inappropriate" by the technology. According to the authors, the solution should be versatile enough to give end-user entities a choice of where hard and soft stops will occur in the ordering process. For hard stops, Jensen and Durand suggest, a radiologist must be consulted before an imaging exam is authorized; for soft stops, the original imaging request must be cancelled and another, more appropriate alternative must be ordered.
Additionally, the authors suggest that CDS systems feature an override mechanism for hard and soft stops alike, because variability in clinical circumstances is always possible—and not all imaging requests should be expected to meet established guidelines for a particular scenario. They also recommend making speed and ease of use a criterion for CDS configuration, with minimal mouse clicks required and no extra screens or pop-ups incorporated into the design.
Failure to address "cumbersome, time-consuming entry processes," they write, will result in "work-arounds" or other attempts to fool the system—and poor clinical decision-making at best. To illustrate the point, they cite the example of a CDS system in which indications were organized as checkboxes and listed in alphabetical order. The implausible end-result in this case: "acromegaly" became the leading indication for head CT.
A final consideration flagged by Jensen and Durand centers on modification of clinical rules. While some radiology constituents strongly believe that an imaging CDS platform should allow local editing of guidelines and standards, there are reasons to prohibit such changes. Reason one: Modification of this type generally "forces the clinical rules themselves to be suboptimally integrated into the EHR platform," rendering the decision support accessible only through a web service that typically requires launching another window. Such an interface is inconvenient to use, the authors point out. And inconvenience is sure to make any tool unpopular with referring physicians.
The hope seems well placed. At first, referring clinicians had the option to consult a radiologist with questions about the system, Raoof explains, such as why particular procedures were scored as inappropriate. Just as significantly, she and her colleagues maintained open lines of communication with referring clinicians throughout the hospitals, encouraging them to share information on any indications they wanted to add to the CDS system.
"There was a lot of back-and-forth with the ACR about it, but it was time well spent," Raoof says. "Being able to accommodate the referring clinicians made them more receptive to the idea of CDS and contributed to a higher rate of acceptance" than might otherwise have been the case.
Meanwhile, referring clinicians at the hospitals and freestanding facilities serviced by Triad Radiology Associates were allowed to override the CDS free-text field for the initial few months following its introduction in February 2018. However, Golding says, workarounds of this kind are now being phased out. In the emergency room environment, there are currently no hard stops.
Going forward, as imaging CDS finds a following one provider organization at a time, radiologists and referring physicians alike will continue to face challenges as they seek to wring the full potential from the care-improving, cost-controlling technology. But isn't that always the way?


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Der Lake Aviemore ist ein 300 m langer und 200 m breiter See auf Südgeorgien im Südatlantik. Auf der Barff-Halbinsel lievt er 0,5 km südwestlich eines alten Walfängerdepots am Ufer der Bucht Godthul.

Das UK Antarctic Place-Names Committee benannte ihn 2009 nach dem Walfangschiff SV Aviemore, das ab 1908 als erster Walfänger von der Station der norwegischen Bryde & Dahls Hvalfangerselskab in der Godthul aus tätig war.

Weblinks
 Lake Aviemore. Eintrag in der Datenbank des UK Antarctic Place-Names Committee für Südgeorgien (englisch)

