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some Preparations or Dispositions for the Kingdom of the Meffiah by the drying up of Euphrates, so does it in the next Verse begin to prepare for the Destruction of the Antichristian Powers. For v, 13. Three unclean Spirits, like Frogs, came out of the Mouth of the Dragon (in e. the Devil) and out of the Mouth of the Beaft (i e. Antichrist) and of the false, Prophet ; V. 14. And they are the - Spirits of Devils (or Diabolical Spirits) working Miracles, which go forth unto the Kings of the Earth, and of the whole world to gather them to the Battle of that great Day of God Almighty. By which is signified some strong Magical Influence diversified by the Operations of Satan, Antichrift, and the Falle Prophet; to excite the Kings of the Earth, or Antichristian Powers, to meet together to oppose the Kingdom of the Lamb, who was then begining to overcome the Beaft, and that in the place called Armageddon v. 16) where God had appointed to destroy them; as is shown under the Seventh Vial. Now the word Armageddon in the Hebrew Tongue fignifies the Hill of Megiddo called Megiddon by the Prophet, Zech. 12. 11. 17720 777 Maydney LXXII. ' a Royal City in the Tribe of ilfachar, but belonging to Manaffetb; which the Canaanites poffeffed in despight of them. 7o. 17. 11, 12, and this City was famous in Scripture for the Miraculous defeat of Sisera and the Kings of Canaan ( a Type of the Kings of the Earth :) by Baraka and the Israelites who came down from Mount Tabor (which was not far from that
place,) and discomfited them at the Waters of Megiddo in the Hilly and Mountainous Parts of that Place, as Grotius, upon the Place conjectures. It was also famous for the Death of Abaziah, 2. Kings 9. 27. but especially of Fofiah, who received his dead ly Wound with a great flaughter in the Vally of Megiddo, 2 Kings. 23. 29, 30. z Chron. 35. 20---27, where he was bewailed with fó great'a Lamentation, that the mournings of that Valley is used by way of a Proverbial Speech by the Prophet Zechariab, Chap. 12. 11. and Megiddo is interpreted by the LXXII. the Valley of the Stain, or cut off, as if it dignified a Place of great Grief and Slaughter ; and Megiddo may be chosen to be a Type and Symbol of the Place of this Valley of Decision, to fhew that as the Nation of the few did yearly bewail the Death of fofiab in that Place Co they should likewise bemoan him whose Type Fosiab was, and was flain near that Place just when he had prepared the Temple of God, which was the Emblem of Christ's Kingdom. See Zech. 12. 11. It may be also signifie (2dly) that God, who overrules Evil Designs for Good, and who de clares, Judg. 47: (the Place here alluded to) that he drew-Sisera and his Multitude together, had ordained that these King's fhould be totally overthrown as the Kings of Canaan were at Megiddo ; and that the Lamband his Companyfhould triumph over them and bless God for the great Victory, -as Febofaphat and the Israelites did in the
The Great
Valley of Berdcha for the defeat of that great Multitude of wicked People that con: federated against Israel, 2 Chron. 20. 26.
5.11 cu Y VII. And now the Seventh Angel pours out
his Vial, v. 17. into the Air, and there came a quake ungreat Voice out of the Temple of Heaven saying, der the It is done, ice. This is the last compleará Sevent le ing A&t of Vengeance upon the Antichri. Visla kian. World, in order to make way for the Kingdom of Chrift. Under this Vial are comprized and effected Two notable Events. The First is the Destruction of Bab bylon, i 1. e. the Antichristian City Rome and of the great City Ferufalem. The Second list the Destruction of the Great Antichristian Army at Armageddon, én!
I THAT the Great City, the Destructi on whereof is fo pompously described, Chap. 17*18, 19.is Rome, has been (1 think) plainly and fully proved by Dr. More, Mr. Mede and all the Reformed Commen
tators. And this City is to be destroyed under this Vial, upon the Effusion whereof, Chap. 16. V. 18. There were Voices, and Thunders, and Lightnings, and a Great Earthquake, such as was not since Men were upon the Eartb ; fo mighty and so Great. Upon which the Great City (viz. Jerusalem) was divided into three parts, and the Cities of the Nations fell, and Great Babýlon came into remembrance before God, to give unto ber the Cup of the Wine of the Fierceness of bis Wrath. And the Iflands, and the Mountains fled away, and a Great Hail fell from Heaven ipon-the Men that survived, which
Hail was exceeding Great. It may poflibly be this Hail that føb means by the treasures of Hail, which God hath reserved for the Time of Trouble, against the Day of Battle and War, Job, 38. 22. This being indeed the Great Day of Battle and Destruction of the Antichriftian Powers out of the whole Earth, to which that Ancient Writer frequently refers.
2w II. The Second Great Transaction, and which more immediately concerns this difcourse is the Destruction of Antichrist and his Great Army at the Barcle of Armageddon, It is the Opinion of some, that the Prophe cy of Ezekiel, Chap. 39. concerning Gog and Magog is to be understood of Antichrist and his Army; though all know very well that by Grg and Magog, Rev, 20. is to be underftood that valt Diabolical Multitude that shall encompass the Holy City after the Millennium. How true this Opinion may be I shall not presume to say, but muft acknowledge, that it seems to be favoured by several Circumstances of thař Prophecy. 1. The fame Invitation is made to the Fowls of Heaven, Ezek. 39.v. 17–21. as is made, Rev. 19. 7. 17, 18. for the Slain of the Battle of Armageddon. 2. The Gog and Magog mentioned in the Revelations are to be deyoured by Fire, and consequently not left to be eaten by the Fowls of Heaven. 3.
The Destruction of the last Gog by Fire in the Revelations is said to be immediately followed by the Great and last Judgment. Whereas in Ezekiel, the destruction of Gog
is mention'd with no such Confequences,
Years of Strangers tra-


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President's Report
I have only been in the President role with NEA since May this year. Thank you to Hazel Frankland for her work as President prior to this.
There have been many changes in the Management team in the last 12 months; however I would like to acknowledge the contributions of all members who have held positions on the management team during this time. Although circumstances meant they were no longer able to continue in their elected roles, thanks must go to Hazel Frankland, Ruth Mollison, Pete Raftos, Jennifer Gill, Cornelia Selover, Emi Day and Janet Leith.
I cannot speak highly enough of the current Management Team. I have had the honour of working with Jarita Stubbs as Treasurer; Kylie Pitts as Secretary; deSales Turner as Volunteer coordinator; Team reps: Valerie Clements for the Gallery Shop; Michaela Alexander for Music events; Frank Burgers for studios and OH&S; Janet Leith and more recently Simon Klose as Exhibitions Coordinator. A very special thank you from me goes to Sally Wallace for her amazing support as Vice President over the last few months.
I am sure all members of North East Artisans are proud of the achievements of our organisation over the last 12 months; however it is our volunteers who should be congratulated. From our gallery shop volunteers through to our team members and Management Committee--what we have achieved and continue to achieve is the result of your efforts, so thank you!
The last 12 months has seen us grow in terms of confidence in our organisation as well as attracting the attention of others organisations, the broader community, community leaders and media outlets. Our teams have been working cohesively and efficiently in helping to strengthen our commitment to providing a thriving local arts community in Benalla and the North EAst.
I wish the incoming Management Committee all the best in the future development of North East Artisans and trust that they will continue to uphold our values and vision. This does not mean we should never evolve or transform; whatever direction we take in the future, the heart that is NEA will continue to beat.
Deb Dodd
September 2019
Office Bearers Announced
President/Chairperson Tim Bowtell
Vice President/ Vice Chairperson Sally Wallace
Secretary Kylie Pitts
Treasurer Jarita Stubbs
Volunteer Coordinator/Team Rep deSales Turner
Gallery Shop Coordinator/Team Rep Valerie Clements
Media/Marketing Coordinator/Team Rep Jake Bowtell
Studio Coordinator/Team Rep Frank Burgers
OH&S Officer/Team Rep Frank Burgers
Exhibitions Coordinator/Team Rep Simon Klose
Workshops & Bookings Coordinator/Team Rep Annie Longmuir
Music Events Coordinator/Team Rep Michaela Alexander
Ordinary Member Cathy Pianta
The North East Artisans Annual General Meeting will be held at North East Artisans, 122 Bridge Street East, Benalla on Tuesday 17th September , commencing at 7pm sharp.
All members are invited to attend.
Nominations for positions will be welcome from anyone with skills to offer and a willingness to play a part in the running of NEA.
If you require further information, please do not hesitate to ask. We look forward to seeing you there.
Deb Dodd, President
On behalf of the Management Committee
NE. Artisans Inc A0090960Y
122 Bridge St Benalla, Victoria 3672
"NEA began four years ago as an idea; to support the arts in Benalla and surrounding areas. This idea was to take the form of a pop-up shop which opened its doors in the three weeks prior to Christmas 2014, to provide an opportunity for local artists to sell their work in that pre-Christmas period. In the four years since then, NEA continues to exist and even flourish. It has by now established its credentials and has become part of the art landscape of the North East.
In those four years there have been many changes, amongst the most significant being, a move to new premises, and an increase in member numbers. Since most of the original management committee have stepped down or moved on, this has meant that many of the people whose "idea" got NEA off the ground in the first place are no longer involved in carrying it forward.
For the current management team, this in itself has presented challenges, around finding the best way forward as well as dealing with the various opportunities and the often-accompanying difficulties in taking advantage of them. During the past year we have had a number of members of the executive step down for a variety of reasons, all of them valid. A factor which has become evident is the reality of "burnout" as people find themselves snowed under by the workload of keeping what has become a rather large though friendly beast, running on an even keel.
Into the future if NEA is to survive it will require more involvement by more of its members in order to spread the load. A strong executive will be necessary, as will a paid manager.
I would like to thank everyone who contributed, in whatever way, to the running of NEA in the past year. people who have supported us by their encouragement and appreciation of what we do, have helped make art and creativity an important part of the richness and variety that is life in the North east.
Thanking individuals in a situation like this would inevitably lead to omissions. However, one person I would like to thank personally is Meralyn Vincent. Meralyn took on the role of treasurer during the year in spite of failing health, acquitting it with diligence, competence and a wicked sense of humour. She finally handed in the books only a couple of weeks ago when she no longer had the strength to continue. Meralyn is currently in hospital. Thank you for your contribution Meralyn your beautiful smile and your courage.
Seamus Foley,
Outgoing President
A message to all the wonderful Artisans, Volunteers & Friends of NEA
If you are currently exhibiting, volunteering, or have exhibited, or been involved in some way with North East Artisans, we are informing you of our upcoming AGM.
It will be held on Tuesday 13th September, 2016 at the NEA building, 122 Bridge St, Benalla. Join us from 5.30 for a pre-meeting barbecue (bring your own meat and a plate of fingerfood) or 6:30pm for pre meeting nibbles, with the AGM starting promptly at 7pm and finishing at 8:30pm. There will be brief reports about what's been happening at NEA over the last 18 months, our finances and our future.
All positions on the Management Committee will be declared open and nominations accepted on the night, and the week prior to the AGM. Please seriously consider how you can be involved. Remember that the Management Committee are just a bunch of dedicated volunteers who really want to see NEA succeed and be around for the long term, so we would really LOVE for a lot more people to be involved.
The Management Committee consists of President, Vice President, Secretary, Treasurer, as well as a representative from all the different NEA teams. If you're not so keen on being on the Management Committee, but would still like to be involved, please consider joining one or more of the NEA Teams. There's always room for more people.
If you are unable to make it and are a member or becoming one, a Proxy form is available.
**IMPORTANT** If you would like to vote at the AGM, you need to be a registered member. Currently NEA memberships cost nothing but the time it takes to fill out the membership form, which gives you the right to vote at the AGM. These need to be returned to NEA in person or to email@example.com no later than Monday, 29th August, 2016.
Looking forward to seeing you at the AGM on September 13th.
Carla Gardner,
NE. Artisans Inc. Secretary
NE. Artisans Inc A0090960Y
122 Bridge St Benalla, Victoria 3672
NEA News Blog

