text: 3 May 2021 La Tarte: May's Limited Edition Ritual Oil by Deborah Castellano | posted in: Uncategorized | 0 *|MC_PREVIEW_TEXT|* Buy Now La Tarte has been inspired by Diane de Poitiers, Mistress to King Charles II. She stared down Catherine de'Medici who was infamously jealous of Diane de Poitiers. She was significantly older than King Charles II and she was known for being athletic, as well as incredibly intelligent in languages, finance and law. She was managing her own large estate as a widow which was why the King sought her out. Gorgeous, fashionable, with an eye for architecture, she managed to snag the titles of Duchess of Valentinois and Duchesse d'Étampes, as well as a castle, Château de Chenonceau. Popes brought her gifts, she was so influential. Hey ladies/ When your man wanna get buck-wild/ Just go back and hit 'em up style/ Put your hands on his cash and spend it to the last dime/ For all the hard times {"Hit 'em Up Style", Blu Cantrell, covered by The Carolina Chocolate Drops} Scent Notes: Inspired by the best French perfume houses. Carnal floral notes draped daringly over licentious vetiver, salaciously decadent resin and incense notes, with obscenely bright mimosa. Wear to bring yourself notoriety, power and glamour. Be that intoxicating mistress, commanding everything that is yours and a few things you may have shamelessly stolen, too! Suitable for tarts of all genders. La Tarte has been created in my enchanted workshop, Spare Oom. While La Tarte can simply be worn on pulse points as a perfume, and enjoy it that way, it can also be used with your magical work. Wear with your intention over the corresponding chakra, anoint your jewelry with it, pouring a little on a candle to set your intention that way, pouring a little into a bath to use for a ritual bath, you can also anoint crystals or other ritual tools with it or, simply wear as a fragrance you enjoy. Each oil comes in a 5ML glass amber bottle with a Euro dropper lid. For a visual reference, the bottles are the same size as the Black Phoenix Alchemy Lab bottles. A limited amount of bottles available. Buy Now Incense Love incense? Want to cleanse, seduce and make your house smell delicious? Shop the Incense » Ritual Oils Bring yourself prosperity, luck, love and simply smelling good! Shop the Ritual Oils » Copyright © *|CURRENT_YEAR|* *|LIST:COMPANY|*, All rights reserved. *|IFNOT:ARCHIVE_PAGE|* *|LIST:DESCRIPTION|* Our mailing address is: *|HTML:LIST_ADDRESS_HTML|* *|END:IF|* Want to change how you receive these emails? You can update your preferences or unsubscribe from this list. *|IF:REWARDS|* *|HTML:REWARDS|* *|END:IF|* Share:TweetShare on TumblrEmailPrintLike this:Like Loading... Related Related posts: The Glamoury Apothecary is now offering loose incense blends! Live Event: The Trenton Punk Rock Flea Market [Manic Monday] Third Wedding Anniversary Easter in Exile Deborah CastellanoDeborah Castellano's book Glamour Magic: The Witchcraft Revolution to Get What You Want is available for purchase through Amazon, Llewellyn and Barnes and Noble. Her frequently updated catalogue of published work is available on Author Central. She writes about Glamour Magic here at Charmed, I'm Sure. Her podcast appearances are available here. Her craft shop, The Mermaid & The Crow specializes in old-world style workshop from 100% local, sustainable sources featuring tempting small batch ritual oils and hand-spun hand-dyed yarn in luxe fibers and more! In a previous life, Deborah founded the first Neo-Victorian/Steampunk convention, SalonCon which received rave reviews from con-goers and interviews from the New York Times and MTV. She resides in New Jersey with her husband, Jow and their cat, Max II. She has a terrible reality television habit she can't shake and likes St. Germain liquor, record players and typewriters. Social: Twitter Facebook Instagram Tumblr