Südgeorgien
SEcho Lake

redpajama_set_name: RedPajamaWikipedia


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Names of Disney Cruise Ships
Cruises Leaving From New Orleans in October
How Disney Cruises Started
Becky Beall, Leaf Group Updated April 16, 2018
(Photo: )
Disney Cruise Ship Sizes
The Top 5 Family Friendly Cruise Ships
Families are crazy about Disney for good reason. Specializing in family entertainment and cutting-edge technology, Disney has imagined its way to the top of most every family's vacation bucket list. In 1998, the vacation gurus took it a step further by breaking into the popular cruise industry with the introduction of the Disney Magic ship. Today, Disney Cruise Line offers four ships with incredible amenities, countless activities and a myriad of sailing itineraries. It's also a fun journey to see how Disney cruises started.
The Start of Something New
In the mid-'80s, Disney dabbled in a partnership with Premier Cruise Lines to bring Disney Characters to the high seas, a venture that only lasted eight years. Then, in 1993, unsuccessful negotiations with both Royal Caribbean and Carnival left the entertainment experts with a decision to make. The announcement came in 1994 – Disney would brand their own line of cruise ships.
The year was 1998, and Disney proudly introduced the first ship in its fleet, aptly named Disney Magic. Wildly popular, Disney Magic sailed on three- and four-night trips to the Bahamas from Port Canaveral, introducing a cruising world that catered mostly to adults to a fabulous new concept dubbed "family cruising."
Disney Magic, now referred to as one of the "classic" ships, shares many features with her sister ship, the Disney Wonder. Fresh off a refurbishment, she hides her age very well. Shipboard highlights include Broadway-style Disney musicals, awesome deck parties, first-run movies, character meet-and-greets, water park fun, and so much more!
Today, Disney Magic sails from a combination of ports depending on the time of year. Miami, New York, London and Barcelona are just a few of her upcoming itinerary departure ports – a vast change from her humble beginnings.
Disney Wonder made its debut in 1999 with a refresh in 2016, and she features many of the same amenities as her Disney Magic sister ship. Each evening, guests rotate between three fun, yet distinctly different, restaurants with their personal waitstaff tagging along with them. Comfortable staterooms greet families every evening for extra-sweet dreams while sailing to new ports of call.
Disney Wonder has an exciting lineup of cruise ports she'll sail from throughout the next couple of years. From stateside ports like Port Canaveral, Galveston and San Diego to Alaska-based itineraries from Vancouver, this five-star ship is on the move.
Disney released its third ship in 2011 – the Disney Dream. Sitting pretty at just under 130,000 tons, Disney Dream offers 14 decks and more than 1,200 staterooms. The big calling card for this ship is the first water coaster at sea, AquaDuck. Enjoy an outstanding Beauty and the Beast stage show, get dolled up at Bibbidi Bobbidi Boutique, and delight in the dining experience of Animator's Palace.
Disney Dream stays true to its original roots with Bahama-based itineraries sailing from Port Canaveral on three-, four- and five-night cruises. Castaway Cay is a regular stop on all sailings as is Nassau.
A year after Dream, Disney released the Fantasy ship. Much akin to Dream, the home port remains in Port Canaveral. The Fantasy primarily offers seven-night cruises that visit alternating ports in both the Eastern and Western Caribbean. The Eastern Caribbean itinerary visits ports like Tortola, St. Thomas, St. Kitts or Antigua, while the Western Caribbean calls on hot spots such as Falmouth (Jamaica), Cozumel, Grand Cayman or Costa Maya. Both itineraries visit Castaway Cay, Disney's private island.
Disney Fantasy was built for longer voyages, and, although she resembles the Dream, she is her own ship. Weighing in at 130,000 tons, Disney Fantasy is bursting with entertainment options, an assortment of dining choices, the best in spacious staterooms and abundant recreation.
Disney Touches
Disney kept the luxury ocean liner appeal and set industry-first standards for having most of their cabins in the balcony category and including bath tubs in most staterooms. They changed the dining room traditions by creating a rotating dining experience, something new for cruisers who were accustomed to the routine of eating at the same table in the same dining room every night. And, in true Disney fashion, ships were planned with kids in mind, not adults (although there are adult-only areas onboard).
From bow to stern, Disney cruise ships are loaded with familiar Disney vibes like It's a Small World Nurseries and themed, age-appropriate kid clubs. In fact, the unique ideas aboard Disney ships prompted other cruise lines to create their own kid-friendly areas onboard. You'll see popular Disney characters on all the Disney ships, visit exotic ports of call and find most expenses covered in the all-inclusive pricing.
Disney ships offer additional amenities such as spas, fitness centers, (adult) beauty salons, shopping, movie theaters, numerous bars/lounges, arcades, laundromats and more. One thing you might be expecting, but won't find onboard a Disney ship, however, is a casino.
Disney's private island, Castaway Cay, is one of the cornerstones of their cruising success. The island (formerly Gorda Cay), was purchased from the Bahamian government as a 99-year land lease in 1997 by The Walt Disney Company. Today, Castaway Cay welcomes cruisers with a tropical climate and Disney charm. The island is divided between family-friendly and adults-only areas, both with beautiful white-sand beaches, lounge chairs and umbrellas.
Things to do on the award-winning island are plentiful. Explore on foot or bike, snorkel, enjoy a variety of water toys, play on the Pelican Plunge, have a cabana massage or partake in some barbecue.
Walt Disney World: Disney Cruise Ships
Disney Cruise Line: Disney Cruise Line Ships
Disney Parks Blog: Disney Cruise Line
Cruise Critic: Disney Magic
Disney Cruise Line: Castaway Cay
Orlando Sentinel: Disney to Spread Cruise Ships Around the World
Becky Beall is a veteran freelance travel journalist with bylines in newspapers and magazines across the country. A current contributor to 365 Atlanta Traveler and Gulf Shores blogs as well her own, Becky also hosts a travel radio show and travel segments on local Fox TV morning show Good Day Alabama. Follow her travels at thetravelvoicebybecky.com.
The Best Cruise for an Extended Family of 15
Trips to the Bahamas From Cape Canaveral, Florida
Names of Carnival Cruise Line Ships in the Tampa Port
Differences Between Carnival & Royal Caribbean Cruise Lines
What Are the Five Top Luxury Cruise Lines?
San Diego Activities»
Time Shares»
Kids' Entertainment»
Carnival Cruises»
Fun Things to Do For Kids»