subset: commoncrawl


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What they are doing is more than just a tragedy — it is a crime, And it matters to all of us as human beings. When people destroy monuments and artworks because it "offends" them or "their religion" it is a crime against people as well.
When a people is robbed of their history, they are robbed of their identity. This has happened too many times in the past to be allowed to happen again. The loss of the Library of Alexandria and the smashing of "idols" during the early Christian era was designed to destroy the pagan identity of people of the region and replace it with Christianity.
What Da'esh is doing is designed to destroy the cultural identity of the peoples of Iraq and Syria who recognize the achievements of their forebears even if most of them no longer worship the indigenous Gods and Goddesses of the area. It is not enough for them to impose their version of Islam on people who do not share it. They must destroy their "competition" — and in the process WORLD heritage.
They have sympathizers who have already called for the destruction of the pyramids and Sphinx at the Giza Plateau. They themselves have already called for the destruction of the Parthenon in Athens and similar sites in Rome.
All of us — no matter our path need to unite against this band of criminals.
May Nemesis dog their steps and may Hestia grant shelter to their victims…..


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School Background
In support of the call for all-round development of youths in Hong Kong, Lam Tai Fai Charitable Foundation proposed to establish a quality secondary school under the Direct Subsidy Scheme in 2002. The school started its operation in September 2004, offering an innovative and broadening curriculum with special emphasis on Fashion Design, Sports Development, Health Education and Innovative Technology.
Lam Tai Fai College caters for students who pursue for academic excellence and show potential or have proven talents in sports, fashion design and innovative technology. With the expertise and professional support from the school sponsoring body, the College endeavours to develop its teaching team, curriculum, pedagogy and facilities to the best possible standards.
School Mission
The College aims at nurturing wholesome personal growth and the intellectual development of youths through a comprehensive, challenging and broadening curriculum that enhances academic, aesthetic and physical development.
School Vision
The College aspires to lead local education by integrating academic, sports and innovative design in learning activities so as to develop and nurture future community leaders, sports professionals, accomplished academics, upright citizens and cultured individuals of the 21st century.


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Check out the brand new video for the new single by THE FRANKLYS, which they're unveiling here exclusively with Vive Le Rock!
Filmed, directed & produced by Dan Sanchez, the video for 'Comedown' stars actor Eddie Goatman.
Out on 25 March through Electric Wood Records, and available to pre-order here, the limited edition 7″ of 'Comedown' b/w 'Long Way' will be available on the merch stand at the band's forthcoming dates…..
29/02/16 Sticky Mike's Frog Bar, Brighton
03/03/16 Anglia Ruskin, Cambridge
04/03/16 Cult Café, Ipswich
05/03/16 The Asylum, Chelmsford
09/03/16 Sneaky Pete's, Edinburgh
10/03/16 Nice n Sleazy, Glasgow
11/03/16 The Top House, Stanley, Durham
12/03/16 The Fleece, Northallerton
17/03/16 The Finsbury, Manor House, London
18/03/16 Bumper, Liverpool
19/03/16 Bad Apples, Leeds
20/03/16 The Castle Hotel, Manchester
24/03/16 Green Door Store, Brighton
25/03/16 The Railway, Winchester
26/03/16 Esquires, Bedford
01/04/16 Clwb Ifor Bach, Cardiff
02/04/16 Threshold Festival, Liverpool
02/04/16 The Firebug, Leicester
Pic by Lewis Robinson


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Create an Account - Increase your productivity, customize your experience, and engage in information you care about.
If you are unable to pay the fine and costs or have insufficient resources or undue hardship you may request a hearing to determine your need that would be appropriate under the law. After imposing the sentence in open court, the judge is required to inquire into whether the defendant has sufficient resources to immediately pay all or part of the fine and costs. Art. 45.041 (a-1), C.C.P.
You will need to complete a financial statement and provide documentation at your scheduled hearing date. You will need to contact the court in writing to request a hearing date.
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This article is part of my online newsletter called the Scrum Addendum. If you enjoyed this article you should signup for the complete series.
Fixed Priced contracts don't make a great deal of sense in a Scrum world. This is really because traditional software development and Agile software development are two different paradigms … and solutions that work in one paradigm often doesn't make sense in another.
This difference is paradigm is best explained by one of my favorite jokes from many years ago …
Q: How many surrealists does it take to change a lightbulb?
A: Giraffe!
In an environment where clients are only given one shot at getting the product they want, it makes sense to define your requirements upfront, and to then manage any risk by putting a dollar limit on the cost.
Agile teams are collaborative. And, they work the Product Backlog in the order specified by the Product Owner. If it makes sense to deliver high value functionality earlier they will do that. And, a good team will continue to incrementally deliver high value functionality on an ongoing basis.
The risk profile to the client is now substantially different because they're getting regular increments of what they want in the order that they've specified. So, it's reasonable to argue that a new type of contract would be more sensible for the new paradigm. And indeed there are different types of contract that work better than others [in an Agile environment].
I'll write more about agile contracts in the final part of this series and I'll present a number of contracts that are more suitable for software than fixed priced contracts. For this post, I'd like to discuss our options if there were no alternative to a fixed price contact.
How to do Agile with fixed price contacts?
Beware fixed-price, fixed-scope contracts [2]. These are the most difficult to navigate simply because if we fix both the price and scope then the only remaining variable is software quality. Scrum teams fix quality by having a robust (and invariant) Definition of Done. By fixing all three constraints; price, scope and quality we have a recipe for a death march [1] project.
An alternative to fixed-price, fixed-scope is to have a fixed-price, variable-scope contract. This works better because we can now fix product quality … but customers must now deal with variable scope.
This is not something they need be frighted of, rather it is a tremendous advantage to the customer. It does require changes in behavior; customers need to understand how to deliver value from prioritizing the backlog and, how to release early to drive revenue. Both of these ideas require quite different concepts of software and value, and hence neither of these changes are easy.
Variable-price, fixed-scope projects also work very well with Agile projects. These often go by the name of Time and Materials, with a fixed Scope. In a presentation at Agile 2008, Jeff Sutherland presented a paper called "Money for nothing and Change for Free" [3] in which he present two different strategies for fixed-price contracts which he called "Money for Nothing" and "Change for free". Although there are some subtle differences, the strategies outlined by Jeff are either fixed-price, variable-scope or variable-price, fixed-scope.
A Better solution
Fixed priced contracts are part of the culture of software in many companies. It's simply the way in which things are done. Part of the problem is that we have educated customers to expect fixed-price, fixed-scope by our past behavior. They have asked for fixed-price, fixed-scope and we have delivered exactly that [often at the expense of software quality]. The next time our customer want's a product at a fixed cost they know who they can turn to.
To change the culture of fixed-price, fixed-scope contracts we need to change the culture of our industry; we need to push back and say that we value high quality products, and as a consequence we need to redefine our software contracts.
There is a risk in this approach. Our customers may decide to walk away and offer the work to a competitor. This is a question we need to discuss, and decide if producing a high quality product is worth that risk. I think it is.
In the last part of this series on fixed priced contracts, I'll present a variety of contracts which are often used with Agile projects.
Edit: Reader Robert McIntosh wrote an interesting reply to this post which I've included below with permission:
The issue with fixed-price, fixed-scope contracts is far bigger than Scrum. Fixed-price, fixed-scope contracts are just plain dishonest because everyone knows (but won't admit) that all aspects suffer. Quality comes last, as you point out, but we all know that on anything but the most trivial projects we go almost immediately into a scope change process where both the price and the scope change.
The underlying problem with fixed-price, fixed-scope contracts is trust. Customers don't trust their supplier (whether in-house or external). They immaturely attempt to manage their lack of trust by fixed-price, fixed-scope contracts, but what happens is that they fail to varying degrees, which only reinforces their lack of trust.
Scrum does present a welcome alternative paradigm on which trust between Product Owner and Team is essential. The struggle is for organisations is to accept Scrum without putting on an overlay of mistrust via traditional project management and project offices.
Robert McIntosh
[1] [Wikipedia's entry on Death March Projects](http://en.wikipedia.org/wiki/Death_march_(project_management)
[2] In this article fellow Scrum Trainer, Jurgen, argues that fixed-price contracts are not only possible, but desirable. I feel that Jurgen has totally missed the point here. Sure, we can continue to do business the way that we always have done. I feel, however, if there is an opportunity to improve then we would be foolish not to take that opportunity.
[3] "Money for nothing and Change for Free" by Jeff Sutherland.


