text:
How To Reach Your Goals In Search Engine Optimisation
Do you need more traffic in your site? In that case, SEO will be the answer for yourself. This method gets your website to the peak of your search engine results page. Please read on to glean what you must know.
You should put some thought in to the anchor text you use for internal website links. In case the text you utilize is generic, like "just click here," you are missing a great chance to optimize your web site a bit more. Good keywords in your anchors will bring you noticed through the spider crawlers.
To disguise something, build a robots. txt file and placing it into the root directory. A computerized internet search engine indexer will read this kind of file and forget about the files and directories listed there. This may cause the indexing go faster.
Search engines like yahoo increase your rankings based not simply on hits, but also on the amount of time for each hit. It really is proven that spending much more time concentrating on a website raises the pagerank. There are some strategies to boost the visitors time spent. Discussion mediums for example forums are the best way to interest visitors in spending time in your site.
When you put in place meta tags on all pages, it might assist you in getting most SEO. Description tags have great value and they can be utilized in SEO. The content that you use on the meta tag needs to be concise and valuable. A good meta description can boost your visit count even though your position in the various search engines hasn't moved in any way.
Two great backlinks you can get for the website are from a non-profit organization or perhaps educational website. In the event you link yourself to a source that features a good reputation, you may climb in the major search engines ranks. Provide high-quality information which will entice reliable websites to need to feature your web site. Will not fill your site with garbage. Be sure your site has value to others.
Article exchanges is a wiser decision to assist improve your rankings. A write-up exchange means a different website puts up one of your articles and credits you with a link. One does the same on their behalf in turn. This is better than link exchanges, simply because it involves getting fresh content.
To help you your site rank higher use keyword in your page's URL.
In case your URL has symbols or numbers inside it that men and women won't search for, you won't have that great of online search engine ranking results. By including keywords within your URL you should have a huge improvement in search engine rankings.
Find out about the different benefits of free social networking sites. There are numerous more social network sites besides Facebook and twitter. Some of the sites may also permit you to focus on a certain group. Join any that seem related to your niche, and use it as a approach to market your services or products and increase your ranking.
As possible now see, it is easy and free to optimize your site for search engines like google. Use whatever you learned here and view your blog grow. Apply the guidelines you learned here today if you wish to get ahead of the competition..


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One of Europe's prettiest capitals, Geneva is sprawled around the southern tip of the impossibly picturesque Lac Léman (Lake Geneva). The Alps and Jura Mountains guard the Geneva's rear, and the city boasts staggering views of famous Mont Blanc.
As one of the European headquarters of the United Nations, the World Health Organization and several multinational corporations, Geneva's identity is diverse and complex. The official language is French, but expats are just as likely to hear its multilingual population speaking English, Spanish or German.
Expats are lured to Geneva by the promise of high salaries – usually in the finance industry – but residents enjoy a good work-life balance and have ample opportunity to find respite from the working week to enjoy the great lifestyle that the city offers.
Public parks cover a quarter of the city and dozens of museums stand as monuments to the past, with striking views of the Alps painting the horizon. The weekends are for hiking (in summer) or skiing (during winter), or just exploring the city's epic restaurant scene.
However, competition for its limited housing supply is high and finding somewhere to live can be challenging. People looking for larger family homes often opt to live across the border in neighbouring France. The standard of accommodation in Geneva is nonetheless excellent and in line with European standards, although space can be limited.
Getting around in Geneva is easy and there is little need to purchase a car. Public transport networks in the city are extensive and consist of buses, trams and boats. The city is also well-equipped for cycling, which is a fast and affordable way to get around.
Expats can rest assured that they will have access to excellent healthcare. Medical staff are well trained and generally speak English as well as French. However, it is important to remember that it is compulsory to have health insurance in Switzerland.
Geneva has a well-established network of international schools, but competition for places is fierce because of the large expat community, and parents need to act fast to secure a spot for their children.
Another advantage is the city's location. Other European countries are in easy reach, making it a fantastic destination from which to explore the continent.
While expats may take some time to adapt, the benefits of living in Geneva are difficult to ignore.

subset: commoncrawl


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For all its flaws, an example to others
The example Kenya can set for South Africa and the rest of the continent
IN AFRICA, a hard-fought but fair election in a pivotal country is an example-setting event. No, this is not South Africa, where the election of Jacob Zuma as president of the ruling African National Congress on December 18th dealt a shattering blow to his rival, Thabo Mbeki. Although this puts Mr Zuma in a strong position to lead South Africa when Mr Mbeki's second term as president ends in April 2009, his succession is far from certain (see article). In Kenya on December 27th, however, power may very well change hands after the tightest electoral contest in the country's history.
Kenya may not be as sexy as South Africa, but as a haven of stability and prosperity in eastern Africa the quality of its democracy matters. Its northern and western neighbours—Sudan, Ethiopia, Uganda and Somalia—suffer in various degrees from war, tribal conflict, government repression, separatism and all that follows. From the countries of the war-ravaged Great Lakes region, such as Congo and Rwanda, Nairobi appears an oasis of calm. But this success is relative. Kenya itself has long been beset by bad governance, corruption and tribalism. Despite receiving billions of dollars of aid, most of its 35m people remain poor. True, few countries have had to contend with the ethnic complexity of Kenya, which has more than 40 recognised tribes. Nor does erratic weather help a largely rural economy. But the main culprit is a system of politics in which a ruling class has hogged most of the cake for itself.
That is why the unusual sharpness of this election campaign is so encouraging (see article). Mwai Kibaki, the 76-year-old president seeking a second term, has presided over economic growth of about 6% this year. Having tolerated greater political and press freedom than his kleptocratic predecessor, Daniel arap Moi, he promises to extend free schooling and fix a decrepit infrastructure. But he has failed to attack corruption in high places with any vigour; indeed, he has let some of the worst crooks stay in government.
His leading opponent, Raila Odinga, who is 14 years younger, is a more energetic figure who now disavows his past socialism and East German education while still appealing to the poor and to some of the marginal tribes, particularly his own Luo in the west and the country's Muslims in the east. Mr Kibaki, by contrast, has long been at the heart of the Kenyan business establishment which his own Kikuyu tribe, the country's largest and richest, dominates. Although polls give Mr Odinga the edge, the president's media machine may help him catch up by the vote on December 27th. Both candidates have flaws: Mr Kibaki's departure is overdue, but the more energetic Mr Odinga's campaign carries a divisive flavour.
In place of strife
Whoever wins, what matters next is that the result should be accepted by the loser and Kenyans should be seen to endorse the principle of peaceful competition. Most of Africa has left behind the era of the one-party state, but its people have yet to be fully persuaded that multi-party politics need not be chaotic. South Africa's ruling party seems unhappy to have submitted itself to an internal contest that has humiliated President Mbeki, who himself seems loth to badger neighbouring Zimbabwe's dictatorial Robert Mugabe into holding fair elections. But if a country as complex and poor as Kenya can hold genuine elections without civil strife, then any country in Africa can. This is its chance to set an example.
This article appeared in the Leaders section of the print edition under the headline "For all its flaws, an example to others"
From the December 22nd 2007 edition
Discover stories from this section and more in the list of contentsExplore the edition
More from Leaders
To win Brazil's presidency, Lula should move to the centre
Another term for the populist Jair Bolsonaro would be bad for Brazil and the world
The world should not ignore the horrors of eastern Congo
Donors should press the government to lift martial law
Europeans should welcome Russian draft-dodgers
No one should be forced to kill or die for Vladimir Putin's vanity


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Product Name: Sugar Balance Herbal Supplement
Author Name: David Pearson
Company Name: Get Sugar Balance
Bonuses: Yes
Official Website: CLICK HERE
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Flying R Ranchwear - Solid Oxford - Safari Green - Snaps
Product DescriptionOxford is one of those shirt fabrics that appears to have been made for western shirts. Tough, good looking, and perfect with snaps. It stays looking crisp, even after a long day of work, or play, and is a perfect weight oxford in soft, 60% Cotton/40% Polyester blend. Safari Green, Made in USA.
Product Details
- Variant: 15.5x34
- In Stock: 2


text: THE TANDY COMPUTER WHIZ KIDS (THE COMPUTERS THAT SAID NO TO DRUGS Edition) was produced for the Radio Shack Division of Tandy Corporation by Archie Comic Publications, Inc. 325 Fayette Avenue, Mamaroneck, N.Y. 10543. Script synopsis written by William M. Palmer, Director In-House Publications, Radio Shack. Published by the Radio Shack Division of Tandy Corporation, William M. Palmer, Director, In-House Publications, 300 One Tandy Center, Fort Worth, Texas 76102. Copyright © 1985 Tandy Corporation. All rights reserved. Nothing may be reprinted in whole or part without written permission from Tandy Corporation. The Tandy Computer Whiz Kids and their names, Alec and Shanna, TRS-80, Tandy Model 200, Tandy Pocket Pager, Scripsit, Color Computer 2, Tandy 1000, and Acoustic Coupler are trademarks of Tandy Corp/Radio Shack Division. CompuServ is a trademark of CompuServ, Inc. The stories, characters and incidents mentioned in the adventure portion of this magazine are entirely fictional, and no actual persons, living or dead, are intended or should be inferred. As to the historical/technological information contained in this magazine, neither Radio Shack nor Tandy Corporation, nor any of their employees makes any warranty express or implied, for the accuracy, completeness, or usefulness of such information contained in this magazine, which is distributed free in limited quantities to students, teachers, schools, and other persons interested in science topics. Printed in the United States of America. First printing March 1985. Second printing July 1985. CAT. NO. 68-2030