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ASIH Meeting, Providence, RI
I just got back from the annual joint meeting of Ichthyologists and Herpetologists, which was held in Providence, RI this year. It was a six day long trip, which was constantly full of things to do, and it was a lot of fun. I saw a lot of good talks and poster presentations which gave me great ideas, and I also got to meet a lot of scientists. The reef fish evolution and ecology lab of UTMSI (which is comprised of Dr. Luiz Rocha, Moises Bernal, and myself pictured above) presented a poster entitled "Morphology and Molecules Indicate Speciation by Hybridization in a Marine Fish". Despite being in Providence during a heat wave we still managed to see the zoo, and visit some of the local restaurants and see other attractions. Overall the meeting was a success and I look forward to attending next years.
7/17/2012 03:48:04 pm
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8/11/2022 03:58:17 am
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August 2021

subset: commoncrawl


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|4.9 / 5 - 29 Votes
File Size: 10.75MB
Developer: Allergan
From Allergan: Brilliant Distinctions is the only rewards program that gives you points toward instant savings on qualifying Allergan aesthetic treatments and products. You'll earn points every time you purchase a qualifying treatment with a participating provider, as well as when you shop online at your favorite retailers in the Brilliant Distinctions Mall. New app features allow you to: Register for the Brilliant Distinctions Program using an email address, Facebook, or Google+ account. View available points, coupons, and expiring points--all from one screen. Save coupons in your mobile wallet.
This page only reviews Software and does not provide any installation files! However you can find the Software at the official publisher website!
Click on the Button to copy the URL to your Clipboard!


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In the game World of Warcraft, there is an interesting phenomenon occurring involving participatory design of the user interface.
World of Warcraft (www.worldofwarcraft.com) is described on their website as "a massively multiplayer online game…enabling thousands of players to come together online and battle against the world and each other." Also known as a highly addictive, immersive, and social experience, World of Warcraft is a remarkable game on many levels. However, what is interesting to us at Blink is the way that Blizzard, the creators of the game, made the user interface framework extensible and open, allowing its users to have complete control over the way the game's user interface is used and manipulated. The game allows support for modifications or "mods" to the game, allowing a fully customizable user interface.
The game is played many ways depending on which "class" a player selects to be, such as a warrior, mage, priest, etc. Each class requires a different skill-set and responsibilities. Furthermore, the player's experience is also different depending on which "profession" the player selects (for example: jewelry making, leatherworking, or mining). Each player has a unique skill set which has engendered specific interaction requirements. For example, while in a group, the priest's responsibility is to heal his or her group mates. This requires attention to the health bars of other players. Meanwhile, the warrior is more focused on maintaining the attention of the creatures, making sure they do not attack the less melee-inclined players. The following image is a screenshot of the default user interface that is included in the game.
The following screenshot is an example of the user interface after it has been modified.
Note the increase in user interface elements and difference in the layout between the two screenshots. As the players become more skilled and specialized, they require different information and interactions. It is common for players to change the way input is provided such as modifying the key bindings and toolbars. They can also change the type of information displayed with context sensitive functionality. For example, if a particular spell wears off, a player might have a message notifying them to recast it. Another area of modification is automation which can mitigate repetitive tasks or provide a seamless task flow.
Modifying games is not a new phenomenon. The popular first person shooter game Counter Strike is actually a modification of the game Half-Life. While modifying a game engine requires a high level of programming expertise, Blizzard has made the UI framework accessible by using XML and LUA, a very basic scripting language. That is not to say programming isn't required, but it is certainly more accessible than C/C++ and hacking source code.
What's also interesting to us is the way Blizzard has responded to the player-created mods. Blizzard has implemented a robust forum on their website where Blizzard employees moderate and answer questions. There are many threads specifically about user interface development where players can showcase their user interface mods. After gathering feedback from the forums, the most popular and deemed useful mods are later incorporated into the default set up for all players to use. Blizzard is cognizant of the fact that no matter how good, intuitive, and useful their user interface is—it will not cater to everyone, particularly the expert players. People spend an incredible amount of time playing this game; so much so, the players know what they need more than their creators ever could. Blizzard is tapping into that rich resource. Even across the same classes of players, many have preferences for different mods.
An example of an application that could possibly benefit from this type of participatory design is Adobe Photoshop. The Photoshop user-base has a diverse spread of expert users that indubitably have insight into what tools would work best for them or what interactions could possibly be missing. Adobe has developed a software development kit (SDK) for Photoshop. However, it is not very accessible to the average or even most advanced Photoshop user. Third party developers have created a plethora of plug-ins and filters but usually sell them due to the skill and time needed to create them.
Photoshop is used for a myriad of reasons—from photo manipulation to digital painting, therefore user interface requirements vary from user to user. There are very few, if any, plug-ins that rearrange the user interface to accommodate any particular user group. It is also impossible for third party developers to be aware of all user needs, so by utilizing grassroots user interfaces, Photoshop could better accommodate the work flow of more end users.
Another example of applications where it would be impossible for developers to be aware of all users needs is CAD programs such as AutoCAD. CAD applications are again used by a diverse set of users, such as mechanical engineers and architects.
By creating a user interface framework and a system for collecting feedback, software development companies can create an environment for communication between their users and gain insight into their interaction needs, creating a great user experience.