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These are images from Jon Stutz's Ladies Clinic. I've always wondered what the big white cross bar was for, it's for scooping up golf balls, who knew?!
There is almost always something going on at Purgatory, the Junior Clinics are still going on, and it's not too late to sign up. Hope you're having a great summer!


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GRIFFITH (Hearts of the World) – Kevin Brownlow 1979
GRIFFITH (Hearts of the World) – Kevin Brownlow 1979
- The War The West and The Wilderness
- Kevin Brownlow 1979
- Alfred A. Knopf – New York
The center of Ypres by 1917 has been so heavily shelled that the cathedral-like Cloth Hall has been blasted to a slender Islamic minaret. The other buildings, too, have been knocked into such extraordinarily delicate fingers of stone that there seems no way for them to remain vertical. Into this chilling scene steps a tall, jaunty figure in a smart tweed suit of English cut, a bow tie—and a tin hat. It is David Wark Griffith, recorded by a British official cameraman on his tour of the front.
The sight of this elegant figure touring the scenes of the battle is like something out of H. G. Wells's Time Machine. Griffith, dressed for a grouse shoot, appears to be on a thoroughly pleasant afternoon outing in the midst of the bloodiest war in history. A group of French soldiers ambles past the camera, some of them turning round to give a surly glance at the lens; Mr. Griffith follows them into the picture. The camera pans as he inspects a half-completed trench. French soldiers are sweating away with shovels. Griffith peers down, grins, makes a little digging gesture, and wanders out of shot. Next, he visits a heavily shelled concrete dugout. He stumbles over the rubble, awkward in his polished shoes, descends into a crater, and disappears into the dugout. Moments later he reappears to signal to the cameraman to cut.
All the scenes have been carefully posed, and at the start of each shot, the participants wait for a moment before jerking into action, as though instructed by a director. Everyone plays the game but Griffith. As the party files through a reserve trench, they all duck their heads. Griffith, however, remains imperiously upright, spoiling a subtitle's illusion that the enemy is but sixty yards away.
This trip to the front in May 1917 was a result of Griffith's agreement to make a propaganda film for the British. It is perhaps ironic that Griffith should have traveled to England, ostensibly to attend the premiere of his great pacifist film Intolerance, but actually to make a film to promote the Allied cause. I owe to Russell Merritt the startling information that Griffith had already been approached by the British government before he left for England. Griffith's own version has always been accepted as the truth: that he happened to be in England when a meeting of "the gifted men of Britain"-Barrie, Wells, Shaw, Bennett, Galsworthy, Chesterton—decided the most effective medium for the Allied nations was not a book or a play but "a drama of humanity, photographed in the battle area."
The new chairman of the War Office Cinematograph Committee was Lord Beaverbrook, and he had already instilled a more vigorous attitude to film-making among the Official Kinematographers. The idea of inviting Griffith to make a propaganda film was undoubtedly his, and the much-publicized meeting of the authors and playwrights probably a way of deflecting criticism from the fact that the "great director" was not British.
Griffith had left Triangle in March 1917, and a big special was part of his new contract with Adolph Zukor. By coincidence, one of the financiers of Triangle, and formerly of Mutual, was Otto Kahn, of Kuhn, Loeb and Company, who now moved to back Zukor. Otto Kahn was a close friend of Lord Beaverbrook, and despite being of German extraction, he was a naturalized British citizen who fervently supported the British war effort.
The New York Times leaked the news that Griffith's plan was to make a motion picture history of the war—on a commission from the Allies that would take him to all the fronts—that would eventually be placed in the archives. This may have been a smoke screen for Beaverbrook's true intention; he seems to have had a massive propaganda epic on the lines of The Birth of a Nation in mind.
The offer from the British government came at a moment when history had inspired Griffith with a sense of adventure. "In one way, this is indeed a great day to be alive," he told reporters upon his arrival in Britain. "In another terrible. It is terrible when you see the things you must see and feel the things you must feel. It is the most terrific moment in the history of the world. We used to wish that we could have experienced the days of Caesar and Napoleon. And now incomparably greater times are taking place around us all."
A special tour of the war zone was arranged for Griffith; he crossed the Channel in a Royal Navy destroyer and made a preliminary inspection of the front. Upon his return to England, he began to set up the production, and cabled to California for Lillian and Dorothy Gish, Robert Harron, and Billy Bitzer.
In London the company stayed at the Savoy Hotel. Billy Bitzer picked up film from Kodak—during an air raid-and then bumped into Lowell Thomas, who was on a similar mission. Thomas explained how hard it was to get film, and Bitzer told him to use his name. Thus the Griffith picture replenished the supplies of the Lowell Thomas operation, and when the two men met again, at a Press Association dinner at the Savoy, Thomas confirmed that the film was still coming through.
The Gishes and Bobby Harron had raced up to the roof of the Savoy during the raid, and had seen the German planes returning, the pilots waving at the watchers on the roof. Lillian Gish suggested they go out to see the damage, and they discovered that a school in Whitechapel had received a direct hit. "Children and teachers were the victims," wrote Bitzer. "When you hear the moans of the dying and see their mangled bodies, you realize what it is all about. We thought by getting to work immediately we might forget this scene. But we never did. Griffith, as a Southerner, was fascinated by the aristocracy of England. For a film concerned with the triumph of democracy, Hearts of the World was to have had a surprising amount of footage devoted to society beauties. But Griffith planned another film, Women and the War, to show how the idle rich had thrown themselves energetically behind the war effort.
Dowager Queen Alexandra made an appearance and among the extras were such friends of Beaverbrook's as Lady Lavery, Elizabeth Asquith, the Countess of Massarene, Princess Monaco, and Lady Diana Manners. The scenes were shot at Lady Ripon's estate at Coombe Hill, Kingston, and the Army and Navy Hospital. Griffith sported his finest clothes; Bitzer was astounded at the gap between the classes, and wondered at the complacency of the working class in their support of the aristocracy. The material was eventually used in The Great Love.
Griffith was given facilities to film on Salisbury Plain, the British Army's central maneuver area, and at Witley and Blackdown, near Aldershot. Official receipts refer to vast numbers of troops and explosives—some of which blew up by accident in storage and were the subject of an army enquiry. According to Griffith, he was also given the opportunity to return to France, with his cast. A somewhat confusing impression of the film's production has grown up around this fact. Historians have stated that Hearts of the World was actually made at the front.
The front refers specifically to the battle area; the opposing trenches that zigzagged six hundred miles from the English Channel to Switzerland were known as the front lines. The only member of the company permitted to visit the front was Griffith himself, as the Ypres reels testify. Not even his cameraman, Billy Bitzer, was allowed near the place, although he flew to Le Bourget and filmed scenes in Montreuil. The fact that his full name was Johann Gottlieb Wilhelm Bitzer didn't help, but the army refused to allow photographs to be taken in the war zone except by official cameramen. Griffith was assigned an Official Kinematographer at Ypres, Frank Bassill.
When he returned to France in October 1917, Griffith was based in Paris, and assigned a cameraman from the Section Cinematographique of the French Army. A great deal of conflicting information has been written about the adventure. Did anyone accompany Griffith? According to Lillian Gish, she, her sister and her mother, and Bobby Harron went over; the French trip was hair-raising, and over the months" the Gish family became highly nervous and lost weight. But Griffith was only in France for a matter of two weeks. Mrs. Gish suffered a serious case of shell shock—was this due to the bombardment in France or to the concussion of the air defense guns situated next to the Savoy Hotel in London? The main location was the village of Ham, near St. Quentin, on the River Somme; Griffith stated that by a strange and unpleasant coincidence, the first scenes of the second act were taken in the village of Ham, "which has only recently fallen again into the hands of the German invader." Yet just a handful of shots in the surviving versions were taken in France, and only one of them shows a member of the cast (Lillian Gish entering a devastated house). Billy Bitzer states categorically, While it is true many scenes were taken at the battle front by cameramen, I did not go there, and neither did any other member of the company, with the exception of Mr. Griffith." (However, the Bitzer book is very inaccurate.)
Griffith later made a statement that, appearing out of context, makes him seem an obsessive, single-minded, and callous man: "Viewed as a drama, the war is in some ways disappointing." Single-minded Griffith may have been' but he was not callous. The quote comes from a Photoplay interview with his old friend Harry Carr, war correspondent and future Griffith press agent, and it goes on to say that everything he saw—troop trains moving away to the front, wives parting from husbands they were never to see again—precisely fitted his imagination. "All these things were so exactly as we had been putting them in the pictures for years and years that I found myself absently wondering who was staging the scene." The front lines were lacking in visual impact. "Everyone is hidden away in ditches. As you look out over No-Man's Land, there is literally nothing that meets the eye but an aching desolation of nothingness. At first you are horribly disappointed. There is nothing but filth and dirt and the most soul-sickening smells. The soldiers are standing sometimes almost to their hips in ice-cold mud.
"It is too colossal to be dramatic. No one can describe it. You might as well try to describe the ocean or the milky way. A very great writer could describe Waterloo. But who could describe the advance of Haig? No one saw it. No one saw a thousandth part of it."
Griffith's disappointment with the war reflected his inability to capture any more than a fleeting impression of it. By this point, artillery bombardments and mortar shelling occurred intermittently around the clock, but the kind of action Griffith hoped for—"the dash and thrill of wars of other days"—tended to take place at night.
This is pure conjecture, but so much mystery surrounds the film that I feel obliged to make a few assumptions. Once Griffith had realized the difficulty of shooting at the front, he abandoned interest in it. His remarks to Carr suggest that he was justifying to himself his work of reconstruction—the real thing, after all, had proved indistinguishable from his inspired guesswork. There was no respect for documentary per se in those days, therefore why should he not reconstruct all the action scenes at his leisure, when he could lavish his customary care on each scene?
The reason advanced by Griffith for returning to France was to make use of the devastation; yet Russell Merritt has found evidence that the War Office offered Griffith the kind of ruins he needed in England. So why the second trip to France?
If it was for authentic backgrounds, why did they not appear more often in the final film? Only a few brief shots were taken in France. A cable from Griffith to Zukor refers to $5,000 paid to the French for "facilities," which may explain why Griffith did not shoot the entire film on the locations described in the story. I put forward the suggestion that the trip to France with the cast was the equivalent of the trip round the trenches; the idea of it gave the film a reputation for authenticity, and a veracity and dignity beyond all other war films. This is supported by the elaborate fiction given out by Griffith and his press agents, for example in a New York Times interview of 14 April 1918, which asserts that Bitzer, George Siegmann, George Fawcett, and the child, Ben Alexander, went to France, which they did not, and which describes the company sheltering from bombardment for four hours in a cellar and becoming the target of an air raid. Lillian Gish, in her book The Movies, Mr. Griffith and Me, gives as definitive an account of the trip as we are likely to have; she talks of shells falling "close enough to make us nervous."
It is this lurid melodrama that acts as a barrier for modern audiences. George Siegmann's attempt to rape Lillian Gish seems somewhat less important today than the mass slaughter raging outside. While Siegmann's behavior would have aroused audiences of 1918 to a pitch of patriotic fury—and we must always remember that people reacted to films in those days far more intensely than we do today—sixty years later audiences are merely amused. But look at the scene. It is actually very cleverly directed. It begins as a game; Siegmann sees his opportunity, locks the door, and has a bit of fun with the girl. He leans back in a chair and traps her tiny figure with his legs. At this point, Siegmann plays the scene amusingly, and his jack- booted horseplay fits his character. He is transformed to door-battering fury not by his inability to rape Miss Gish, but by the more serious matter of enemy infiltration. Bobby Harron, a French soldier in German uniform, has penetrated the building, an officer has been killed, and Siegmann's desperation is thus dramatically legitimate.
Mrs. Woodrow Wilson, according to Russell Merritt, was horrified by the scenes of German brutality, and she conveyed her feelings, which undoubtedly coincided with those of her husband, directly to Griffith. He sent a lengthy telegram: "Spent a sleepless night and troubled day, trying to think why the play has made such an effect on you." He blamed his excesses on the fact that the public was "a very stolid, hard animal to move or impress. We must hit hard to touch them." Nevertheless, he agreed to eliminate a couple of scenes so that his film would "hit the masses" but would not offend "the refined and sensitive spirits such as yourself. Otherwise I shall be a very disappointed, broken individual, for my hopes and my work and prayers have been so bound up in this that, unless it is pleasing in your household, I feel that everything has been in vain." Mrs. Wilson's criticism evidently led to the reshooting of the scene in which the German soldier whipped Lillian Gish.
Griffith must have been particularly hurt by Mrs. Wilson's reaction since he despised the pro-war propaganda pictures and was aiming at a much more elevated kind of film. Melodrama apart, the picture has some admirable scenes. Griffith never falls into the trap of romanticizing war. There are no false heroics, and the horrors of war are shown as powerfully as possible. "War's gift to the common people" declares a title before scenes of panic and evacuation in the village. Lillian Gish's old father refuses to leave his home. A shell explodes on the house. When Miss Gish rushes back to search for him, Griffith makes us flinch, even today, with a brief flash of the old man's body-blown in half. And the audience has to share Lillian Gish's agony at the death of her mother-a most moving performance- and her delirious state when she celebrates what should have been her wedding night. She finds out where Bobby Harron's company has been fighting, and by the light of the moon, she runs out to join him. When she finds him, he is apparently dead. Wrapping herself in her wedding dress against the cold, she gently presses her body against his and joins him in sleep.
It is the sense of authenticity that makes the film so compelling, and yet there is very little that is authentic. The village is compounded of parts of Stanton, near Broadway, Worcestershire, and Shere, in Surrey, together with back-lot construction in Hollywood (on the old Intolerance set). The close-combat scenes resemble Gettsysburg more than Verdun. Worse still, the child, Benny Alexander, remains the same age throughout the entire four years of war. But for much of the film, it takes an expert to distinguish the reconstruction from the actuality material. Griffith included documentary scenes that are now beyond price. Almost shyly, he begins the film with a title begging the audience's indulgence for his unusual prologue. "It has no possible interest except to vouch for the rather unusual event of an American producer being allowed to take pictures on an actual battlefield." Griffith is shown in the trench at Cambrin, and at Number io Downing Street; Lloyd George shakes Griffith's hand, wishing him "great success for his picture." (He was actually saying goodbye on the day Griffith left for the United States!) "Apologies and thanks," says a title. "The picture follows."