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The Blue Mammy
(Sininen Imettäjä)
With understated precision, Markku Lehmuskallio's The Blue Mammy focuses on the sensitive interplay between sound and image while unfurling a story surrounding Joel, a deaf painter who lives in a small village in Lapland. While he has trouble fitting in with the community of people around him, Joel communes with nature and speaks nonverbally with a spirit. The film distils a wealth of provocative ideas—around artistic creation, alternative forms of communication and the importance of the natural world to human animals—into a stunning filmic tone poem.
Markku Lehmuskallio
Finland Sweden
Nedarma
(Matka)
Nedarma (Travelling) is a documentary focusing on the Nenets, a nomadic tribe in the northern tundra of Siberia which Anastasia Lapsui was born into. Sumptuous 35mm black and white cinematography captures the landscapes of the Yamal Peninsula and the daily activities of its inhabitants with patience, a visionary perspective and a captivating soundtrack. The film begins by illustrating the Nenets cosmology as a way of leading into a filmic structure that portrays the arc of life from birth to death.
Anastasia Lapsui Markku Lehmuskallio
Anerca, Breath of Life
(Anerca, Elämän Hengitys)
In Inuit, the word meaning to bring forth a poem is the same as the word to breathe – an act that inspires Finnish filmmaker Markku Lehmuskallio's poetic ethnography, co-directed with his son Johannes Lehmuskallio. A beautifully expansive film centred on performance and the importance of song, Anerca, Breath of life was shot over several decades with the indigenous peoples of the Arctic Circle. People and cultures spanning the borders of Finland, Sweden, Norway, Greenland, Canada, Alaska and Russia, the filmmakers are clear to point out, "It wasn't these cultures that drew up these borders, rights have been violated." Speaking against these continued infractions, the film magnificently expresses the joy, pain and energy of these individuals and communities through fleeting, magical moments of performance, conversation and cinema.
Johannes Lehmuskallio Markku Lehmuskallio
Seven Songs from the Tundra
(Seitsemän laulua tundralta)
An anthology of stories made collaboratively with the Nenets, an indigenous nomadic people of the Russian tundra under modern Communist rule. Beautifully composed from both archive material and cinematography, the film blends fiction and documentary to produce a vivid portrait of Nenets culture as told and performed by the people themselves. As the first feature film made in the Nenets language, Seven Songs makes an important contribution to contemporary indigenous cinema and a timely intervention into continuing calls for decolonization in Russia.
The Red Herring
Leevi Lemmetty
Finland Ireland