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"Sadly, it's not illegal to be an asshole," my lawyer said.
And there it was. I had been through hell, but you can't sue a bully - unless you can prove discrimination or something else illegal. And they had covered their bases well. Which left me - and indeed anyone looking to move on from these experiences - where?
Resilience. Rising strong. Not letting it get to me. Much easier said than done. So how, exactly, does one do that?
As I am a resilience coach this is a important topic for me. I see lots of posts in the future on this topic. As a beginning what exactly is resilience? And why does it matter?
There are scientific, medical, psychological, environmental and many other definitions of resilience. For me, I define it as that band of tolerance in which things can happen to one - and one may find them intensely uncomfortable, painful even - but one can still stay in choice and not be triggered into overreacting, or its corollary, under-reacting (freezing, or going numb). It's that band where we have ups and downs, good days and bad days, hurts and joys, but in which we still feel essentially ourselves. That band where we can respond rather than react or not react at all.
It's important because the wider our band our resilience, the more easily we can recover from the hard things that life throws at us. We will still feel challenged; we will still feel hurt, pain, fear, loss, grief, anger, or whatever else a particular event may evoke in us, but we don't stay there as long and don't experience them quite as severely as we otherwise might.
The good news is that resilience is not some inherent character trait. You are not born with a certain amount of resilience and that's it. Resilience can be learned. It's like a muscle that, with regular exercise and care, can get both stronger AND more supple. Even better, unlike for those of you who hate going to the gym (that's me), building resilience is not like slogging through an arduous work-out. Building resilience can be downright enjoyable because - hey, bonus - one part of building resilience is doing things that you actually enjoy.
Some of you already know this. You are what Brene Brown would call the "whole-hearted". Your band of resilience is already wide enough that when you have the misfortune to encounter one of the world's assholes, you see them for who they are. Indeed, you even have compassion for them. You know that it's about them, not about you. But for the rest of us, we have to work a little (or a lot!) harder to get to that place. We have to learn the skill of resilience.
One assumption that I've had to unlearn is that resilience is has nothing to do with being tough or thick-skinned. Rather resilience is, at its core, knowing deep down inside that we are worthy. And for many reasons - how we were brought up, the culture and community in which we were raised, our school experiences etc. - some of us have a harder time believing that than others.
I know, that sounds really woo-woo and flakey. That was my response when I first started this work. And yeah, denial that I had a problem with self-worth too! But as I have been interviewing people and listening to their stories about dealing with assholes, the pattern was very clear. The only difference between those who struggled to know how to deal with bullies, and those who didn't, was that the latter had enough confidence in themselves to set boundaries. They could say "No, that's not acceptable." That's it. They still got hurt. They still doubted and questioned themselves. They still got angry. But they didn't take on internally what someone else might have said about them or to them, and they didn't tell themselves that they were somehow responsible for the other person's poor behavior.
I'm "sensitive", as my mother would say, not necessarily happily. And I've decided that I'm OK with that. What I'm not OK with anymore is extrapolating the hurt and pain I feel when encountering insensitive, domineering, critical people to "there's something wrong with me." My journey towards resilience started precisely because my old response was to take it to be about me. And, well, that didn't end well for me. Indeed, I eventually fell apart. Quite literally. But that's another story. I still flinch, I still get riled up when people make insensitive comments. It still gets to me. But now I've figured out how not to take it on - how not to make it about me.
Greater resilience is also not about caring less, or armouring up so that things bounce off of us. One person I interviewed had a lovely image. "Imagine you're being shot at with arrows. Resilience is that the arrows still hit and wound you. But now, instead of leaning in to the arrows or, worse yet, pushing them further into you, you simply take them out, drop them on the ground, walk away, and go and get bandaged up. And in so doing you heal much more quickly."
I can't take down all the assholes in the world. I might be mighty, but I am not, sadly, magical. But I can help people build their resilience. In future posts I'll write more as to how. For starters here's a link to a recent New York Times article on building resilience as an adult. Google "how to build resilience" and lots more will come up.
If resilience is something you want more of, join me. And if resilience is something you already have, share what you do to build and maintain your resilience. Either way, drop me a line. I'd love to talk with you.
Sue Mann - Coach
Reflections on how we reclaim and sustain our worthiness in the face of falls and challenges.
July 2022