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the importance of understanding money
I wrote in one of my books about probably the best piece of business advice that I ever had came not in a work context, but from the father of a young lady who I was about to take out on a date.
He told me that the three most important things in business were cash, cash and more cash and he was right, for it doesn't matter a jot about what else you do, but you do have to understand where your business gets its money from, where it goes and how much of it will be available at any time.
My relationship with the young lady was short lived, but the advice her father gave me stuck and helped me a lot because finding out how the money worked advanced my career more than once, and in both private and public sectors.
We tend to focus on our job first and our department second, but most of us are only a cost to the business and so is what we do. We may well try to save our business money, but if you don't understand the way that the money works it is hard to make the right decision about what is the best price to be paying. Finance may hold the purse strings, but knowing how to use funds in the best way is something that works best if there is a strong operational input to the decision process.
This is why I encourage people to get to understand the financial processes that their organisation works with so that they can use the system to best advantage, but also to get behind the process so find out why it works that way. Making a pal or two amongst your Finance colleagues so that you have people you can get advice from is a good investment as well.
Every management role includes some budgetary element even if it is only monitoring and so that can be your entry point. Monitoring spend is a part of cash flow management and an inadequate cash flow kills more businesses than any other cause, so find out how your budget monitoring fits into the organisation's cash flow management and general financial forecasting. It will give you an insight into how important these things are, why accuracy on your part is required and start to develop your financial understanding.
I'm not suggesting that we all become accountants here, just that getting to grips with how money flows and how it is managed will make you better at what you do and improve the contribution that you make to your employer. That alone will help your career, but think about how much impact it would have when you go for a promotion and tell your interviewer how what you do contributes to the bottom line, asset value or income generation, and managers do all of those things. Being able to understand just how you do it is the connection that you need to make and the information is all there; it's just that very few organisations seem to want to ensure that everyone who needs it gets it.
The choice is yours, but I can't recommend getting to know how money works highly enough. It worked well for me and whilst that knowledge may not what have been what I had in mind when I was in pursuit of the young lady at the start of this musing the words of her father turned out to be worth their weight in, well shall we just say cash.


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A filler is a material injected by a surgeon to augment volume in certain parts of the body. In non-surgical rhinoplasty, surgeons use injectable fillers to modify and alter the shape of a person's nose without using invasive surgery.
Even though these fillers (especially silicone fillers) have been used for decades to fix minor deformities related to the nose, they are associated with dreaded complications in the long term. For instance, in some cases, it has been observed that the blood vessel may get blocked from the filler injection and cause the tissues supplied by that particular blood vessel to die. In pathology, it is referred as necrosis. As a consequence of this, redness and pain can occur in a patient within hours of injection.
In this regard, it is imperative to seek expert advice immediately to avoid the disastrous consequence of skin gangrene. In cases where the skin has turned gangrenous, it may eventually lead to scarring and disfiguring of the nose. Often, corrective surgery is performed in such cases. This involves moving fresh skin from the face to replace the destroyed skin.
There are some common complications associated with non-surgical rhinoplasty, such as:
However, the surgery can have some critical side effects as well. Listed below are some of the signs of necrosis after rhinoplasty:
In those cases where the previous rhinoplasty went wrong, patients may develop a serious infection, which in turn, may destroy some of their good nasal tissues. By reconstructing the nose from the person's own body parts (including cartilage from ribs, ear, or skin grafts from thigh area, etc.), a rhinoplasty surgeon can replace the damaged or missing tissues.
Since the reconstruction of nasal tissues is an intricate procedure, it requires specialized knowledge to achieve the desired results. Dr. Tan is the best nose surgeon with in-depth expertise in performing reconstruction nose surgeries.