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Card sent by Frederick to his sister Jessie. On back is written
'Jessie, with love from Fred.
Now see I have rejoined the army I have just had seven weeks in hospital'
Frederick Fulton Henderson (1865-1937)
Son of Fulton Henderson (1833-1906) and Emma Dady (1846-1908)
Born in Seetabuldee, West Bengal, near Nagpore on 31 December 1865
Baptised at Seetabuldee on 14 February 1868
Joined the Army Royal Scots Fusiliers in 1883
Moved to England where he transferred to the Royal Artillery and became Sergeant Major.
Married (i) Martha Mortimer in 1892
Married (ii) an Irish girl Mary McCarthy (d.1902) in 1893
Mary died in 1902
He left the Army in 1903
Married (iii) Ellen Lavinia New (b.c.1864) age 39 in Portsea Island in 1903.
Became a postman in Sandown Hampshire.
He re-joined the Army in 1914 to 1918 and was in the Royal Garrison Artillery in Hampshire.
Died on the Isle of Wight, Hampshire, 1937.
Frederick and Mary had 3 children
Jesse Emma Patricia Henderson (1805-1968). Born In Portsea Island, Hampshire 2 March 1895. Engaged to a McNabb ( died WW1) but never married. Noel Kelly met her in Islington London 1958 and said she looked like a Henderson. Died in Islington, London in 1978.
Maud Mary Henderson (b.1895) Born on Portsea Island, Hampshire in 1895
May Isabel Henderson (1899 – c.1965). Born in Valetta Malta 1899. Married Peter McLean after WW1 in 1919. Peter McLean was in the Argyle and Sutherland Regiment in WW1 but was a builder and lived in Gartmore, Scotland. They had one son Thomas Stewart Fulton McLean (1920-2006). In WW11 Stewart was a technician and worked in Warwickshire for the Air Force and after the war for the Foreign Office. In 1958 he met an old girl friend Margie in Gartmore whom he married in 1959 and they moved to Brora, Scotland. Stewart worked in a Foreign Office Radio station that listened into the Warsaw Pact Radio Information. Stewart died in Brora in February 2006.
Frederick and Ellen had 2 children
Walter Leslie Fulton Henderson (1904-1968). Born in Sandown, Hampshire in June 1904. Was on the stage, possibly a singer, his stage name was Aubrey Gordon. Married Winifred Holland in 1927 Died in Christchurch, Hampshire in 1968. They had a son Raymond Frank Fulton Henderson (1929-1997). Born in September 1929. Raymond F.F. Henderson married Peggy Sanderson in Norwich in 1953
Walter Leslie Fulton Henderson (1904-1968).
His stage name was Aubrey Gordon.
Eileen Blanche Henderson (1906-1991). Born in Sandown, Hampshire in 1906. Married Arnold Murray. Eileen died in Hampshire in 1991


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Q Do the supplementary tax sale provisions in Sections 27-41-65 and 27-41-67 allow the tax collector to conduct a second or supplementary tax sale of certain properties which did not sell at the first tax sale and which were struck off to the state?
A No. Once property is struck off to the state at a county tax sale, that property cannot be subject to a subsequent sale, as title has already vested in the state. Furthermore, the tax collector is mandated to strike the land off to the state when it fails to bring a bid. Thus, the tax collector is not authorized to conduct a second sale to attempt to sell property which has already been struck off to the state. (Attorney Generals Opinion to Pace dated February 12, 2010)


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Is Sarah Geronimo pregnant? BF Matteo answers
Matteo Guidicelli has denied rumors that said his girlfriend Sarah Geronimo is pregnant.
In an interview with PEP, he said that they are both focused on their individual careers. All well and thankful, he explicitly killed the rumor.
He said: "May [balitang] engaged siya, may buntis siya. Di naman, wala naman."
(There are rumors that she's pregnant, but that's not true.)
But what does Sarah want?
Tempo reported that Sarah expressed her wish to get married in her early 30s, preferably at 32. Sarah is currently 27.
Matteo recently celebrated his birthday, which took place on this year's Black Saturday, with Sarah Geronimo and his family. It was a simple celebration, he said.
When asked about Sarah's birthday gift to him, he replied:
"Gift? Basta sakto na yun that she's there."
(Gift? Her presence is enough for me.)
Only time could tell if Sarah finds her finger with a ring on it. But for now, they're happy.
Sarah Geronimo ends network transfer rumors
Sarah Geronimo leaves coaching in the Voice PH
Source: KAMI.com.gh


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Salt Lake City
Salt Lake City Mormon-Owned NBC Station Won't Air New Show With Gay Parents
Ignorance is bliss and this is why Salt Lake City NBC affiliate won't air new gay-themed sitcom "The New Normal." According to the Salt Lake
FOX Video: TWO and SPLC Fight the 'Ex-Gay' Myth in Salt Lake City
Watch FOX Video HERE Here is the report from Salt Lake City's FOX 13 from our seminar last night combating the "ex-gay" myth: SALT LAKE
It's The Big Mormon Moment — And I'm in Utah
I am in Utah to speak at two events with the Southern Poverty Law Center tonight and tomorrow about the harm caused by "ex-gay" therapy.
Thousands Protest in Salt Lake City
[Djamila Grossman, The Salt Lake Tribune] On the heels of extremely bigoted, anti-gay remarks the other day from Boyd Packer, one of the highest ranking
'Crazy Christine' Is MIA in Delaware
Delaware Tea Party GOP nominee for Senate and former anti-gay activist, Christine O'Donnell, is running a lazy, ego-driven campaign that eschews living, breathing voters. Instead
Salt Lake Tribune: Psychologist Says Research Distorted by NARTH
Group espousing treatment of gays cites her work By Brian Maffly The Salt Lake Tribune Salt Lake Tribune A national group that advocates "treatment" of
"Ex-Gay' Mormon Group, Evergreen, Lists Convicted Sexual Predator Therapist As Resource
Evergreen Also Whitewashes Suicide of Stuart Matis, Says TWO NEW YORK — Truth Wins Out (TWO) slammed "ex-gay" Mormon group Evergreen International today for gross


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Rename an item
POST /apis/v2/{SERVICE_ID}/item/rename
Change the name of a specific service's item.
This resource cannot be used to change the item's application key: the application key is not changed, even if the user who renames the item has selected a different application publisher profile.
The user needs to have the permissions:
SERVICE_ID=read && SERVICE_ID=edit
To rename an item, the user needs to have the associated Application Publisher Profile.
The user needs to have the permissions to read the original item AND the item with the new name.
The body parameter is a JSON object containing the old and the new identifiers.
The new name must validate the rules of the service's item's name.
{ "oldId": { "appKey": "", "name": "Well-Network-Plant-Approver" }, "newId": { "appKey": "", "name": "Well-Network-Plant-Approver (Renamed)" } }
|HTTP code
|Invalid parameter count or content
|Not found
|Unexpected exception
When the query is successful, the HTTP response is a 200 OK and returns the facade of the renamed item.
{ "appKey": "block", "name": "Well-Network-Plant-Approver (Renamed)", "description": "Table Well-Network-Plant-Approver", "calculatedContentMode": "EDITABLE", "appInfo": "", "lastModifiedBy": "email@example.com", "lastModifiedDate": 1520873165788, "revisionId": "c42bcfe17f53fe6bbcc2ad0982c731ad" }
If the request parameter is null, the HTTP response is a 400 Invalid parameter:
{ "status": 400, "code": 400, "message": "Unexpected error renaming the item in the configuration!", "link": null, "developerMessage": "Invalid parameter count or content: the ids cannot be null.", "conflictInformation": null }
If the user does not have the right permissions, the HTTP Response will be a 403 Unauthorized:
{ "status": 403, "code": 403, "message": "Unexpected error renaming the item in the configuration! Access to the item 'block.Well-Network-Plant-Approver' is not authorized. You need to have the permission 'read'.", "link": null, "developerMessage": "Unauthorized: access to the item 'block.Well-Network-Plant-Approver' is not authorized, permission 'read' is missing.", "conflictInformation": null }
If the original item is not found, it will return a 404 Not found:
{ "status": 404, "code": 404, "message": "Unexpected error updating the item in the configuration! Item 'block.Well-Network-Plant-Approver' is not found.", "link": null, "developerMessage": "Not found: the item 'block.Well-Network-Plant-Approver' is not found.", "conflictInformation": null }