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Home > screeNZ News > ARRI announces ALEXA MINI
ARRI announces ALEXA MINI
ARRI, Sydney, 24 February 2015: ARRI has announced its new ALEXA Mini, a versatile additional tool in the ARRI ALEXA camera range that combines a compact and lightweight form factor with the same unparalleled image quality that has made the ALEXA system a gold standard for the industry.
Designed for specialised shot-making, the ALEXA Mini perfectly complements a full ALEXA shooting kit and allows crews to eliminate the complications of working with third-party cameras by keeping everything within a single system that is trusted all over the world.
To maintain ARRI's famously rugged build quality in a small and lightweight camera, a number of unique design solutions have been incorporated. These include highly integrated and environmentally sealed electronics, a lightweight carbon housing and a solid titanium PL mount that connects directly with the new internal sensor mount to ensure a super-stable flange focal distance, even when using large lenses. Nimble in use and hardy on set, the ALEXA Mini is a go-anywhere tool, easy to transport in backpacks or as carry-on luggage.
The ALEXA Mini can be operated in a number of ways: by wireless remote control, as a normal camera with the ARRI MVF-1 multi viewfinder attached, or with an on-board monitor and controlled via the user button interface on the camera body. Light enough to be comfortably held at arm's length in a hand rig, its compact size and extremely quiet operation also make it ideal for tight shooting conditions. The symmetrical design permits filming in any orientation, including upside-down and in portrait mode, while multiple accessory points enable highly creative mounting solutions. In addition, the ALEXA Mini's interchangeable lens mount can be replaced with any of those designed for the ARRI AMIRA, allowing the use of B4 video and EF mount stills lenses.
Equipped with a 4:3 sensor, automatic de-squeeze mode for anamorphic productions and frame rates of 0.75-200 fps, the ALEXA Mini records ProRes or uncompressed ARRIRAW either in-camera to CFast 2.0 cards or to a specially-designed external Codex recorder that can record image streams from up to four ALEXA Minis simultaneously – a compelling option for multi-camera setups such as 360° plate shots. Images from the ALEXA Mini will perfectly match those from all other ALEXA cameras, making the final grade easier and quicker.
Integrated functionality is at the heart of the ALEXA Mini's efficient and self-contained design. A built-in lens motor controller allows new active lens motors to be connected directly to the titanium PL mount, while ARRI Lens Data System (LDS) technology provides frame-accurate metadata that can save time and money both on-set and in post. Wi-Fi connectivity means that iOS or Android devices can be used to remotely control camera functions such as the motorized internal ND filters, which permit rapid responses to changing light conditions without adding bulk to the camera configuration.
The body design is optimised for use with new-generation brushless gimbals, multicopters and other specialised rigs. It is compact enough in the lens direction to allow the use of standard PL mount lenses even on lightweight and space-constrained rigs, such as gyro-stabilised aerial systems. The camera's superb low-light performance makes it perfect for underwater work; dedicated underwater housings are currently being developed by leading manufacturers.
Like the ARRI AMIRA, the ALEXA Mini can record 4K UHD ProRes images, facilitating real-time 4K UHD output and simple pipelines for high-resolution deliverables. More importantly, the Mini and all other ARRI cameras with the ALEV III sensor offer unrivalled overall image quality by focusing not just on spatial resolution, but also on other parameters such as colourimetry, skin tones and High Dynamic Range (HDR). This is equally true whether the chosen output is HD, 2K, 4K UHD or one of the native resolution outputs like uncompressed ARRIRAW 2.8K or ProRes 3.2K, ensuring that images captured with the ALEXA Mini are future-proof, whatever new industry standards emerge.
The ARRI ALEXA Mini is scheduled to begin shipping in May 2015, with orders being taken from March.
Visit the ALEXA Mini microsite
About ARRI Australia and The ARRI Group
ARRI Australia is a wholly owned subsidiary of The ARRI Group and is based in Lane Cove, Sydney. With its corporate headquarters located in Munich, Germany, Arnold and Richter Cine Technik (A&R) was founded in 1917 and is the world's largest manufacturer and distributor of motion picture camera, digital intermediate (DI) and lighting equipment. The ARRI Group comprises a global network of subsidiaries, agents and representatives that covers all aspects of the film industry: design, engineering, production, equipment rental, turnkey lighting solutions, postproduction, film and sound laboratory services, and visual effects. Manufactured products include the groundbreaking ALEXA digital camera system, film cameras, professional camera accessories, cutting-edge LED lighting and DI solutions such as the ARRISCAN and archive tools. The Academy of Motion Picture Arts and Sciences has recognised ARRI technologies and continual innovation with 18 Scientific and Engineering Awards.
www.ARRI.com.au
And the winners were …
The Beggar's Banquet: 25 February 2015
ARRI introduces SRH-3
ARRI expands ECS range
ARRI launches full spectrum ND external filter
Molly Haddon joins ARRI ANZ