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Singapore is a medley of wondrous manmade and natural attractions that takes you on a journey through beautiful experiences. Nevertheless, the country boasts its high dynamism and innovation through its advanced urbanism and introduction of artificially created stellar natural attractions that are identical to natural experiences. Singapore offers amazing attractions created specifically to give experiences unparallel to any other in the world – be it the world's first night safari zoo, an underwater journey into the realms of aquatic life or an awe-inspiring walk through enchanted gardens filled with majestic trees and endless sights of plants and flowers known as the Gardens by the Bay. This mesmerizing stretch of gardens dominated by giant SuperTrees at the waterfront with Singapore's amazing skyline as a backdrop is a pioneering landmark and a deserving feat added to Singapore's breakthrough attractions. The Gardens by the Bay is sure to knock your breath away with its sheer splendour, here's some interesting trivia about Singapore's latest icon.
Why Visit Gardens By The Bay?
A. UNESCO Heritage site
This one of a kind city garden was conceived with a vision to create 'a city in a garden' and encourage development of lush green spaces in the country to turn Singapore into a tropical garden nation with perfect environment for a healthy work and life balance. The idea formulated the concept of having a sprawling garden amid the bustling city which will provide a cool recreational and educational experience along the mesmerising waterfront and city views. Spanning over 101 hectares of reclaimed land in the south of Singapore, this horticulture heaven is split into three garden areas -– Bay South, Bay East and Bay Central, each having plants and trees of different varieties from around the world. Built to make the city more lush and nature oriented, Gardens by the Bay is Singapore's latest addition to its UNESCO Heritage site.
B. Out of the ordinary Design
A magnanimous project that would propel Singapore's tourism influx stupendously, first and foremost needed a great design and meticulous planning. To achieve a unique top-notch layout and design of this magnificent garden, an international design competition was organized where 170 firms from over 24 countries participated with their ideas. The final designs were chosen by a 11 member jury and two winners were announced- Grant Associates whose designs were chosen for Bay South, and Gustafson Porter who designed the Bay East Garden. Bay Central Garden was decided to be made later. The concept, plans and models were exhibited for the locals at the Singapore Botanical Gardens which received overwhelming positive reviews from the public. The feedback further pushed the plans to take action and the vision of a larger-than-life garden commenced to transform into reality.
The Bay South Garden is the biggest garden of the three gardens and represents the best of tropical horticulture, gardening creativity and innovative architecture. The design of the garden is inspired by Singapore's national flower- Vanda 'Miss Joaquim' orchid. The landscape is where all major attractions are located – two main conservatories, themed gardens and the SuperTree Grove presenting rich assortment of foliage for its visitors to experience diverse botanical sights from around the world.
C. Paradise-Like, Lush Zones
1.A surreal sight of towering trees welcomes you as you enter the Gardens by the Bay. Known as the SuperTree Grove, this unique garden has around 18 massive tree like structures created to form one of a kind vertical garden covered in plants and colourful displays of flowers. Each of the trees is a separate garden comprising of more than 200 species and varieties of flowers, plants and climbers. A walk on the suspended aerial walkway known as the OCBC Skyway between two of the SuperTrees gives breathtaking panoramas of the garden. The canopied trees acts as a shade to visitors during the day and in the evening, the illuminated trees put up a splendid Garden Rhapsody show of synchronised lights and music.
2.An outlandish and impossible feat made into reality is the Cloud Forest – a concept of having a forest amid mists is depicted brilliantly in this enclosed arena which has a 35 metres tall mountain surrounded with a misty ambience, covered in lush vegetation and dominated by world's tallest indoor waterfalls. The atmosphere replicates the cool mountainous cloudy climate and exhibits foliage and rare plants of the tropical highlands up to 2000 metres above sea level in 7 discovery zones.
3. A world of colourful blooms- The Flower Dome is a zealous display of flowers and rare plants in a cool – dry Mediterranean climate. A place where flowers blossom every day, the Flower Dome presents an exhilarating colourful displays of flowers that keep changing as per different seasons, themes and festivals. Situated inside are 9 exquisite gardens based on 5 continents where you can find trees and plants that grow only in those regions.
D. Conserves Nature
The main idea behind constructing such a garden on epic scale is to showcase Singapore as a nation that respects the eco system and bio diversity. The need to change the perspective of Singapore from a new age urbanised nation to a green eco friendly country and keeping in mind the problem of climate change on the rise, Singapore's perseverance regarding eco balance is flaunted in Gardens by the Bay. It imbues energy and water sustainability in its attractions by implementing cutting edge technology. The cooled conservatories of Flower Dome and Cloud Forest run on techniques that provide energy efficient cooling solutions, the Super Trees are installed with photovoltaic cells on its canopies that absorb solar energy which are later used for illuminating the trees at night, the Dragon fly and Kingfisher lakes is a scenic treat for aquatic lovers but it has a dual role as an eco-filter to cleanse water pumped in from the Marina reservoir and to maintain better water quality.
Plan a trip to Gardens by the Bay
Singapore's very own mini verdant forest is a hi-tech marvel and catapults the nation as a nature conserving and eco friendly country. With these Gardens by the Bay facts, you can make out that this garden of wonders is not just a nature delight and respite for its guests to get away from the buzzing city rushes; it is a way to give something back to nature and help preserve it. Though Singapore marvels everyone with a plethora of attractions which makes it slightly confusing on what to include on your tour, Gardens by the Bay is an obvious must visit landmark that you should visit on your Singapore trip.


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HobbyStar LiPo packs combine quality components and powerful cells to deliver a superior-power battery for your RC vehicle. Built using the latest technology in cell chemistry to provide generous capacities, powerful discharge ratings and fast charge rates. HobbyStar LiPo batteries are an unbeatable value!
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No one wants to be left stranded with a dead battery; that is why it is crucial to have your car's battery tested regularly. The auto service team at McLarty Automotive Group invites drivers near Conway, AR, to stop by our auto service center for a battery diagnostic test.
Our ASE Certified and factory-trained technicians will determine if your car's battery can no longer hold a full charge or needs service, or if it may be time for a new replacement battery install. If your car battery needs service, then proper cleaning of the battery terminals and cables to minimize corrosion is in order. We will do whatever it takes to make your car, SUV or pickup start reliably for years to come!
Our Little Rock, AR, area service centers work on all makes and models of cars, trucks and SUVs. So whether you drive a Nissan, Honda, Ford, Mazda, Toyota, Lincoln, BMW or another make, our service staff can keep you on the road with preventive battery maintenance or new battery installation. If you bring your car in for an oil change, wheel alignment, brake service or tire service, we can test and inspect your car battery during your visit as well.
Let the expert service technicians at McLarty Automotive Group handle your battery maintenance or replacement needs. If you would like to purchase a new battery for your car, then feel free to contact our parts department for an OEM-quality replacement battery at an affordable price. Contact the service or parts staff at McLarty Automotive Group today! Our auto service centers and parts departments are located just minutes from Hot Springs and surrounding Arkansas communities.
Arkansas motorists can schedule a battery test or just stop by one of our nearby service centers for prompt service at competitive prices!


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On Saturday night, Inland Northwest journalists gathered to note the best work of 2006. The Society of Professional Journalists' Inland Northwest chapter honored The Inlander with the following awards. The competitors were non-daily newspapers from all over Eastern Washington, Idaho and Montana.
Arts Reporting
Second Place: Michael Bowen, Ann M. Colford, Marty Demarest and Luke Baumgarten, "Rising from the Davenport" (11/30/06)
Business and Agriculture
First Place: Joel Smith, "Here Comes the Neighborhood" (1/26/06)
Energy and Environmental Affairs
First Place: Joel Smith, "Building an Industry" (2/16/06)
Second Place: Luke Baumgarten, "The Sins of the World" (10/19/06)
Second Place: Jack Nisbet, "The View from Above" (6/1/06)
Third Place: Paul K. Haeder, "Camas Culture" (6/29/06)
Page Design: Graphics
Second Place: Chris Bovey, "Iraq: Staying the Course" (9/28/06)
General News
First Place: Joel Smith, "Tilting at Windmills" (9/28/06)
Second Place: Kevin Taylor, "Heart of One-Legged Doug" (7/20/06)
Third Place: Doug Nadvornick, "Three's a Crowd" (10/12/06)
Investigative Reporting
Second Place: Kevin Taylor, "Postcards from Hell" (5/25/06)
First Place: Mike Corrigan, "Stranger Than Fiction" (6/15/06)
Second Place: Joel Smith, "Blazing a Trail" (7/27/06)
First Place: Howie Stalwick, "Great Expectations" (8/31/06)
Government and Politics
First Place: Kevin Taylor, "Amber Waves of Pain" (8/10/06)
Science and Health
Third Place: Joel Smith, "Lisa Brown's Body" (6/1/06)
Special Sections
Second Place: 2006 College Guide (8/31/06)
Third Place: 2006 Best of the Inland Northwest (3/23/06)
& lt;span class= & quot;dropcap & quot; & A & lt;/span & lso on Saturday, the Society of Professional Journalists' Region 10 branch handed out its awards, also for work published in 2006. Region 10 awards are given to alternative newsweeklies in Alaska, Washington, Oregon, Idaho and Montana. Our fellow competitors included Seattle Weekly, Eugene Weekly, Willamette Week (Portland), The Source (Bend), Anchorage Press, Idaho Mountain Express (Sun Valley) and the Missoula Independent.
Second Place: Kevin Taylor, "Fast Lerner" (9/14/06)
Second Place: Ann M. Colford, "Avast Ye Brigands!" (5/4/06)
Second Place: Ted McGregor, "Willful Ignorance" (4/13/06), "McMaverick?" (8/17/06) and "No Man's Land" (12/21/06)
Special Section
Second Place: "Peace on Earth" (11/23/06)
Sports Reporting
Second Place: Howie Stalwick, "The Life of O'Reilly" (5/4/06)
Government Reporting
Third Place: Kevin Taylor, Joel Smith, Ted McGregor, "Retaking the 5th" (8/10/06)
Third Place: Mick Lloyd-Owen, "Burying the Hatchet" (12/7/06)
Page Design
Third Place: Chris Bovey, "Iraq: Staying the Course" (9/28/06), "Donuts" (10/12/06) and "James Bond" (11/2/06)
Social Issues
Honorable Mention: Ted McGregor, "Karmic Journalism" (11/23/06)
First Place: Joel Smith, "Blazing a Trail" (7/27/06)
Honorable Mention: Ann M. Colford, "I Really Do Have Friends" (2/2/06)


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It would be tiresome for us to discuss the many wonderful things about a classic pair of Converse. But the weather on the East Coast is such that we'll add one more wonderful thing: They make for the perfect rainy day shoe. Keep your brogues in a bag — far away from water, which, funny enough, brogueing was historically created to manage — and sport these with your trench and slacks, or your trench and jeans, or whatever you're otherwise wearing today. This new collaboration from Undefeated and Converse should do the trick.
As found on Selectism.