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Who We Are
Taylor Weidman – Co-founder/Photographer
Taylor is an American photojournalist and documentary photographer. He has worked with a number of international NGOs to cover issues in developing countries. His coverage of overcrowding in the penal system of the Philippines was recognized by the Anthropographia Award for Photography and Human Rights, and was exhibited in London, Geneva, Montreal, and New York. His coverage of homeless families in Romania won the New Talent Award at the annual Travel Photographer of the Year competition.
Taylor graduated with a Master's in photojournalism from the S.I. Newhouse School of Public Communications at Syracuse University. After working at The Christian Science Monitor, Taylor left the US and completed a project about Tibetan issues as a Fulbright Fellow in Nepal. His images of Tibetans from the remote Upper Mustang region were exhibited in Kathmandu for the 50th anniversary of the Fulbright Commission.
Taylor is based in New York where he spends half his year; the other half is spent photographing abroad for VCP.
Nina Wegner – Co-founder/Writer
Nina is a writer, editor, and book designer whose work has been published internationally. Nina received a B.A. in English with an emphasis on folklore at the University of California, Berkeley. After spending four years working as an editor and marketer for California book publishers, she returned to school in 2008 at the S.I. Newhouse School of Public Communications at Syracuse University, where she was distinguished as a Newhouse Minority Newspaper Fellow and received an M.A. in Magazine, Newspaper, and Online Journalism. Before co-founding the Vanishing Cultures Project, Nina was a journalist in New York, Florida, and Nepal. Her work has been published in The Atlantic, The Huffington Post, Public Radio International, and The Christian Science Monitor, among others.
Nina is currently a blogger for The Huffington Post, where she writes a column on indigenous issues for the Impact page. She is based in New York where she spends half her year; the other half is spent writing and collaborating abroad with Taylor Weidman for VCP.
Board Members
Peter Goodman
For nearly a decade, Peter Goodman worked as a book editor in Japan for leading companies like Tuttle Publishing and Kodansha International. In 1989, Mr. Goodman founded Stone Bridge Press in Berkeley as a publisher specializing in books about Japan and Asia. Under Mr. Goodman's leadership, Stone Bridge Press has produced works that are now considered classics of Asian studies and has won national awards including the PEN West award for literature, the Japan-America Friendship Commission Prize from Columbia University, and the International Typographic Design Award.
Bruce Strong
As both a staff and freelance photojournalist, Bruce Strong has shot in nearly 60 countries and has been published in Time, Newsweek, US News and World Report, National Geographic, and various international magazines, as well as the Orange County Register, where he was on staff for more than a decade. Mr. Strong is now a Professional in Residence at Mediastorm and Associate Professor at Syracuse University's S.I. Newhouse School of Public Communications, where he teaches classes in photography and photojournalism, as well as video, audio, and multimedia storytelling. Previously, he was awarded the Knight Fellowship at Ohio University's School of Visual Communication, and taught classes for four years in their Viscom program. Mr. Strong also served for a year as the Kellogg Public Policy Fellow in the University of Michigan's Journalism Fellowships Program.
Dave Weidman
Dave Weidman is the CEO and Chair of Celanese, an international Fortune 500 chemical company. He is a member of the board of The Conservation Fund and serves on several advisory councils at the University of Michigan and Brigham Young University.