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If we lived in an ideal world, we would call a plumber or an HVAC professional. Unfortunately, a few bad apples ruin the plumbing pie, so to speak. It should be clear to all of us by now that nothing is perfect in this world, which also applies to companies selling plumbing materials. To your misfortune, you might encounter plumbing scam artists who'll provide substandard work and leave you more frustrated than ever. They'll even charge you a preposterous amount for something they did not do, or even try to make you believe that you need other unnecessary repairs. You can avoid being lured into this trap by having the know-how in distinguishing the plumbing scam artists from the authentic plumbers and suppliers.
A plumber that tells you that he needs to phone "their guy" is the most notable warning that you are dealing with a plumbing scam artists. Isn't it obvious that if a company or a professional is legit, they'll be sending you "their guy" right away since they are already aware of your water heater or plumbing problems? You'll likely hear this line from a potential scammer: "I just talked to our guy, and he mentioned about replacing your water heater." First off, their guy is not there with you at the moment. Therefore, he has not seen the kind of problems you are having with his own eyes to be able to make that assumption. He is likely making up a ruse of introducing a fictitious middleman to lure you into buying that unnecessary piece of equipment or extra services.
Another modus of plumbing scam artists is by telling you of frightening scenarios. It will lead you to buy a brand new equipment or upgrade your existing ones that are still in perfect condition and does not need any replacement yet. For example, upon finding out that you have a leaking water heater, scammers will likely inform you to buy a replacement unit. Or else, you have to dare to live in a ticking pressurized time bomb that can wreck your entire home in seconds. That is a worst-case scenario among extremely defective water heaters but not to all, especially when all your unit needs is to tighten its top nut.
Another tell-tale sign that you are dealing with plumbing scam artists is when they give you a hasty analysis of the issue. A lot of times, a plumbing technician doubles as a salesman who will instantly strike a sale during any occasion that the opportunity rises. They'll sell you a brand new unit or an upgrade of your present one without batting an eyelash. A good inspector will scour all crooks and crannies of your house to look for the cause of the problem. Regardless of a problem as obvious as a cracked toilet bowl, it will take a conscientious inspector a good five minutes to put together his diagnosis. He knows that you might have secondary problems as a result of your initial concern. Likewise, it is also crucial that the plumber inspector to show you the cause of the issue to have the assurance that they are not trying to upsell anything irrelevant to your need.
If you come upon a plumbing inspector or repairman who will only offer you one solution (it is very pricey most of the time), you can start to question their credibility then and there. A good technician will provide you with a handful of alternative solutions after telling you what the problem is. It goes something like this: "we can fix this problem now by soldering the pipes as a whole, but you still likely have to replace it one to three years down the road." Whereas a repairman telling you that you only choice is to replace all your pipes altogether is most likely feeding you some lies just to make more money. Money motivates scammers to fool innocent and stressed-out homeowners. If you are dealing with somebody who persists in luring you to spend more money than necessary and not offer alternatives, it must alarmed you of a mastermind plumbing scam artists in action.
The finest way to unravel a plumbing scam artists is when you get second opinions over your plumbing issues. Over time, you'll likely face the reality of having to replace your pipes altogether or require pricey repairs, but it is better safe than sorry. Having at least one or two secondary opinions are enough to let you know the real score on your equipment unless several people or companies are all scammers and are out to fool people. At the same time, if you chose to seek for second opinions but get a different diagnosis, it signals as well that one of them are scamming you or just plain lousy at what they do. Of course, you will never agree with a doctor who advises you to amputate your arms to cure your sore throat in as fast as five minutes. It applies to your plumbing issues as well. Do not accept the first thing they tell you unless given sufficient proof even if they claim to be the best in the field.
If the contractor you're dealing with immediately shows you his license, your doubts are appeased right away along with your doubts about being scammed. Many short-lived companies are only out to earn quick money and will most likely not waste their time and money to earn a license. Whereas certified contractors are honest professionals and whose careers depend on the good word given by their previous customers to the work they have done. A bad review can make or break their careers. Nowadays, you can do background checks online and even get referrals from close friends and colleagues. You'll have the guarantee of hiring credible and reliable contractors from the very beginning.
But then, there are those instances that will make you realize that the contractor or company you hired are not scammers, but just plain lousy at what they do. Thus, better contact companies with a good reputation that is backed up by their presence that is always available online. Shady contractors are not real plumbers. They are simply pushy salesmen who have no conscience as they rip you off of your hard-earned money. A good plumber will do a good job because it is their primary goal and will not make a fool out of you.