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Double Strung Harps
As of 01/1/2022, I am no longer taking orders for custom double harps.
I can build your Custom Double strung harp with any number of natural notes from 19 to 36 with gut, nylon or wire strings.
I build double strung nylon, gut and wire harps in any size from 19 x 2, up to 36 x 2, strings. Possible notes range from high first octave 'G', down to low Sixth octave 'D', (in either Gut or Nylon strings), with the highest note on my double wire harps being a First Octave 'A'. It is also possible to have more pronounced base notes on one side of a double harp. This is done by using wire base strings on one side , and nylon ones on the other. This can only be done on harps with at least 25 or more strings. And as with all my harps, there are many options possible , concerning the string spacing, tension, size and style of the harp.
A bit about Double Strung Harps
The double-strung harp has two identical diatonically-tuned (like the white keys on the piano) parallel rows of strings, and two full sets of sharping levers. You can tune the two rows differently from each other when needed. This is especially handy for pre-setting accidentals so you don't have to flip levers in the middle of a piece, and also for modulating easily from one key to another. The styles and effects that can be done on this harp are nearly infinite. It has many more capabilities than a single-course harp, and in many cases is actually easier to play. It lends itself very well to jazz, Celtic, South American, African, Welsh, Scandinavian, New Age, pop, rock, folk, other ethnic styles, and much classical music. Because each hand has a separate and entire set of strings to itself, there is a tremendous capacity for complexity of arrangement and satisfaction of playing. And the strings tend to ring sympathetically, resulting in rich but not overwhelming harmonics. Yet the harp is simple in design and easy to play and understand.
Players who are accustomed to a larger harp can play a small double-strung harp without changing their large-harp arrangements. The left hand simply plays on the left row, and the right hand on the right row. Each hand has the freedom to play the whole length without obstructing the other hand.
To compare a double harp with single strung harps: on a larger single-course harp – let's use 36 strings as an example – the left hand normally has about two octaves available before the limitation of running into the right hand becomes a factor at mid-range, and the right hand has about 3 available octaves. But if you have a small double-strung harp with, say, 26 strings per row, the left hand has over 3 octaves to play without interference, and so does the right hand. And imagine the possibilities with a larger one! But even a 23-strings-per-row lap model makes many more notes available per hand than a mid-size single-course harp. A 23-string double is actually a 46-string harp! And you can reach all the strings easily!
A large double-strung harp (33 to 45 strings) has a full tonal range, as would any other harp that size, a small double-strung harp has less bass range, of course. On smaller ones, the left hand will automatically overlap with the right hand (on separate rows of strings). The overlap effect can be done on purpose on a larger one. This produces a unique and beautiful echo effect, as well as lovely harmonies.
I build my double strung harp with gut, nylon or bronze strings, in both 6×6 or 5×7 stringing configurations. The string spacing on my double harps is also totally customizable, from a wide concert style, to a narrow wire spacing.
As with all my custom harps, the height of the harp and size of the sound box, the width of the sound board as well as the string tension and type of sound the harp will produce, are all very flexible custom design options. My double harps can be fitted with Loveland, (for my double wire strung harps, Loveland levers work quite well), Camac or Truitt sharping levers.
Please email me with any questions you may have !
Here below are pictures of some of my custom double strung harps.
Harp shown here: On the Left, two views of :Double nylon strung Koa wood harp, with 26 strings on one side and 27 on the other. The Left base side also has metal core strings to give a stronger base notes on that side. The style shown is a simple modified Gothic "look'. Many, other possibilities in double harp styles can be designed and built. his is just one of many possible shapes and styles that are possible for double strung harps. It was designed to as compact as possible, which caused the pillar to assume a straight shape. The owner of this harp also wanted the neck to be smooth and flowing in shape, without any of the more typical Celtic elements.
The Harp on the right is a one-of-a-kind cross strung harp. The two banks of 35 strings each are 6/6 in tuning, and each string also has a Loveland sharping lever. It is built of Cherry wood with a spruce sound board. It is 56 inches tall.
My double strung harps can be as complex in shape and style, as my other harps. If you have any ideas for your own dream, double harp, do not hesitate to ask me !
Thank you for coming to visit my Harp Pages, please let me know how I can bring your Dream Harp to Life !
Follow your Bliss, and live your Life in Joy!
Glenn J. Hill


text: We sell and install Rough Country,BDS Suspension and Zone lifts kits and accessories, With their lifetime part warranty you have peace of mind that it's the last lift you will ever have to buy. We do sell and install just about any brand of lift kit, wheel, tire or accessory on the market. Give us a call or email for an estimate.


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The Eternal Heart-to-Heart - An Exploration of the Practical and Spiritual Concerns of the Artist
Tuesday, January 6, 2015
The Tricky Path To The Sages
6 comments:
My painting for Day 7 took so many left turns, that I felt like I had run a marathon when it was completed! But, usually these paintings turn out to be our best. Love this one lots, Jim!!!ReplyDeleteReplies
Ha! I agree. Isn't it an amazing process. And your painting for Day 7 is one of my all time favorites. I could write a paper about it, I like it so much. My first exclamation is "How do you DO that?" but then of course I KNOW how you do it, technically, sort of. Maybe the real question/exclamation is "How do you KNOW how to SEE that?"Delete
I love how you have no fear... you take that unexpected turn and let it lead you! Thanks for sharing your process and mind path Jim!ReplyDeleteReplies
But I do have fear, Sheila. All the time. I have to work at recognizing it and not giving into it. Sometimes I actually write "be brave" "fortitude" and things like that right into the paper. One of my little rituals. I'm so glad that you enjoy reading about the process. I write about it in part because I learn from writing. It is an added bonus when someone else reads it and gets something out of it.Delete


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Honoring the Doughboys: Following My Grandfather's World War I Diary (Hardcover)
On Our Shelves Now
Endorsed by The United States World War One Centennial Commission
Nominated for a 2015 IPPY Award" from the Independent Publishers Association
Honoring the Doughboys: Following My Grandfather's World War I Diary is a stunning presentation of contemporary photographs taken by the author that are paired with diary entries written by his grandfather, George A. Carlson, who was a soldier in the U.S. Army during World War I. Lowdermilk followed his grandfather's path through France, Belgium, Luxembourg, and Germany and returned with these meticulously crafted photographs and his own engaging stories that bring the diary to life for contemporary readers. Lowdermilk's passion for World War I and military history began as a young boy when he listened to his grandfather tell his stories about serving as an infantryman-- a "doughboy"--in Europe during the Great War. When his grandfather passed away in 1983, Lowdermilk's mother gave him her father's diary, which included not only lengthy descriptions of the landscapes, towns, and battles he had experienced, but also keen observations and insights about life as a doughboy for Mr. Carlson and his buddies. Lowdermilk became fascinated with the diary, first transcribing it and then plotting his grandfather's course. He immersed himself in the history of World War I and its geography, eventually retracing, more than a dozen years, the path of his grandfather's journey. This image-rich tour of European landscapes, battlefields, and monuments offers the reader an experience that is at once an intimate reliving of Carlson's time as a doughboy, a lively collection of Lowdermilk's travel anecdotes, and a moving expression of gratitude to American veterans of the Great War. The foreword by Helen Patton, granddaughter of General George S. Patton, Jr., adds an extra dimension to the narrative.


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Former VT employee pleads not guilty to embezzlement
Lisa Peduzzi almost immediately put her head down on the defendant's table in a Burlington court room Monday morning after entering the room and looking around.
Peduzzi's public defender Stacie Johnson patted Peduzzi, 51, on the shoulder as Peduzzi lifted her head to speak to Johnson before arraignment began.
The former state employee with the Office of Risk Management is accused of five counts of embezzlement by a public official and one count of attempted embezzlement by an official. She is accused of stealing about $50,000 over the past year.
She pleaded not guilty to charges in Vermont Superior Court.
Gov. Peter Shumlin said Friday that this state office was the only one until recently with a policy in which checks under a certain amount of money could be cut without a second employee's approval.
The initial hearing was moved at the last minute from Superior Court in Barre to Burlington. Judge Michael Kupersmith had to call a short recess so he could read the affidavit before the hearing began.
Peduzzi, of Plainfield, was released on conditions by Kupersmith, including that she not leave Washington County. Johnson argued that Peduzzi was not a flight risk and she had never been in trouble with the law, so setting bail did not seem necessary.
Peduzzi had worked for the state since 2008 as a liability claims adjuster in the Office of Risk Management. She resigned from her $49,483-a-year job April 2 as state police began an investigation into possible fraudulent activity, Gov. Peter Shumlin said last week.
Peduzzi's is the latest of public employee fraud cases uncovered over the past few years.
On Friday, Shumlin described Peduzzi's actions as "a fairly sophisticated deception."
Peduzzi declined comment outside of court Monday on charges brought against her.
If found guilty, Peduzzi faces a maximum sentence of 10 years in prison.
Fraudulent activity
Investigation by state police revealed 19 occasions dating back to 2013 in which Peduzzi requested a State of Vermont check using her authority as a claims examiner. According to court papers, Peduzzi used the money to buy items such as a car, a boat, several firearms and guitars.
Peduzzi told police that she resold many of the items she had purchased with state money, according to court papers.
Since the checks were marked by the State of Vermont, Peduzzi told those receiving the checks that the money came from her state retirement account and she had to request a check through the state.
Peduzzi would then write a fake claim in the name of the person to whom the check would go, and she would cut a state check for the amount she needed to pay, according to court papers.
An affidavit written by Detective Lt. Thomas Hango states that through a vendor company used by the state until Jan. 1, Peduzzi could create a claim and have a check cut automatically with no oversight if it did not exceed $15,000.
A new system was put in place at the start of the year where a request would need be made to the Treasurer's Office to cut the check, Hango wrote.
Shumlin said Friday that the Office of Risk Management was the only office in state government that had that kind of single-set-of-eyes check writing policy, which has since been changed, Shumlin said. All checks of any amount will need another employee's approval, he said.
"It seems like an imprudent policy," Shumlin said.
Shumlin said investigators believe all the false claims Peduzzi wrote checks for were under the $15,000 limit. None of her co-workers or supervisors suspected anything.
Peduzzi's activity came to light when a Michigan man became suspicious after receiving a State of Vermont check for a guitar Peduzzi had arranged to purchase from him over E-Bay, Hango wrote in the affidavit. Ronald Ratledge, who sells high-dollar guitars on E-Bay, said he agreed to do business with Peduzzi off the site because of her rating and positive feedback on E-Bay and to avoid fees through the online payment system, he told Hango.
"Ratledge told me he was 'lured' in and said he would accept a check from her not knowing it was actually going to be from the State of Vermont," Detective Hango wrote in the affidavit. "He indicated she sent it in a State of Vermont envelope with her personal address taped over the state return address. Ratledge felt things were looking suspicious."
Financial troubles
Detective Hango wrote in his affidavit that he visited Peduzzi at her house to speak to her about the embezzled check. Upon arrival, he said he noticed that the power company had hung a notice to turn off power on one of the door handles.
Peduzzi said she was behind on bills, so she was purchasing the guitar with state money to eventually resell the it. Then, she would use the profit to pay for her mortgage, electric bill and student loans, according to her statement in Hango's affidavit.
Peduzzi told Hango that she needed about $6,000 — the price of the guitar — to put her "neck above water," Hango wrote in the affidavit.
Three supplemental affidavits outline a number of instances where Peduzzi wrote fake claims to cut checks to people from whom she was attempting to buy things.
According to the supplemental affidavits, these claims are mainly for property damages — such as hitting a bridge joint with a vehicle and puncturing an oil pan or damaging a tire. In most of the cases outlined, check recipients said they had never filed a claim against the state, nor had some people visited Vermont in the first place.
Detective Hango said he and Detective Sgt. Walt Smith arrested Peduzzi on Friday.
"She told us she was ready for us to take her," Hango wrote in his affidavit.
As she was getting inside the police car, Hango said, "she told me that she deserves whatever she gets and that she will pay back the state, even if it takes until she is 90."
Past fraud cases
In mid-January, Jody Farnham, a UVM employee who provided administrative support to the Vermont Institute for Artisan Cheese, embezzled at least $185,000 during a six-year period ending in late 2012. She pleaded guilty to a federal charge. She was accused of altering tuition checks from enrollees in the cheesemaking program to make herself a co-payee and then depositing the checks in her own bank account. Farnham was also accused of embezzling cash tuition payments given to her by enrollees and of using UVM credit cards to make personal purchases.
In July, a former Weybridge town clerk and treasurer pleaded guilty to stealing about $400,000 from taxpayers Karen Brisson was sentenced to serve two years in a federal prison.
In January 2013, former Vermont State Police Sgt. Jim Deeghan pleaded guilty to padding his time sheet with hours he did not work. The Burlington Free Press reported that Deeghan had falsified the documents since 2006 to fatten his paychecks and inflate his pension, and that he had lied about 1,000 traffic tickets dating back to 2000.
A number of other fraud cases were reported in 2012 by the Burlington Free Press, including alleged embezzlement by a South Burlington correctional facility employee and by an Orleans bookkeeper.
EDITOR'S NOTE: The first name of the former Weybridge town clerk and treasurer was incorrect in an earlier version of this story.
Contact Elizabeth Murray at 651-4835 or email@example.com. Follow her on Twitter at www.twitter.com/LizMurraySMC.