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Summer Beer Garden Fundraiser
Join us Thursday, July 25th between 6-9PM
Your $20 donation for an advance ticket gets you access to cold beer, hard cider, and agua fresca. Invite friends, learn more about Aquinas Center's mission, and help us continue to assist new arrivals and long time neighbors through education, advocacy, legal services, and creative action.
Click on the link here to get your tickets.
Middle Eastern food will be sold separately by Philly Catering, a family based business making authentic/traditional Palestinian dishes that are perfect for a hot summer evening. Veggie and meat options will be available.
Tours of our garden and new greenhouse will be provided by the Aquinas Center team. You'll also have the chance to check out new items from the Youth Entrepreneurship Project and maybe purchase some herbs.
Tickets will be $25 at the door. Some parking is available in the St. Thomas Aquinas parish lot. Enter from 17th Street or Morris Street. You can also ride Indego or take SEPTA!


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Are you interested in Seattle and you want to see what people are talking about? Or, maybe you are in town, and you want to hear and see about favorite spots and who else is there? For people who are using Twitter and tagging their photos with the #hsjSEA hashtag and jea/nspa convention, it's easy to follow what is going on.
But, did you know you can follow along with all the action, even if you don't have a Twitter account? You must be wondering; why would you do that? A lot of people are posting tips and tricks they have learned. You can generally learn plenty of things from Twitter feed because you can be present at multiple places at once.
However, if you don't have a Twitter account, don't worry, you can still create a stream to follow all the mentions of the hashtag. For instance, you can install an app on your phone called Hootsuite.
The app is user-friendly, and we are going to show you how to create a stream. First of all, you need to sign up, it free and easy. Once you enter the app, on the right top corner, you will see a search option. Depending on the hashtag you want to follow, here you will enter for instance hsjSEA hashtag and press enter.
Then, the app will display all the stream coming through with this hashtag. You will be able to see what people are posting. You can choose to save the stream, and this will save you time. So, whenever you enter the Hootsuite, you will have your stream saved.
Another great place to follow along on hashtags, even if you aren't a Twitter member is the Hashtag website. It works similar to Google; you have a search option where you enter a hashtag you want to follow and press Enter.
It will display recent results and help you find the most interesting tweets. Basically, hashtags are often used on Twitter, and they categorize tweets and help other members to find them easily. Nowadays, you can find a lot of exciting news on this social media platform, and people use to express their option about specific topics.
So, go ahead, type #hsjSEA and see what you can find already. We guarantee you plenty of results.


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"Is that you Chatty Cathy?"
aproned Mrs. Cleaver calls.
"No! It's Ruse the Muse."
echoes thru echo chamber
mirror shiny upon the wall
come calling never did i when
the bridal dream of flying phalli
buzzing everywhere pay loaded
the groomal dream of hoary teeth devouring
it was corrupt priestly class that got us here
it is eyes those who have to see will take us home
where the heart is, where the neighbor
meets neighbor and wants to live in peace
all ideologues are on the table
anger is no proof of right
if we really want the fence to come down
the country be not divided and fall
some pet logs end up on the fire
rules to live by without a fence
of necessity will thusly be…
"Oh stop with the imagining!"
i would say i'm solly but but
but thaat's the road out of any
Ruse the Muse
"Is that you Chatty Cathy?"


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February 20, 2001 - 9:00pm
Bluetris 2 is a Tetris style game with a twist.
Many new ways of reaching the desired line formation have been introduced, including attacking the blocks, special blocks etc.
The game also offers a wide range of themes (colors, music, sfx) so that you can give it a customised feel.