text:
Erik Belgum
from Read Me Issue 4
Kenneth Goldsmith
Erik Belgum: Talk a little about your choice of the [r] sound as the phonemic structuring element on "No. 111." A friend of mine recently came back to the midwest after living in South Africa for several years and he said we all sounded like pirates. He was really keying in on our intense midwestern [r] sounds. I've been particularly interested in [r] since reading Gerard Gennette's book Mimologiques which places the [r] sound at a pivotal point between animal communication and human speech. The grrr of a dog, or wrrrr of a monkey for example. So, in No. 111 why [r]?
Kenneth Goldsmith: The sounds related around [r] is known in linguistics as the schwa [ah, ar, etc.]. I was inspired by the explanation given to me regarding the sacred significance of the Sanskrit word aum. It seems that when one speaks this word, all parts of the mouth are engaged: "au" forms on the outer lips; "uh", spoken second, resides in the middle of the mouth and nasal area; and "um" finishes deep in the throat. No. 111 is a book that was written to encompass the whole of speech and aural experience thus mirroring the Sanskrit ideal.
EB: Is there any particularly rich vein in the language arts that you feel has not been explored? For example, in my opinion, the possibilities of simultaneous speech have barely begun to be tapped, as it is too often treated as a kind of "sound effect" and comes off as basically synonymous with the instruction "insert chaotic sound here."
KG: I feel that the abundance of common, everyday speech which surrounds us has not been explored. We are drowning in a sea of language yet we feel we must jump through hoops to make it "poetic" or "meaningful." Even our most advanced poetries still find a need to make language "poetic." I am curious that there was never a literary equivalent to Pop Art (although I am reminded of Tuli Kupferberg's overtly expressive recitations of advertisements from the mid 60s). Andy Warhol's A is very good and I'm shocked that nobody took that direction into a fruitful practice. Along those same lines, the literary world has had few writers whom employ a Jeff Koons vacuum cleaner-like approach to literature or a Sherrie Levine appropriative use of words on a consistent basis.
I've lately been working on a piece which is nothing but media language the language that flows out of the television specifically advertising. It's language we tend to dismiss and as such, I've labeled it entartete wörter, that is degenerated words, what we consider to be language completely depleted of value; nutritionless language. Most people don't want to watch ads and there have been studies made that say we have no more than a 15 second recall on what we've just watched on television. I'm curious as to what effect will occur when we gather an abundance of entartete wörter in one place.
Likewise, we are not paying attention to speech, the second most abundant human product after thought. A few years ago, I did a piece called Soliloquy which was a book of every word I spoke from the moment I woke up on a Monday morning until the moment I went to bed the next Sunday night. It was 400 pages long. The moniker for the book was "If every word spoken in New York City daily were somehow to materialize as a snowflake, each day there would be a blizzard." I wanted to see how much one week of my speech "weighed." I'm interested in concretizing the ephemeral; and there's nothing both more concrete, yet ephemeral, than language.
EB: That's a beautiful analogy. As a follow up, I've often felt that writers often jump through hoops to make their language or work innovative or experimental when the innovation is all around them. Someone recently asked me what avant-garde meant to me and I said that in one sense it seemed like a kind of political trick that I had gotten caught up in for years. I think this was largely because of the above. In what sense is being new or innovative important to you?
KG: An artist responding to their time cannot help but be new or innovative simply because parameters and paradigms shift constantly. This is especially pressing for artists using language which is radically shifting as of late. Only a few years ago, our culture was said to be moving toward the strictly visual (remember the Whitney's "Image World" show of the late 80s); the rise of the Internet has proved that wrong. In fact, due to the web we're responding to language in ways unimagined just a few years ago. Language is being influenced by the technology; compound word URLs are completely Joycean. Suddenly we can read Finnegans Wake and understand it in a different way. Rap music, which began compounding ordinary words to form mass-culture neologisms, is another example. Joyce certainly knew that one day we'd catch up to him yet he never could have anticipated that it would be the internet or rap music that would be responsible for it. I can imagine future generations understanding the Wake in ways my generation (or his) could never have imagined.
EB: Do you write by hand very often?
KG: No. I never write by hand. As a result, my penmanship has completely become illegible. It's bound to happen when people spend all their time typing. In fact, I think that cursive as we know it will be replaced by the script used on Palm Pilots, a sort of shorthand. Before I became devoted to the computer, I used to make drawings which I now no longer do. In fact, I find the computer to be physically engaging enough. I was trained as a sculptor so I have a need to make language physical, concrete. I find that sculpting language on the computer is satisfying enough.
EB: In your mind, does the method of writing you used in No. 111 and Soliloquy, in the sense that you kind of open up a certain linguistic channel and then proceed to let the writing flow through that channel, place you in any way in the tradition of mystics like John Dee or even something like the Koran or the Book of Mormon? Or possibly even some American Indian traditions of storytelling? Given your method of writing these books, a follow up question then presents itself which is the question of authorship. Personally, I think this is a relatively boring question, i.e. "is it really your work if other people said the words?," but I think some of our readers with inquiring minds might want to know.
KG: Almost a century ago Duchamp settled these questions with his Fountain. After that, authorship simply became a matter of framing. I'm shocked how long it's taken our culture so long to legitimize framing or "brushing" content as a valid artistic practice. In the late 70s and we began to see artists like Sherrie Levine "appropriating" images and now, of course, we have a culture built entirely on sampling and recycled material. What was once branded "plagiarism" has long ceased to be an issue.
I don't feel comfortable with the word "mystical" associated in any way with my work. What I do, anyone can do. For example, anyone could rewrite No. 111 using the rules I set up and it would turn out completely different. Same with Soliloquy: anyone can tape and transcribe every word they said for a week and the book would be entirely different. There's just too much shared common language out in the world to ever assume that we are solely possessive of it. Every thought I've ever had I've probably read or heard elsewhere, while wading through this thick band of language which surrounds us daily.
EB: You mention that you were trained as a sculptor. I'm curious, were there specific artists or, better yet, specific works that either forced, or eased, your transition into the world of sound poetry and concrete poetry from the world of sculpture.
KG: It was a long process moving into poetry from fine art which happened over the course of 15 years. As a sculptor, my first mature body of work was very beautifully crafted plywood books, each with texts carved into them. As time went on, I became much more interested in the texts than in the craft of making the books. By the end, I was so invigorated by writing the texts that I began to feel resentful toward the enormous amount of time needed to craft each object. So I stopped making the books and began to instead focus on writing texts. I've ended up a writer, although I came to it in a most unexpected way.
EB: Did any specific artists or works ease the transition?
KG: Like generations before me, I read John Cage's Silence and found that it granted certain permissions I was seeking in my own practice. That was in the late 1980s and although Silence was published in the early 60s, it's amazing how potent that book still is. Cage's message goes in and out of fashion depending on the cultural climate but it seems that some portion of every generation ends up rediscovering it for themselves as I did. Recently, many of the experimental digital musicians are working out Cagean ideas and we're seeing rock groups like Sonic Youth embrace the same tradition.
EB: I suppose there is an obvious connection between your highly systematized method of writing and the work of the OULIPO group. However, I see a very significant philosophical difference. I think it comes from Cage's influence that you just mentioned and it all centers around the word "Potential." Briefly, it's this. The OULIPIENS, even though they have produced many "finished products" are, at least philosophically, expressly interested in the formula or the system over the finished product. That's why they call it "Potential Literature." Although many people don't see it this way, Cage was the exact opposite. For him, the detailed working out and realization of a system or formula was a critical step and this seems to be a critical step in your work also. For example, instead of actually recording and documenting all your speech for a day, you could have realized Soliloquy as a Dick Higgins' type of instruction that said "Record and transcribe all your speech for 24 hours." To me that would have been a OULIPIEN versus a Cagean approach to the same project. There's a question in here somewhere, but I'll leave it to you to find.
KG: One of the greatest problems I have with OULIPO is the lack of interesting production that resulted from it. While I like the idea of "potential literature," it strikes me that their output should have remained conceptual a mapping, so to speak; judging by the works that have been realized, they might be better left as ideas. On the whole, they embraced a blandly conservative narrative fiction which seems to bury the very interesting procedures that went into creating the works.
I'm interested in writing that is born of process and where the process is brought to the forefront of the practice. However, what is more interesting than process is the resultant writing. This sort of writing achieves a balance between Cagean chance operative writing and Oulipian ideals. It allows for a certain amount of control and a certain amount of surprise.
There's a type of sports practice that calls itself Extreme: Extreme Skiing, Extreme Skateboarding, things like this. I'm interested in Extreme Writing; and I'm convinced that the procedures that set it up inform the intensity of the writing. Without going through the rigorous exercise of documenting every move my body made over the course of one day, I never would have achieved the quality of writing that made Fidget the book that it is. And of course Soliloquy achieved the same intensity through its very rigorous process of production.
EB: Anyone who has transcribed speech from tape recordings knows that there's a fairly large amorphous area of, let's call it "material," that gets left on the cutting room floor. Stuff that maybe isn't "language," but is certainly part of communication. Certainly things like coughs, throat clearing, hmms, umms, lips sticking together briefly, unusual breathing patterns are left out, but even phonemic stutters or repetitions of whole words often don't make it onto the transcribed page. What's your position on this "material" in relation to your work which sits, as it does, between spoken and written language?
KG: Soliloquy changed my entire relationship to the spoken word. After Soliloquy, I could never hear language the same way I did before. It became completely opaque and concrete, like lead. Sometimes now when someone is talking to me, I don't hear what they say but how they're saying it. The rhythms of speech come to the forefront the "um" and the "ahs." After Soliloquy, I am never able to watch movies in the same way; after learning the divergent and stumbling nature of speech, I am never able to drop my suspension of disbelief the actors speak too streamlined and neatly!
When it comes to transcribing the pieces, certain decisions need to be made. In Soliloquy, all the sounds I considered to be language-based went in it (the um's and ah's). The bodily sounds which you mention coughs, lips sticking together briefly, etc. all were moved into Fidget.
Next comes the task of writing and the formal decisions based around it. People often wonder why I punctuated, capitalized etc. the Soliloquy transcriptions instead of leaving it a flow of language á la Molly Bloom. I'm interested in the work reading as a written document, not simply as an historical documentation of spoken language during a certain period of time (although that is what created the work in the first place).
My work finds its final form as language although it assumes a variety of forms along the way: clothing, CDs, gallery installations, etc. are just a few of the many manifestations that my words have taken. While the parameters may be slightly shifted to produce an entirely different sort of products / projects, my work ultimately resorts to a writerly manifestation.
EB: I'd like to hear you talk about your show from 1998 which, I believe, was basically a show of concrete poetry stills taken from a web project. I'm particularly curious how collectors, buyers or investors, etc. reacted to purchasing website stills from the show.
KG: The show to which you're referring was a manifestation of the Fidget project which took many forms: a performance, a website, a musical score, a gallery exhibition and a book. For this show I made "drawings" based on an applet. I snapped screen shots of the Fidget Java applet and then entirely reconstructed the screen shots out of monochromatic hand-cut paper. They were very beautiful and very well crafted, yet they still failed to sell. The critical response, however, was different: The New York Times positively reviewed the show without once mentioning the derivation of the images; instead, they focused on the craftsmanship and the content of the work. In the art world, the cult of the artist's hand still reigns supreme. At this late date, artworks of mechanical reproduction still generally fail to sell.
On the other hand, the web has given the hand-crafted arts a new life. Until a computer can reproduce the physically visceral qualities of a painting, painting remains a valid practice. In fact, with everyone creating graphics from the same tools such as PhotoShop and Illustrator, coupled with the limited aesthetic range of a 72 DPI screen, those things made by hand seem more important and valuable than ever.
EB: A similar economic question is this: are you ever approached by business types who maybe wanted to advertise on, or buy, UbuWeb?
KG: Not really. Poetry is such a non-profit economy that it functions outside the general traffic of capital. However, I do have people constantly trying to buy the domain name from me, often offering very high prices for it. Of course, I never sold.
EB: It strikes me as interesting that many of the folks involved in sound poetry as practitioners are also often quite involved in the practical, curatorial, editorial, distribution end of their art form. Your UbuWeb website dedicated to concrete, visual and sound poetry (ubu.com) is a perfect example. Some other examples just off the top of my head are Gaburo's Lingua Press, my own VOYS CD journal, any of the numerous Kostelanetz anthologies, Larry Wendt's curatorial work. There are lots of others. What do you make of this? Am I imagining that this phenomenon is more prevalent in soundtext work? What drove you to set up the UBU site?
KG: As I said before, poetry generally is so off the beaten track in this culture that if the producers of it don't set up the distribution channels, no one will. And since it lacks the capital and market of painting, it's of no use to museums who might actually be able to fund adventurous poetries which move along similar intellectual tracks as the art they're showing.
I set up UbuWeb in 1996. In the late 80s Ruth and Marvin Sackner purchased some work of mine and flew me down to install their piece and see their collection. I was blown away by their 10,000+ pieces and became very interested in this somewhat obscure art form (unlike Fluxus, concrete poetry has yet to realize any sort of intellectual / economic revival). When I first saw Netscape in January of 1995, I was taken by the way the graphics loaded and were laid out (the interlaced .gifs reminded me of Jean Bory's sequential concrete poems of the 1960s) and it occurred to me then that this was an ideal space to show text and image. I turned out to be correct: the first 5 years of the graphical web's existence has shown to be a perfect melding of text and image and sometimes the entire thing strikes me as one giant work of concrete poetry.
EB: Last fall, my niece, who was in 8th grade at the time, said she was going to do a paper on sound poetry because of what she'd seen there. She found it all on her own, just kind of by browsing around the web. She knew nothing about the subject (nor did her English teacher), but got really caught up in it through your site.
KG: I love stories like that. And they happen all the time. UbuWeb is on countless curriculums all over the world, ranging from grade schools to Ph.D. programs. One of the things that thrills me the most about the web's distributive paradigm is the potential for education and access. Today anyone anywhere can get offbeat and specialized knowledge from their home. Before the web, people were always able to acquire arcane knowledge, but it took a great deal more effort.
EB: Does the creation of sound poetry or concrete poetry, in a way, automatically presume the question of distribution by the very non-book nature of these literary mediums? This goes back to my first question about the tendency of sound poets to get involved in distribution.
KG: I disagree that these literary forms have a non-book nature. Concrete poetry has always been delivered on the page and sound poetry has always been distributed on disc. What I'm saying is that the new methods of distribution are equally suited to unleash these forms from their old methods of distribution, with the result that they are readily available for more people around the world with at a touch of a finger. A book is no longer limited to the 1000 copies that were printed; an obscure sound poetry recording will now never go out of print. The web, at this point, delivers texts, pictures and sound very well, even with slow dial-up connections (it fails with moving images but this will be improving relatively soon). Thus, sound / concrete poetry needn't readjust its historic agenda to become suited for the web. New works will respond to the new medium and the old ones can quite happily live on in their older forms. UbuWeb shows this sort of mix. While our Historical section is comprised of static images that were either scanned or reformatted for the web, our Contemporary section is a mix of static and dynamic web-specific works made of Java, VRML, dHTML, Javascript, RealMedia, Flash, Shockwave, etc. These works are the one that move beyond the book they cannot be reconstituted for the page without losing some essential quality.
Distribution in the material world is changing too as the 20th century avant-garde is fetishized. One of the unexpected upsides of super capitalism is that there is an abundance of previously unavailable or out of print material from the historical avant garde. For example, an Italian record label, Alga Marghen, has been recently repackaging sound poetry discs gorgeously making them as sexy as any other commercial product. When I took Christian Bök into Other Music in New York City, he bought Alga Marghen's Gil Wolmans LP even though he doesn't own a turntable!
EB: This abundance of material is also leading to what I like best about the whole "electronica" culture. Young kids who've often never heard experimental music listening to LaMonte Young or Stockhausen or Xenakis right alongside of Roni Size or Sonic Youth. I worked with this 17 year old guy and we got talking about music and so we swapped some CD's. The next day he said, "That was great. I love electronic music." The funny thing to me was that I had loaned him "Hymnen," yet he had no problem ingesting it right alongside "Meat Beat Manifesto - Subliminal Sandwich," which he had loaned to me. Now, there's also an incredibly stupid downside to a lot of electronica (although there are incredibly stupid moments in "Hymnen" also). What do you think of the electronica world?
KG: I'm only interested in it in so much as it brings kids into art. Your teenage pal's Stockhausen / electronica connection was probably greased by Thurston Moore's own label, Ecstatic Peace!, releasing a 1971 performance of Stockhausen's Kontakte featuring James Tenney. Any Sonic Youth fan is bound to buy something released by their favorite rock star. It's not a great leap from the noisier bits of SY records to Hymnen. Their ears have been opened by SY. On Sonic Youth's recent CD, the one-time Lollapalooza headliners do respectable versions of John Cage, Christian Wolff, Pauline Oliveros, James Tenney, George Maciunas, etc. pieces. Again, the more curious kids buying this stuff will want to seek out more about these composers. I've seen the same thing happen when DJ Spooky plays electronics for Xenakis concerts: the kids come out in droves to see Spooky and I suppose that many become interested in Xenakis this way.
EB: Who are your favorite writers?
KG: I can respond by saying that I was recently asked to participate in an odd show in which artists were asked to give a list of books that have been particularly influential on their work. These books were then displayed at Waterstone's (the British Barnes + Noble). So, in place of my favorite artists are, here is a bibliography of my most important books:
Bruce Andrews I DON'T HAVE ANY PAPER SO SHUT UP (OR, SOCIAL ROMANTICISM), David Antin WHAT IT MEANS TO BE AVANT GARDE, Walter Benjamin THE ARCADES PROJECT, Samuel Beckett NOWHOW ON, James Boswell THE LIFE OF SAMUEL JOHNSON, John Cage SILENCE, Buckminster Fuller CRITICAL PATH, Abbie Hoffman STEAL THIS BOOK, Henry James THE GOLDEN BOWL, James Joyce FINNEGANS WAKE, M. THE GOSPEL OF SRI RAMAKRISHNA, Georges Perec SPECIES OF SPACES AND OTHER PIECES, Marjorie Perloff RADICAL ARTIFICE, Ezra Pound THE CANTOS, Ron Silliman TJANTING, Gertrude Stein THE MAKING OF AMERICANS, Ludwig Wittgenstein CULTURE AND VALUE, Emile Zola ROUGON-MACQUART SERIES (20 novels), Louis Zukofsky A.
EB: For a closer, how about a similar list of albums/CD's of particular influence on you?
KG: George Antheil BALLET MÉCHANIQUE, Robert Ashley IN SARA MENCKEN CHRIST AND BEETHOVEN THERE WERE MEN AND WOMEN, Béla Bartók THE SIX STRING QUARTETS, The Beach Boys Pet Sounds, The Beatles White Album, Erik Belgum Bad Marriage Mantra, Carla Bley Escalator Over the Hill, Jaap Blonk Flux-de-Bouche, Anton Bruhin In/Out, John Cage Indeterminacy, Cornelius Cardew Piano Music, Ray Charles What'd I Say, John Coltrane A Love Supreme, Noël Coward Classic Recordings 1928-1938, Coyle & Sharpe The Insane (But Hilarious) Minds of Coyle & Sharpe, Miles Davis Pangaea , Claude Debussy Préludes Vol. 1, Donovan A Gift from a Flower to a Garden, Bob Dylan Blonde on Blonde, Hanns Eisler + Bertolt Brecht Collaboration, Morton Feldman Three Voices, Beniamino Gigli Historical Recordings 1927-1951, Alois Hába Centenary, Raoul Hausmann Poemes Phonetiques, The Heptones On Top, The Impressions Keep on Pushing, Charles Ives Symphony No. 4, Charles Ives Universe Symphony, Charles Ives Old Songs Deranged, Mauricio Kagel Der Schall, Los Angeles Free Music Society L.A.F.M.S BOX, Frank Loesser Frank Sings Loesser, Giovanni Martinelli Volume 2, Pietro Mascagni Cavalleria Rusitcana (Gigli), Rod McKuen Takes A San Francisco Hippie Trip,Olivier Messiaen Turangalila-Symphonie, Darius Milhaud Composers in Person, Charles Mingus Better Git It In Your Soul, Thelonious Monk Genius of Modern Music Vol. 1, Thelonious Monk Genius of Modern Music Vol. 2, Thelonious Monk Monk's Music, Moondog Elpmas, Ennio Morricone A Fistful of Film Music, Mothers of Invention We're Only In It For the Money, Carl Orff Orff-Schulwerk Complete Edition, Harry Partch Delusion of the Fury, Giacomo Puccini La Bohème (Toscanini), Giacomo Puccini Turnadot (Serafin / Callas), Giacomo Puccini Tosca (Prêtre - Callas), Maurice Ravel Ma mère L'Oye, Steve Reich Drumming, Terry Riley All Night Flight Vol. 1, Arthur Russell Another Thought, Frederic Rzewski The People United Will Never Be Defeated! (Oppens), Erik Satie Piano Music VolumeS 1-6 (Ciccolini), Sly & The Family Stone Fresh, The Soft Machine Volumes One & Two, Karlheinz Stockhausen Hymnen, Igor Stravinsky Stravinsky Conducts Stravinsky: The Mono Years, Sun Ra The Singles , T. Rex The Slider, Various Artists The Conet Project, Sophie Tucker Her Latest and Greatest Spicy Songs, Tyrannosaurus Rex UNICORN, Tyrannosaurus Rex BEARD OF STARS, Galina Ustvolskaya Piano Sonatas No. 1-6, Edgard Varèse The Varèse Album, Various Artists Ethiopiques 3, Giuseppe Verdi Don Carlos (Giulini), Giuseppe Verdi Falstaff (Toscanini), Giuseppe Verdi Otello (Levine), Giuseppe Verdi Rigoletto (Serafin), Richard Wagner Der Ring Des Nibelungen (Solti), Kurt Weill Lady in the Dark, Kurt Weill Die Dreigroschonoper Berlin 1930, Neil Young On the Beach, ZNR Barricades.
EB: I have sense that you responded to the "favorite CD's" question with a little more relish than the "favorite books" question. I heard Eddie Murphy say that he'd give up comedy and acting in a second if he could be Prince. I heard Wanda Coleman opine that Baraka would give up writing in a second if he could be Archie Shepp. Personally, if I could do what Sly Stone did in the 70's, I would drop the small press/experimental literature world like a hot potato. Am I imagining things or is there anything to this sense, as far as your work is concerned?
KG: Yes and no. A recent book of mine, 6799, is simply a list of my enormous LP and CD collection about 100 pages worth. And it happens to be sitting on my hard drive as I answer these questions. So I just scrolled down the list and grabbed the most essential ones. In the end, there seemed no reason to edit it.
I've been a music fanatic since 1967 when I got my hands on The Monkee's Headquarters. Since then, I've been an unstoppable music junkie and can't live a day without buying a record. I also host a radio show on WFMU that is always hungry for new material. In addition, I write music criticism for New York Press and other publications. In all honesty, the only reason I went into music criticism was so I could get CDs for free. Now I'm hooked.
I have a hunch that we pursue those occupations where we're at a disadvantage rather than at an advantage. I'm a much more of a naturally talented musician than I am either artist or writer. But I love music so much that I never wanted to ruin it by making it my profession. So I turned to occupations that I wasn't as passionate about. As a result, music remains very free to me. I can have massive contradictions in taste and not have to explain myself. I'm simply a fan.
Oh, and in response to your Sly Stone comment, I another life I would be either Abbie Hoffman, Bob Dylan or Allen Ginsberg.