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Friday, January 25, 2008
When I was asked to prototype the screen butterflies for a new job, I was reminded how just a few years ago I had constructed this Monarch Butterfly for the first of a trilogy of short films I collaborated on with choreographer Scott Rink. It was used in one of the most magical dance sequences of the film. It's constructed of a 2-color linocut printed on fabric and then hand-stitched on to a wire frame. I had never done anything like it at the time and it still remains one of my favorite pieces.
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Grand Marnier Shrimp
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Dear Josh, My husband and I have been visiting Rhinebeck each year for 16 years for the Goodguys car show. We have visited Terrapin each year since its opening…. We had a wonderful shrimp dish on our last visit on September 13, 2008. It was Grand Marnier shrimp with an orange shallot crème sauce over … Continued


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Montgomery officially named Duke offensive coordinator
DURHAM — Duke has promoted receivers coach Scottie Montgomery to offensive coordinator.
Coach David Cutcliffe announced Montgomery's promotion Monday.
Montgomery, a Burns High product and Duke alum, had been considered the favorite to replace Kurt Roper after he left in December for the same coordinator's job at Florida.
Cutcliffe says Montgomery will also work with Duke's quarterbacks and will call the offensive plays.
"Scottie Montgomery is the person I had the most confidence in as I looked at all of the potential candidates," Cutcliffe said. "Scottie and I have had hours and hours of conversation, and he's been in our system two different times, been away a little while, so there's a little spice involved with him coming back with thoughts that can add to what we're doing."
The promotion leaves a vacancy on the staff for a receivers coach and Cutcliffe says graduate assistant Jeff Faris is working with the wideouts during spring practice.
Montgomery was Duke's leading receiver three times during his four-year playing career from 1996-99.
He was on the Blue Devils' staff from 2006-09 before the Pittsburgh Steelers hired him to coach their receivers from 2010-12. He returned to his alma mater before last season.
Montgomery played on the Burns Bulldogs' 3A state champion team in 1994.


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Milosh Ivanovich
When intense curiosity and keen desire to learn new things drives ambition
Milosh Ivanovich (BE (Hons), M Comp, PhD) is one of the nation's leading authorities on teletraffic engineering and network modelling.
As Principal Domain Expert in Telstra's Wireless Network Engineering, Milosh oversees developments and innovations in wireless traffic modelling and optimisation, pursuing excellence in everything from basic connectivity to the emerging areas of virtual and augmented reality. "I've got a really cool, awesome job," he beams. "But try explaining that to my kids when they ask me, 'What do you do for work, Dad?' The way I put it to my ten-year-old daughter, who's watching Taylor Swift or Katy Perry via the Telstra mobile broadband connection to our laptop is, 'Daddy's work brings you those images,' and I'm proud of that."
A researcher at heart, Milosh periodically publishes papers about his work, and as an Adjunct Research Fellow in the Department of Electrical and Computer Systems Engineering at Monash, he finds time to collaborate on projects with his academic colleagues. Additionally, Milosh enjoys mentoring postgraduate students, on an ad hoc basis. "My most recent Monash PhD student graduated last year and I'm currently supervising a PhD intern at Telstra," he explains. "By passing on what I've learned and experienced to the younger generations, I can give back to the community and profession."
He also gives back to the country that welcomed him at age 9 – Milosh has served as an Australia Day Ambassador for the past 17 years. "Australia has one of the best models for harmoniously integrating a multitude of people from different ethnic backgrounds," he says. "It provides them with all the necessary support and opportunities to live a fulfilling and rewarding life."
Milosh sees his "nerdy, algorithmic problem-solving" at Telstra as a way to improve the lives of everyday people, by meeting our basic human need to communicate. His intense curiosity and keen desire to learn new things drives this ambition. "As the complexity of teletraffic technology increases, so will the likelihood of needing machine learning and artificial intelligence to supplement traditional queueing theoretical approaches and techniques," he adds.
"In the very distant future, I'd like to see the realisation of some things currently considered science fiction," muses Milosh. "Artificial superintelligence with the potential for immortality, via biological means or 'digital ascension'. And human space travel and colonisation within and beyond our solar system."
When you've come as far in a lifetime as Milosh has, the possibilities seem infinite.


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Found one I purchased but never used, So good for someone.
Maybe a Blackwood rally race, 50 lapper, and winner gets it, IF they are a demo driver. If you have a Licence already, happy to race, but wont win.
Message me if there is any interest.
S2 Licence
Now recruting!
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Cleveland International Classical Guitar Festival: Petra Polácková Master Class
Event Details
Start Time
9:45 am
Room 217
Free — No Tickets or Seating Passes Required
This master class is part of the Cleveland International Classical Guitar Festival, presented by Guitars International. For the most up-to-date information, please visit guitarsint.com.
Master Class With
- Petra Polácková, guitar, guest artist
Ticket Information
Admission is free and open to the public.
Cleveland Institute of Music
11021 East Boulevard
Cleveland, OH 44106
Get Directions
The main entrance on East Boulevard is open during regular business hours and accessible to concert patrons and visitors. The Hazel Drive entrance is open one hour before each concert. CIM's parking lot will be inaccessible due to construction until July, 2020. For parking options, please visit cim.edu/parking. To inquire about accessibility accommodations, please reach out to Emily Stack by emailing firstname.lastname@example.com or calling 216.791.6770.


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Building a dream
Wayback Cafe a long time coming for mother-daughter duo
Vicki Bly surprised her daughter, Sydney Sue, with a question after Sydney's graduation from the University of Texas in 2013.
Bly had been eyeing 3 acres of land sandwiched between Bee Cave Road and the Barton Creek Preserve, an area thick with live oak trees and not much else. She thought what Westlake Hills needed was a gathering space for the community, and it seemed an ideal spot for a little cafe.
"I was looking for a different career and a change," says Bly. "This property came up for sale, and I asked Sydney if she wanted to go into business together."
Her daughter's response: "Heck yes."
So began a five-year journey for the two to develop the Wayback, which opened in December. The property doesn't just include that cafe but also eight neat little board-and-batten cottages for overnight guests, a drive-thru espresso hut offering cheery window service to morning commuters, a saltwater pool and cabana bar and plenty of space for outdoor events overlooking the lush Hill Country terrain.
A lot happened over those five years: "She got married, I got divorced," laughs Bly, and her first grandchild was born. The mother-and-daughter team learned a lot in the process.
"We became close," Bly says about the business venture with her daughter. "We work well together. We have the same vision, but we have different talents, so it's divide and conquer."
RELATED: Mother knows best? The mom-daughter duo behind popular Austin-based fashion line
And Sue developed a new appreciation for her mom.
"Growing up, I didn't realize the efforts that took for her to own a company and raise four kids at the same time."
Though the two didn't have formal training in architecture or design, Bly was formerly the owner of Austin's historic Bremond House Bed and Breakfast. They started by considering how they wanted their guests to feel.
"We didn't have a business plan, we just wanted to create a place where people could be happy," says Sue. "We drew every square inch of this property on graph paper."
She pulls out those original pencil-scratched sketches with lift-up flaps and clipped magazine photos, and she and her mom laugh as they look around the cafe, seeing the real-life actualization of their dream around them.
At one table, a husband and wife enjoy a quiet lunch, while at another, a group of female friends giggle at an inside joke. Honey-toned wood against crisp, white walls and a hearth give warmth and elegance to this minimalist space that welcomes travelers and locals alike with its simple, fresh and locally sourced menu.
"We wanted a camplike feeling. We tried to add colors that make you relax and get back to this intimate space that's more like sitting in your dining room than in a restaurant," says Sue.
After dining there one evening, a guest remarked that she felt like she was in a Nancy Meyers film ("The Holiday," "It's Complicated"). It was the perfect compliment.
"I almost cried," says Bly.
Elevated camp cuisine
The Wayback is now open for breakfast, lunch and dinner daily and offers a special brunch menu on weekends.
Complementing the stripped-down, rustic Southern chic vibe of the entire property, the menu currently offers a handful of entrees and appetizers created in collaboration with chef Austin Alvarez, plus cocktails and caffeinated concoctions from bartender Coleman Dewayne.
The menu will change seasonally, but the beef burger on freshly baked brioche with caramelized onions, Gruyere and house-made pickles ($15) will be a mainstay. Breakfast favorites include a biscuit sandwich with breakfast sausage, sharp cheddar and aioli ($8), or plantain pancakes ($8) for a touch of sweetness.
The wine list is populated solely with organic wines from estate vineyards, and Dewayne has had artistic license to delve into some new flavors for his coffee and cocktail program, including a turmeric and black pepper-infused Golden Milk Latte, or the just-this-side-of-sweet Ranch Hand cocktail, starring Cardamaro and vermouth.
The coffee hut offers a full slate of coffee and espresso drinks, plus Southern scratch biscuits and house-made jams to go (based on what's in season, you'll find jams such as ginger pear or fig and currant).
The Wayback is starting out with a small canvas, focusing on craft and quality, and looking to expand from there, with plans to plant an on-site garden and host outdoor dinners on the patio.
Memories from way back
Bly relished her role welcoming out-of-town guests to the Bremond House in the '90s. "People came from all over the world. This was before cellphones, and I got letters from guests, people saying how much they loved staying there," she says.
Sue remembers as a young girl witnessing the excitement of introducing guests to Austin — so small compared to what it is now.
"It was before the big high rises, and you could still hear the Austin Symphony and see the Fourth of July fireworks from there," she recalls.
They wanted to bring that excitement of finding a hidden Texas gem to their guests.
Each cozy cottage (priced at $275 and up per night) is thoughtfully decorated with delicate Southern touches like cowhide rugs, hand-tooled leather keychains ("No magnetized cards — we wanted traditional keys," says Sue) and locally produced toiletries. Some of the cottages include beds tucked into nooks and private backyard spaces. Classic white plush bedding plus the fresh Hill Country air is an ideal formula for restful sleep.
Her mother always tried to instill an appreciation for art and creativity in her four kids, Sue says, sometimes driving the family around the country or to Mexico to meet with favorite artists. She also remembers dreaming up a special headboard in middle school with hot pink velvet fabric and green buttons.
"My mom made it for me," she says.
Bly was always one to encourage the realization of dreams, whether the dreams were made of hot pink velvet or 3 acres of tree-covered land.
And this time, they created the dream together.
The Wayback Cafe and Cottages