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https://www.mysanantonio.com/lifestyle/article/World-s-largest-liquor-and-whisky-tasting-13141224.php
World's 'largest' liquor and whisky-tasting coming to San Antonio next month
By Madalyn Mendoza, mySanAntonio.com
Updated 2:35 pm CDT, Thursday, August 9, 2018
More than 500 spirits, beer and wine will be available for San Antonians to sip in September at the Liquor, Beer and Wine Fest.
Photo: Courtesy, The Seedless Agency
More than 500 spirits, beers and wines will be available for San Antonians to sip in September at the Liquor, Beer and Wine Fest.
Organizers peg the Sept. 29 event as the "largest whisky and liquor tasting in the world," taking place at the Freeman Colisuem, which brings in international distillers and local chefs.
RELATED: San Antonio's Michelada Madness set for Labor Day Weekend
The event lasts from 7 to 11 p.m. and is all-inclusive with hundreds of spirits, food-tastings, live music and casino games, the Facebook event page says.
Guests can purchase their tickets online via Eventbrite or in person at Gabriel's Liquor or Don's and Ben's. Admission ranges from $60 to $250 before fees, according to the Eventbrite site.
Madalyn Mendoza is a digital reporter for MySA.com. Read more of her stories here.| mmendoza@mysa.com | Twitter: @MaddySkye


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The Long Game by Rachel Reid
Heated Rivalry was one of those books that stays with you long after you read it... and because Shane and Ilya are together, on the road to their HEA but still apart and closeted, I'd always hoped for a sequel to let them share their love with their friends, family and hockey fans... and nearly 3 years after we first met them, Rachel Reid has succeeded in giving us the next chapter in their story.... The Long Game...
To the world they are rivals, but to each other they are everything.
Ten years.
That's how long Shane Hollander and Ilya Rozanov have been seeing each other. How long they've been keeping their relationship a secret. From friends, from family…from the league. If Shane wants to stay at the top of his game, what he and Ilya share has to remain secret. He loves Ilya, but what if going public ruins everything?
Ilya is sick of secrets. Shane has gotten so good at hiding his feelings, sometimes Ilya questions if they even exist. The closeness, the intimacy, even the risk that would come with being open about their relationship…Ilya wants it all.
It's time for them to decide what's most important—hockey or love.
It's time to make a call.
Heather's Review:
It was like coming home to a loving, but hidden hideaway when I read the opening lines of The Long Game. Even with the changing world, more out players, more acceptance, both Shane and Ilya are living double lives as lovers and rivals - and Rachel Reid doesn't let us forget where they've come from or just how far they have to go to come out of the closet and into the light...
Their relationship is still explosive and hot! You feel like you're being drawn into the inferno, but as much as they love each other and express it, they don't actually talk out their relationship... and Rachel Reid draws out all the emotions - the strain, the tension, the passion, the love, the fear, the jealousy... and with Dual POV and cameos from so many other couples from the series and side characters, weaves a story that just keeps you on the edge of your seat.
I don't want to spoil anything, so I'll just say - read or re-read Heated Rivalry before you start The Long Game and enjoy getting to know Ilya and Shane so much more as they grow their relationship... Oh, and clear your schedule because you won't want to put this book down until you've read every word....
The Long Game is currently available in Audiobook, e-book and paperback.
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5 Stars Established Relationship Heather hockey Rivals Series sports steamy
Cover & NSFW Excerpt Reveal: On a Different Mission by Christie Gordon