text:
June 27, 2010 is the day when Infinite Fellowship Ministries was born. The bid to launch the Fellowship is the result of divine revelation received from the Lord to the visionary, Rev. Gobanga John(now Bishop Gobanga John), to raise an altar unto the Lord within the Central Business District of the Kenyan capital city of Nairobi. During that time, the Bishop Gobanga was Pastoring a Church in a slum area within the outskirts of Nairobi around the Eastlands. It is also worth noting that even the name INFINITE FELLOWSHIP MINISTRIES was divinely inspired to the Bishop Gobanga.
The journey towards the launch was not an easy one, for it took a step of faith on the part of the visionary to trust the Lord for a place and the people with whom he would commence the work. The Lord was very categorical that the Fellowship would not derive its essence from the norms of conducting ministry currently prevalent in the Body of Christ in Nairobi. He gave instructions as to the kind of blueprint to flow with in tandem with the vision and mission statement, which He inspired the visionary to serve as the spiritual instrument to define the identity of Infinite Fellowship Ministries.
The Rev. Steve Kamau (who was the Guest during the launch) in the presence of witnesses who attended the launch, installed Bishop Gobanga as the Presiding Clergy of the Infinite Fellowship Ministries. One of the prophetic decrees made by the Rev. Steve Kamau concerning Infinite Fellowship Ministries was that it is a Prophetic Mountain of the Lord; by this, divine direction and instruction would pervade every aspect of life for individuals who would diligently seek the face of the Lord.