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Organic Cold Pressed Argan Oil
100% pure, cold-pressed, organic Argan oil from a women-owned and operated collective in Morocco. Best known for keeping hair silky, shiny, and manageable, Argan oil is actually a multi-purpose wonder that is just as amazing for face and body. Rich in omega 6, 9, polyphenol, and vitamin E, Argan oil absorbs quickly, leaving skin soft and moisturized with a healthy glow. An oil highly concentrated in natural antioxidants and fatty acids, Argan can be used daily in hair to nourish, condition and prevent split ends, and allover face and body to improve skin's elasticity, balance sebum production, treat stretch marks and scars, and soothe sun and razor burns.
1-2 drops of Organic Zdravetz Essential Oil with Organic Rosehip to help lighten hyperpigmented spots, combat fine lines and wrinkles, and refresh the delicate skin around the eyes.
1-2 drops of Pure Organic Immortelle for more firm and vibrant skin of the face – immortelle can help repair free radical damage, stimulate collagen production and cellular regeneration, improve circulation, purify skin with its antiseptic qualities, and reduce redness.
1-2 drops of Farm Distilled Peppermint Oil to rub on temples during headaches and migraines or allover body as a cooling summer body oil.


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A Small-Town Country Lawyer
Who Truly Cares
Anthony J. Fontana Jr. has been recognized throughout Louisiana for his commitment to successful outcomes and his dedication toward earning the trust of his clients.
We Help You Stand Up To Insurance Companies
After suffering from a serious accident, it is important to take quick action to ensure you get proper compensation for your injuries. It is also crucial to speak to someone with vast legal knowledge before making any deals with insurance companies. For decades, the law firm of Anthony J. Fontana Jr. has provided legal assistance to victims of negligent drivers, property owners and doctors so they can recover.
Personal Injury
We help victims of vehicle accidents, slip-and-fall accidents and medical malpractice.
Family Law
A helping hand during divorce or adoption.
Sexual Abuse
Nationally recognized for assisting sexual abuse victims.
Criminal Law
Our representation can reduce potential misdemeanor or felony charges.
Wills & Successions
Get the protections you need for your estate plan.
We Are Here In Your Family's Time Of Need
Family law issues can be emotionally difficult for every relative involved. If you are dealing with a tough divorce, you need someone who can help you begin the next part of your life on the right foot. If you are a parent fighting for a custody agreement, you need someone who will help you argue why you deserve more time with your child. If you want to adopt your child, you need someone who can guide you through the process so you can become someone's legal guardian. No matter what you are facing, attorney Fontana can provide thorough representation so you can focus more on other important parts of your life.
Meet Our Team
Anthony J. Fontana Jr.
A Compassionate Abbeville Attorney Advocating For
Victims And Their Families Since 1974.
Since the early 1980s, Anthony J. Fontana Jr. has tirelessly fought for the rights of sexual abuse victims. He played a huge role in exposing priests from South Louisiana's Catholic Church and has received widespread media recognition for his efforts. If you or a loved one has suffered from a past traumatic experience relating to sexual abuse, contact us so we can utilize our resources to help you move forward.
Anthony J. Fontana Jr. and his team can help Louisiana residents with a wide variety of legal issues. Call us at 337-898-8332 to speak with our team so we can see what you need help with.


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700R4 Transmission / 390 Ford Engine Combo - Bow Tie, Meet Blue Oval
The Unlikely Union of a 390 FE and 700-R4!
It's no secret that adapting late-model three- and four-speed automatic transmissions to early engines is about as popular as converting mechanical fuel injection to electronic. Unfortunately, most of the swaps entail GM-to-GM parts (not all, of course, but the majority). While some early Ford owners can benefit from swapping their Ford-A-Matic, FMX, or whatever it is that does the gear-shifting, for a C4 or even C6 auto, they're still dealing with an "older" transmission--and oftentimes, it's a pain even mating those trannys!
As evidenced by Alan Johnson's '62 Ford Galaxie convertible (May '03 CRM), there are non-FoMoCo options. Thanks to Hughes Performance and Powermaster, you can slip a GM 700-R4 behind that FE! That's right, you can still have your "Ford in a Ford," it'll just be backed up by a Chevy! Of course the argument stands, the C4/C6 is a good, strong transmission, but so are a lot of other outdated trannys. The 700 is a tried and true four-speed automatic that, when properly set up (that is key to its performance), will give you all any old Ford could, and then some...try 30-percent overdrive for starters!
Now, if you're not a dyed-in-the-wool Blue Oval buff and have gotten this far, you might want to keep following along to see just how Johnson's Hot Rod Shop put that Chevy behind the Ford! For the driver who really likes to drive at freeway speeds without revving the engine to death, and who wants a transmission with readily over-the-counter parts available (plus a bevy of aftermarket goodies, as well), this is the ticket.


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Wizard101 Empyrea Part 2 Review
After a long wait, many of us have already completed Empyrea and the third storyline of Wizard101! As eager and enthusiastic fans, we always expect a world to amaze us, especially when it's the final world of an arc that lasted 3 years, and Empyrea has definitely set the bar so high in terms of quality, that it was hard not to be completely and utterly mesmerized from the first half!
As far as I can recall, there hasn't been any other world that's had such a great diversity in terms of areas and environments! And this is precisely why we only get a world update a year with KingsIsle: quality over quantity. When they commit to something, they deliver! And with Empyrea Part 2 specifically, they produced quite the masterpiece.
Strong points
This cannot be stressed enough, but the quality is undoubtedly Empyrea's strongest asset. You'll be amazed simply by exploring the different areas of the expansion, most of which are breathtakingly stunning, and the epic music that will carry you all the way through to the end. The sound team did an incredible job with this one, taking it up a notch from what was produced for the first part of Empyrea!
KingsIsle has brought back many iconic bosses and villains, and you can't help but feel nostalgic at times... From Morganthe to an unexpected rematch with Belloq and Jabberwock, Empyrea Part 2 is packed with pleasant surprises! Fighting Headmaster Ambrose was probably one of the most requested things from the Wizard101 community in the last decade, and we finally get to test our skills against such a fearsome and powerful Wizard. And with the return of Old Cob's children, the fate of the Spiral has never looked more uncertain!
Whether you like it or not, the new Whirlyburly minigame offers an alternative to questing and keeps you entertained after completing the storyline. It may take a few tries for you to get into it, but I was hooked from the very beginning. And the furniture and housing guests that you can buy after winning 10 matches are totally worth it! Yes, it certainly isn't for everyone, but it is another much-needed side activity.
The difficulty of Empyrea Part 2 is similar to what we experienced in the first half, and it's exactly what you'd expect for high level Wizards. While you can probably solo most of the areas and dungeons without much trouble (Henchmen are especially useful here), there are tougher bosses that will require the assistance of your Wizard friends.
While the new conditional spells are an exciting introduction to the game, and despite KingsIsle's efforts to polish them and make them actually useful in battle, they remain too costly in terms of Pips. I don't think we'll be seeing them much in PvP, considering the current fast-paced meta, and I hardly ever cast them throughout Empyrea. The excitement dissipated shortly after learning the spell...
The amount of tough fights early on can discourage you, if you're the kind of person that likes to do it solo. You'll find buying Henchmen is a viable option in tougher instances.
The Verdict
Empyrea is filled with countless unexpected turn of events, with hilarious dialogs here and there to relieve the tension, leading to an epic finale. This latest update is combined with KingsIsle's best storytelling to date, making it one of the best Wizard101 expansions yet.
Graphics: 8
Music: 7
Cinematics: 7
Story: 7
Content: 8


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U.S. Geological Survey
Circular 1196-P
Online Only
Version 1.0
Supersedes Open-File Report 03-282
By Larry D. Cunningham
This report describes the flow of beryllium in the United States in 2000 with emphasis on the extent to which beryllium was either recycled or reused. Beryllium was recycled mostly from new scrap that was generated during the manufacture of beryllium-related components. In 2000, about 35 metric tons of beryllium was either recycled or reused, about 14 percent of which was derived from old scrap. The beryllium recycling rate was calculated to be about 10 percent, and beryllium scrap recycling efficiency, about 7 percent.
Circular 1196-P [266-KB PDF file]
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Contact Information
For questions about the scientific content of this report, contact Kim B. Shedd.[an error occurred while processing this directive]