text:
Tamron Hall is a saint to moderate the Wives Tell All episode of Sister Wives, but I hate she has to start off immediately asking about the commitment ceremony and that damn mission statement. Of course, Robyn pipes up first with a very canned and rehearsed response. I am so distracted by how much make-up they're all wearing. Has Kody been spray tanning? Is that Botox? It looks like Truely may have done poor Janelle's make-up, and Christine appears to have been styled by Minnie Mouse.
Meri's emotional roller coaster over being an empty nester is revisited. Mariah may be going off to college, but at least she has her wet bar! Meri admits that she still doesn't know what her role will be in the family. She may want to take a sabbatical to find herself. Robyn is angry…she helped Meri raise Mariah, and she wants the favor returned. Kody's face is going to give me nightmares. Robyn thinks that Meri has so much to give to the remaining kids. Meri likens her loss to if one of Kody's wives died, but Kody reminds her that she still talks to Mariah everyday. She needs to get over it.
Next, Tamron chronicles Truely's kidney failure. Janelle explains that the other wives took over taking care of Christine's remaining brood while she spent over a week in the hospital, and Christine shares that she never once doubted the behind the scenes support she would get from her sister wives. Tamron calls it the "Sister Wives Code." The women all reveal that if something were to happen to them, they would fully trust their sister wives to raise their children. In fact, they would be fine if their kids chose to go to different mothers within the family. After revisiting his Mother's Day shopping fiasco, the women explain that the hardest lesson to learn is not to compare relationships. Christine admits that all of Kody's mothers-in-law (save for Meri's mom) are a bit skeptical of Kody and his hair. I can't say I blame them.
Footage of Meri's breakdown over the seats at Mariah and Aspyn's graduation is shown, and Tamron compares Meri's behavior to a tantrum. Thank you. Finally someone calls it like they see it. Christine sticks up for Meri, saying she was very emotional about Mariah going off to college. Tamron questions Kody about claiming that Meri always tries to bring Robyn into their drama. Robyn is fine being the peacemaker. I want to laugh when the family starts talking accounts and various finances. They tip-toe around how they decide on who gets a car versus who pays for college. Janelle reminds them that for the next ten years, the family will have a child heading off to college. I am not concerned about how they choose where the money goes, I'm more curious as to where the money comes from in the first place!
The Kody-free wives' road trip to San Francisco is highlighted. Their PDA awkwardness with Kody is revealed. They have a good laugh over Kody's mass texts of "I love yous" to his wives. Janelle tells Tamron that she didn't mean to seem disinterested when her sister wives were talking to Kody on the phone, but she was more trying to disengage and give the others privacy. Once again, Meri makes it about her and how uncomfortable she felt to be traveling with Kody's other wives. Their relationships aren't perfect, and we all know Meri likes perfection.
Tamron welcomes the teens, and Mariah admits that becoming a sister wife is no longer on the front burner. While she's happy to be back in Utah for college, for now she just wants to focus on being eighteen. Logan teases about policing her since they are both at UNLV. She's always worried she's going to run into her older brother at parties. They joke, but they seem to be very close and enjoy being in college together. Honestly, I'd much rather watch a show that focused on the teens instead of their insufferable dad and multiple moms. They discuss the dating rituals within their religion, and Mariah and Madison reveal that it is kind of insulting that no boys have yet to "ask about them." Logan and Hunter don't plan on taking that traditional route (you go, boys!), and Mykelti has a new boyfriend who isn't used to her plural family. These kids are incredibly grounded and mature…unlike their adult counterparts!
Before closing out the reunion, Tamron brings Kody and his wives back together. The wives feel that things have gotten better within their individual relationships with Kody, except for the fact that Kody is tired of Solomon sharing the bed with him and Robyn. Kody also shares that the family was humbled by the decision striking down the part of the statute in Utah prohibiting cohabitation as it pertained to polygamy. Robyn feels that the family still considers Utah to be their home, but it's not quite safe to go back yet. However, they are so proud of this progress.
[Photo Credit: TLC]


text:
Divorce without a lawyer
In my practice I get calls every day from people who have chosen to divorce without a lawyer, even in cases involving homes, children, pension plans, or all of the above and more. They later discovered that some part of the court proceedings that could easily have been resolved with legal advice is now requiring extensive (and more expensive) damage control. Worse, they may have discovered that the damage cannot be undone or controlled! At that point the client has made some decisions based on (often mutual) good intentions and that has backfired on him/her because they didn't fully understand the legal implications.
Even a negotiated resolution needs to be based on an informed and understood decision, but not necessarily a hostile, costly one. An attorney doesn't have to do everything, but good advice will cost you less than "GOING NAKED."
Here are some real life examples of Big Mistakes "self-represented litigants" have made because they passed up the opportunity to get good legal advice:
- The spouses agree one will get more property in exchange for foregoing child support. Problem? An agreement to waive child support is unenforceable. In fact it's void!
- Parents, each of whom lives in a different state, agree their three-year old will alternate a year with each parent once she reaches school age. Their reasoning? This is "fair to each parent." When this gets to court – and it is inevitable that it will get to court – this agreement is not going to hold water. Just because this is "agreed to" in the form of a contract doesn't mean a judge won't tell both parents that this isn't in the child's best interests.
- Spouses agree to divide "their property" equally, but they make serious mistakes in trying to figure out what's community (each gets half) property, and what's not. This is particularly tricky with retirement. No one wants to be old and needlessly broke. Even experienced, well-trained lawyers sometimes disagree on how much of whose retirement is community property, so it's never surprising when non-lawyers get it wrong.
- The parents agree that some non-parent (usually a grandparent) can exercise a parent's time with the child. This is sort of a surrogate parent relationship, and typically is insisted on by an absent parent in order to preserve that parent's "time share" which affects child support. Problem? Yes. This can very likely be undone by a court at any time. Non parent rights are tricky.
If you think you are good with divorce without lawyer there are other options I have created read here
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The College of Business Administration provides an up-to-date program in E-Commerce and Marketing with managerial and technological knowledge that allows students to participate and utilize the electronic media as a market place.
E-Commerce or Electronic Commerce is a computer-based science using digital systems for economic and business purposes. This form of marketing has largely expanded during the last three decades.
Looking for employment immediately after your education? A logical solution is an undergraduate degree in E-Commerce and Marketing at the AUE. The 'global village' concept has brought all industries to operate on a common platform. The virtual contact is no longer a stand-alone issue; rather, it is the most effective solution to the new millennium's industrial needs.
The volume of trade, availability of goods, transfer of finance, information sharing, and supplying the items to the market is an ardent exercise of intelligence; and it remains only a click away.
An inquisitive person, who has the potential and confidence of appropriate communication, persuasive ability and is willing to perform better, should study this specialization. The course programs develop students to be multi-track thinkers, to sustain pressure, utilize the opportunities, and appreciate the technological advancements of this era.


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FormTextResizer is a bookmarklet that allows you to resize any textarea or text input on any webpage. This way, you won't be confined to a teensy little comment box or e-mail field. Just activate the bookmarklet, then click-drag on the textarea or text field that you want to resize. Simple!
Right-click here and "Bookmark" FormTextResizer to access it anywhere, or click the link to try it out.
Note: Internet Explorer places a restriction upon bookmark URL lengths, so use this Internet Explorer bookmarklet, which links to a script on my server.
You can view the uncompressed, nicely formatted JavaScript code here.


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We appreciate your interest in our inventory, and apologize we do not have model details displaying on the website at this time. Please fill the form out below and our team will quickly respond, or, please call us at 507-461-8157 for more information.
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Mohamed, Syed K and Padma, DK (1987) Ammonium hexafluorophosphate as a flame retardant for cellulose. In: Journal of Fire Sciences, 5 (1). pp. 17-24.Full text not available from this repository. (Request a copy)
Ammonium hexafluorophosphate has been investigated as a flame retardant. A piece of whatman filter paper, \alpha -cellulose, which was dipped in an aqueous solution of ammonium hexafluorophosphate (AHFP) (2-10%) and dried, car bonized when ignited without catching fire. The effect of AHFP on the decom position and combustion of \alpha -cellulose has been studied using TG, DTA and DTG. The observed flame retardant property of AHFP has been attributed to its decomposition favouring the dehydration pathway. The fluorine in AHFP facilities and accelerates this pathway representing a true case of synergism.
|Item Type:
|Journal Article
|Journal of Fire Sciences
|Sage Publications
|Additional Information:
|Copyright for this article belongs to the Sage Publications
|Cellulose;flame retardant;Ammonium hexafluorophosphate
|Division of Chemical Sciences > Inorganic & Physical Chemistry
|Date Deposited:
|08 May 2008
|Last Modified:
|27 Aug 2008 13:21
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Photographer Blog
LAPIS ARROW (IMO# 9361809 ) Strange visitor from
Tuesday March 3, 2009 at 6:25 PM by Rod
On the way to work today, I noticed that not only was Marina Ace docked at Davisville, but also a second ship. My first thought was that with the economy the way it is, where are all the cars these ships bring going? I would guess out via rail and truck. Anyway once i was able to, I looked on my system to find what the second ship was. It was uniquely called LAPIS ARROW built in 2006. Definitely a name I have not heard of before and definitely one i have not seen ply these waters before. My research revealed that she is owned by LAPIS MARITIME based out of the Isle of Man but managed by STAMCO SHIP MANAGEMENT based in Greece. There were several things I noticed about her later as I shot pictures of her leaving. A) She looked good.. Nice lines... etc.. B) She had a wonderful color scheme on her hull in as much as she had a royal blue hull with a darker green stripe approximately 10 meters wide at the top of her hull just below her top deck going around the entire boat. It was an unusual color scheme as well as pleasing as it was vastly different from what we are used to see here in Narragansett bay. C) Final thing I noticed is a red stack with a large white K on it. This to me indicated that she is a K-Line ship but I could find no data to verify that. if she is a K-Line ship is it possible that she could be a replacement for the former sisters (Sirius and Coral Highway) that were such frequent visitors? Maybe, Maybe not... Time will tell.. But it does make me wonder... Picturees of the ship will be forth coming...
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Brace yourself for the second coming of Subculture-style eyeshadow palette-shaming, everyone. I think it's here. Huda Beauty is launching her new Desert Dusk Eyeshadow Palette on Monday, 9.18! It will be available at Sephora, Cult Beauty, & Huda's own website. That image on the outer packaging is completely stealing the show right now, it is sooooooo STUNNING! The inner packaging is an upgrade from previous palettes, too, because this one has a MIRROR! You know how we feel about mirrors – swooooooon. Prior releases had a clear cover over the shadows and, hence, no mirror. We appreciate the new moves, Huda.
This lovely, mostly war-toned palette, includes 8 matte shades, 6 pressed pearl shades, 3 duo-chrome toppers and 1 pure glitter. The mattes are highly pigmented and creamy, ranging from soft nude shades to medium transition tones & some incredible bold pops of color in purple and orange! The pressed pearls are highly shimmer to add lots of intensity and dimension to your look – they look absolutely gorgeous and will seriously POP on the lid. The duo-chrome toppers are what I've got my eye on – you too, right?! These were specifically included in the palette to represent the ever-changing illusions of the desert (we love the dedication to the theme, for real). They each transform ever so slightly in the light to add that drama and luminosity to your look. And lastly, that sole, lonely pure glitter. Freaking breathtaking. It's a combination of magenta, bronze and golden tones (ahhhh!) that can be used on the lid OR for liner! You'll just want to make sure you use some additional product to help it adhere to your lid just right. Obviously, this is a beautiful palette with an incredible assortment of shades & finishes! There is certainly a unique component to this beauty! But there's more…
Now remember that drama I mentioned… yeah. Check out the video above for a little more insight but, basically, we are having some subculture-like issues here. In the video, you'll see the INSANE amount of kick up in the pans (to the point where the palette is completely trashed) and fall out ALL OVER the face! Plus, there is a serious blending issue. As in, no blending at all. It seems as though the colors don't even stick to the skin at all but, rather, end up simply removing from the eye as soon as a brush passes over it. But, keep in mind, just like Subculture, there are going to be some users that have a terrible experience (like Michael) and some that aren't so bad (like the ladies below).
My advice? Just do your research first or, better yet, stop into Sephora to see it in person before making the leap to purchase. There may be dud batches, a newer more lightly pressed formula (likely as we've heard her previous palettes did NOT have these issues) or simply user error. Whatever the case, just approach with caution. If you do try it out, PLEASE let us all know what you think! We are dying to hear some more reviews!


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What Churches Commonly Fail To Do
February 26, 2015
Earlier this week I was asked to lead a Breakout Session at one of our state's denominational regional evangelism conference. I was asked to speak on how churches can stay engaged to reach those in their communities.
I struggled with a title for the session and was glad I was given the opportunity to explain what it was about prior to beginning. We know in the western church, especially in the United States, there is a definite trend away from being connected to a local church and attending regularly. Carey Nieuwhof recently posted on his blog an article titled "10 Reasons Even Committed Church Attenders are Attending Church Less Often." He touched on an issue just about every pastor I know is having to address. Those who aren't addressing it may just be living with blinders on, or could possibly be the anomaly in the church-world.
The title I ended up using for this session was "Reaching the People Near You Who Actually Exist." Honestly, I don't like the title but I couldn't fit "Be Sure You Know Your Community and Stay Up-To-Date On Changes and Open Your Eyes Every Now and Then Or You May Be Closing the Doors of Your Church In the Near Future."
Subtle, huh?
This session was primarily about neighborhood mapping. Though I didn't have enough time to cover all of the info, here's the gist. Church leaders should take this to heart.
An oft-quoted question has been asked over the past few years by pastors and church leaders seeking to live missionally and direct their churches to do so as well - "If your church ceased to exist today, would your community notice?" - Pastor Rick McKinnley, Imago Dei, Portland, OR.
"If your church ceased to exist today, would your community notice?" - Pastor Rick McKinnley, Imago Dei, Portland, OR
The Relevant Church
Relevance in ministry is sometimes scoffed upon. It's a word that causes people to bristle and push back. Some pastors and leaders will say things like "The Gospel is always relevant" as if that justifies a poorly organized and weak strategy within the local church to fulfill the Great Commission. No one is saying that the Gospel is not relevant (at least not here) but we must come to grips with the reality that sometimes we seek to reach people who simply do not exist. If your church is not making a dent in the culture nor reaching those in the area of your footprint, the sad reality is that you, as well as those reaching many, are perfectly organized and positioned to reach those you are reaching. In other words, while the Gospel is always relevant, your strategies may not be.
We must come to grips with the reality that sometimes we seek to reach people who simply do not exist.
In Dr. John Fuder's book Neighborhood Mapping he states "In a world that is constantly moving and changing, it is imperative that the church not only know how to interpret the Bible but also how to engage with and and adapt to those for whom the gospel message is addressed."
He speaks of the necessity to continually exegete the community where one serves. Otherwise, we become stagnant and continue to produce events, programs and mission engagement for the people who used to live there, rather than those who now do.
The longer you are in a certain place, the less you see.
As has been stated in various venues, the world is coming here, to the United States. In a sense it always have, but the numbers are quite staggering in today's culture. Our neighborhoods are in a continual state of change. In many cases, the local church is overwhelmed and unable, if not unwilling to respond.
This is why mapping one's community on a regular basis is vital.
"A map is the fieldwork out of which strategies can be formed." - Caleb Crider, IMB & Co-Author of Tradecraft.
Here are some basics on mapping one's community (more details may be found in the book Tradecraft: For the Church On Mission.)
A Theology of Mapping
In the 1960s urban planner Kevin A. Lynch conducted an extensive study and developed the five elements of a city or community, which are still vital for mapping today. These elements are:
- Paths
- Nodes
- Districts
- Edges
- Landmarks
I'll break these down briefly here.
Paths are important because they limit an individual's experience of the city and shape his perspective of it. If you want to relate to someone, follow his paths. People tend to only know the areas along their paths. This shapes his understanding of the community. Church leaders may travel the route from home to church often and therefore, miss the community between. Over time, the community may shift unknowingly to the established church. This is why church plants often attract people where established churches are, simply because they hit what others miss or cannot see.
The paths one travels leads people to believe a city or community is a certain way or demographic, but that may be skewed to reflect only the areas around the paths.
Alternate routes can reveal a new-ness to a community previously unseen.
To know your community, you must know the paths people travel.
These can be streets, sidewalks, trails, subways, bus routes, etc.
Nodes develop where paths cross.
These are strategic spots in a community where people may enter and allows for interaction. It is a place of intermingling, but it is not intimate and people are often guarded (holding onto their purses or belongings tightly, looking straight ahead, not communicating with others, etc.)
Nodes are important for gaining cultural insight because they provide the opportunity to observe how people interact or avoid interacting (mall watching.)
Businesses use these places – billboards are placed here, signs, people spinning signs, news stands, etc. These tend to be busy places. This is where flyers can be distributed, but normally no good one-to-one communication will occur. Prior to social networking, these were the promotional spots. These areas are not good for long conversations, but good for information distribution.
Most community dwellers develop a sense of identity around the district in which they live, play or work. Each district has a reputation in the larger community. Jacksonville is a city of districts. The surrounding bedroom communities are as well. Districts are perceived differently based on your audience.
You may live in Jacksonville, but that's not descriptive enough. Where in Jacksonville? Are you in the Southside, Westside, Riverside, Beaches, Northside? If you're in a suburb, where exactly? St Johns, Fleming Island, Middleburg, Yulee, etc.?
Then within each area are sub-districts that have their own identities. This is the first place I have ever lived where people are actually very proud and identify themselves not only by city, town, or community but by sub-division. It seems strange to celebrate a builder's planned community, but you'll see license plates and bumper stickers identifying such.
Each population segment has its own subculture, language and rules that present barriers and bridges to the spread of the Gospel.
These may be the most disregarded elements by churches. Edges create barriers that are not impossible to cross, but improbable. These may be any of the following. . .
- Boundaries of a District (sub-division exit)
- Streets
- Divided Highways
- Gates
- Interstates
- Bridges
- Bodies of Water
- Tunnels
- Railroad Tracks
Until I acknowledged this, I could not understand why people near where I live had no understanding of where my church is located and mostly, would not visit. Then, I looked at these elements and realized that there are at least three divided highways, a railroad track, a body of water and a bridge between my house and my church. Edges. Not impossible to cross, but for those with no reason to do so, improbable.
When in your town, what do you use to tell people how to get from point A to point B? What about on how to get to your church? In many cases, our verbal directions do not include all the street names and compass directions, but do include landmarks. You know, "Turn by the donut shop." and the like.
Landmarks may be anything that the community knows.
In Orange Park, where I live, it was the Dunkin' Donuts. I'd tell people to "Turn at the Dunkin' Donuts, drive a mile or so, go over the railroad tracks, past the park on the right and turn left by the Animal Hospital."
We all use landmarks.
Use yours to your advantage.
Most Important
Spiritual mapping is vital and most important. Prior to you planting or serving in your community, God has been at work.
To effectively evangelize your mission field is to first acknowledge that God has tilled the soil.
Follow His map and work where he has already done the heavy lifting.
Recommended Resources
Tradecraft: For the Church on Mission by McCrary, Crider, Stephens & Calfee
Neighborhood Mapping: How to Make Your Church Invaluable to the Community by Dr. John Fuder


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Robert Plant on Creative Philosophy: 'You've Got to Be Inspired'
Getting trapped in one's own past glories is a pitfall for many classic-rock stars, but Robert Plant has managed to avoid it. As he explained during a recent interview, he's done it by always following his muse.
"You know, singing in a band, or just singing generally, you've got to be inspired," Plant said during a discussion with filmmaker Russ Spencer (you can watch the video above). "So I just choose a path that suits me. When I want to do it, then I do it. When you are a performer you love to perform, you know, but monotony is not something I would be a party to ... so I have to cut my cloth accordingly. Some people want it the same every night. I can't do that ... it's not my gig."
Plant's creative wanderlust has been known to frustrate Led Zeppelin fans pining for a reunion with Jimmy Page and John Paul Jones, but as he explained, reopening old musical chapters isn't something that interests him. "I'm not a guy who really revels in the past," he said. "If I did, I would be in a much different position now. But that would be kind of hollow, perhaps."
So what's tickling his creative fancy these days? His latest band, the Sensational Space Shifters, which he enthusiastically calls "a remarkable combination. It's not about R-O-C-K rock. It's a melange of psychedelic British urban trance music mixed with the power of delta blues and the spirit of Led Zeppelin. Amen."


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Driving test pass rates continue to rise in the UK with 2013/14 recording the highest level of test passes for seven years, according to Department for Transport (DfT) figures. In total, 47.1 per cent of learner drivers taking their driving test passed, although the total number of tests actually conducted is falling.
The drop off in driving tests taken might be because learning to drive is an expensive business. Those who are determined to learn to drive are under growing pressure to pass first time and as soon as possible to avoid the cost of extra lessons and another test.
So what are your chances of passing your driving test? We've analysed the data to find out who, where and when has the best driving test pass rates, plus how much you should expect to pay to get your full driving licence.
How much will learning to drive and passing the test cost?
Prospective motorists have to shell out £50 just to get their provisional licence these days, but that's just the start.
Driving lessons cost on average £24 per hour and the Driving and Vehicle Standards Agency (DVSA) reckons the average number of lessons you'll need to pass is 47.
The theory test will set you back £23, while the practical car test costs £62 (£75 weekend & Bank holidays)
Add all this together and drivers are forking out more than £1,250 for the privilege of getting behind the wheel.
Where is best to take my practical driving test?
It's all about location and according to the figures the more rural the better for your chances in the practical driving test. Remote locations in Scotland are your best bet with Gairloch – a small village in the Scottish Highlands – returning a driving test pass rate of 93.8 per cent with just one of the 16 people taking a test last year failing.
Clearly, travelling to remote parts of Scotland isn't practical so where else is best? Barrow-in-Furness, Cumbria has the highest pass rate outside of Scotland – 65.5 percent – followed by Whitby, North Yorkshire – 65.4 per cent.
The test centre where you're least likely to pass is Belvedere, London where almost 70 per cent go home empty handed. Last year that accounted for 1,131 drivers needing to resit the test.
Is the theory part easier than the practical?
The theory test pass rate has fallen dramatically over the past few years as the DVSA has tightened up on revision guides and questioning. Back in 2007, nearly two-thirds of drivers passed the theory test, but now that's down to 51 per cent.
That's better than the practical driving test pass rate, but not significantly. The theory test is certainly less unpredictable than the practical exam, but still requires a degree of practice, both in memorising the relevant signage and learning the Highway Code rules. Then there's the challenge of applying your road safety knowledge in the recently revamped hazard perception test.
Are men or women better at passing the driving test?
Women are better at passing the theory test while men are better at the practical according to DfT annual figures. For the past six years there's been a six percentage point difference between men and women passing the theory test, although numbers for both genders are falling. Last year, 54 per cent of women passed while only 48 per cent of men did so.
This is flipped for the practical exam with the gap, surprisingly, the same. 50 per cent of men passed their test in 2013/14 while just 44 per cent of women did. The split of men and women taking the test was around 50-50 for both the practical and theory tests.


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A Guide for Education and Social Service Practitioners
Resource Link // Resource Page
All youth need to develop a set of core life skills to manage school, work, outside interests, and social relationships successfully. From the perspective of brain development, these skills include planning, focus, self-control, awareness, and flexibility—also known as "executive function" and "self-regulation" skills. No one is born with these skills, but everyone can learn them through practice.
We know that early childhood is a critical time for the brain, when connections are being made that become the foundation for a child's future health, learning, and behavior. Adolescence is also a vital "window of opportunity" for building core life skills—and for practitioners to provide support.
This guide for practitioners who work with adolescents explains the science behind the core life skills that youth need, what affects the development of these skills, and how practitioners can help, including:
- 5 Ways to Help Youth Build Their Core Life Skills
- How Stress Affects Developing Core Life Skills
- 5 Ways to Deliver Services That Reduce Stress


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Amazon is looking to expand its Amazon Business marketplace and launch a larger offering in the US medical supplies business.
The e-commerce giant said the medical supplies market is one of a growing number of businesses it is working on developing.
"With medical supplies specifically, we hear from both healthcare manufacturers and healthcare customers that they want to find ways to simplify purchasing and reduce costs as a means to address systemic issues that take away focus from patient need," it said.
"Many large health systems have numerous satellite facilities and as care shifts closer to the home, they need to address gaps and invest in new ways to simplify supplies moving to locations beyond the hospital."
Amazon Business, Amazon's B2B marketplace, already has a small offering of medical supplies, including gauze, syringes, medical gowns and masks.
Amazon said it is building technology to serve healthcare customers and seeking to sell to hospitals on a "marketplace concept" that differs from typical hospital purchasing, which is conducted through contracts with distributors and manufacturers.
Chris Holt, leader of global healthcare at Amazon Business, said Amazon would not look to imitate established models already used in the medical supply sector.
"Our goal is to be something new – we've been actively building out new capabilities and features to simplify purchasing," he said.
"We're thinking about not how we can go mimic what's already out there but rather how we can rethink safety and security of anything clinical."
Brian Tanquilut, an equity analyst at the investment firm Jefferies, told the Washington Post that Amazon's move to sell commodity medical supplies was a good entry point for them because it does not involve complex regulatory approvals and many states do not require a license at all.
"They [Amazon] see healthcare as a very big market; it's one of the growth markets in the economy that they do not have a toehold in," he said.
"They look at areas where it's relatively easy to get into without high-level government-level scrutiny and this is the kind of the low-hanging fruit in the healthcare industry."
He added that Amazon has been particularly aggressive in courting dentists and setting up booths at dental conferences.
Amazon has recently ramped up its moves to become a major healthcare supplier. In October, several state pharmaceutical boards approved the company as a wholesale distributor, which is a necessary first step towards Amazon selling medical equipment.
Last month, Amazon, Berkshire Hathaway and JP Morgan Chase announced they were partnering to form a healthcare company to cut health costs and improve services for employees.
In late January, Amazon invited hospital executives to its Seattle headquarters to go over ideas for expanding Amazon Business into one where hospitals could buy supplies for outpatient locations, operating suites and emergency rooms, according to the Wall Street Journal.
The report added that Amazon has also joined with a large midwestern hospital system to conduct a pilot programme to test whether they can order supplies for 150 outpatient locations.
A hospital official overseeing the endeavour said the pilot is customised for the hospital's catalogue of supplies, which allows employees to compare prices against those in the Amazon Business marketplace.
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Our perambulations took us next to Perama Cave, near Ioannina, the most widely visited show cave in Greece. We had expected to have to fight our way through all the tourists, but we must have picked a quiet day or time, because the visitors were far outnumbered by the shopkeepers, the whole town seemingly having been turned over to selling souvenirs. Goodness knows how they do cope when a lot of people turned up, parking is very limited. The cave was discovered by chance in 1941 when the locals were looking for somewhere to shelter from the bombardment. When we went out on the nearby lake later, we could see that the cave is situated in an isolated limestone knoll, the whole of which was honeycombed with caves.
Arriving at the entrance we were given a leaflet in English and noted that the temperature in the cave was 17 °C, there were 163 steps leading out of the second entrance, and the tour took 45 minutes.
After a short wait the guide appeared and in the company of about 15 other visitors we embarked on what can only be described as a brisk trot through the cave. "Don't you think we're ever going to stop?" Christina asked as we raced up and down steps, across chasms on bridges with no sides and down steep slopes. The leaflet described the numbered stalactites on the tour, the commentary being in Greek only. Our commentary went something like this:
Christina: "That was number 8, the next one we are coming to should be The Leaning Tower of Pisa".
Me: "Well we've missed it, this one's number 10".
I was quite glad there was a small child in the party, because at least we could get behind him and pretend that it was his slowness on the stairs that was holding us up rather than our unfit state after so much lack of exercise.
When we did stop we could appreciated what a magnificent cave this is, huge chambers and massive formations some of which have been welded into grotesque shapes through the action of old earthquakes and subsequent calcification. Part way up the 163 steps leading to the exit is a memorial to Ion Petrocheilou, the founder of Greek Speleology. We thoroughly enjoyed our visit to Perama, which we felt could well be a contender for the title "The fastest Show Cave in Europe".
Reprinted from The British Caver Vol 103 Winter 1987. With kind permission.