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I needed tea for my apartment, so I walked over to the 17eme down Boulevard de Courcelles to Mariage Frères. I bought a box of Rouge Métis, a red fruit roobios, and my standard, Paris Breakfast. I love the neighborhood around parc Monceau, all luxe Haussmann buildings at their best and wide, leafy avenues. When I was undertaking the apartment search, this neighborhood, Ternes, was the first I checked, though I quickly realized it was well out of my price range. No surprise there, considering I stopped for lunch at Le Diplomat on the way home (mostly to use their wifi) and paid €11,50 for a croque madame. To be fair it was delicious, but mon dieu, the same sandwich costs half the price elsewhere.
Other Paris Details of Note: It stays light until 9:30pm, nutella crepes really are worth the calories, and everyone seems to be in love, or at the very least content to make out in public.


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Flute, whistle, pipes and guitar
Lessons are delivered through Skype or Zoom combined with sending audio/ video and pdf resources. Emphasis is place on learning ornamentation, variation and rhythmic subtleties. Much of the magic of Irish traditional music is to be found in the small detail of the music and this a prime area of focus in these lessons.


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Brussels has character. Out of all of the places I've visited, Brussels was the city I spent more time going to cafe's and actually, shopping than anywhere I've visited in the last few months. The city has a flair for the arts scene and cozy cafe's without being overwhelming.
The Grand Palace is without a doubt the best sight to see in Brussels. My friend and I walked around one of the alley ways from our airbnb and once we turned into this plaza, the view is breathtaking. I've seen this plaza many times in photos but, in real life the photos does not justify how unbelievably gorgeous this is in person.
Theatre Royal Des Galeries: We almost missed this area. Although, after standing in front of a store nearby, I saw people walking through it and knew what it was after taking a peek. Good thing I did a small research of places to see before I came to Brussels, otherwise, we would've missed it. It's basically a line of different chocolate stores and cafe's. We ended up buying some chocolates, of course 😉
Who wouldn't come to Brussels and not try the Belgian waffles? Maison Dandoy successfully fulfilled those needs for us. I ordered the Natural Leige Waffles with nutella. They were delicious!
Mannekin Pis: There are a lot of different stories about this statue about its significance. The sight of it made me cackle.


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God's Light Through Christ (Weekly Devotional)
Weekly devotional based upon the sermon of Sun. Apr. 26, 2015
With Christ as the light of the world, our spiritual path ahead is clear. The journey may still be confusing and weary at times, however, we'll never be alone. No matter the time, place, or circumstance, God's eternal light continues to shine like some all powerful searchlight. Better yet, His light is eternally redemptive and transforming.
While being embraced by God's light through Christ, we have peace within, and a greater understanding of our life as believers, enjoying the constant connection in, with, and through Christ!
In Christ,
Pastor Anette


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Whats Hiding under this Imperial helmet ?
Some readers on Buzzfeed and on this blog were shocked by one of my last post about Lilo and Stich grown up.
I was accused of " raping childhood memory " of some ( very open minded ) people.
Why ? … Because i was showing a different angle of a well known artist who happened to make movies for kids but who can also make cartoons with sensuality and big boobs in it ( YES BOOBS end of the world … )
So i am Happy and Proud to keep showing you some artist sexy vision of one great childhood memory : Star wars
Feng Zhu is an illustrator who work for movie design and cover art, and actually he worked on the designs of the Star Wars Episode III, Revenge of the Sith for Lucasfilm
As you can see he did some pretty cool Posters for calling young male around the galaxy to Join the empire.


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From The New York Times: The State of Your Block, 2017
"Prior to a change in ownership several years ago of our buildings, Greenwich Street was bustling with mom-and-pop small businesses: a pizza shop; a dry cleaners; a terrific homey cafe; a family-owned pharmacy; and a deli — exactly what turns a street into a community. All the storefronts except the Duane Reade are now empty. The once vital street is now bleak and depressing.
— Nathan Weber, 75.
Greenwich Street between North Moore and West Streets. TriBeCa, Manhattan"


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Bobby Rahal Net Worth Bobby Rahal made money by Athletes, Business niche. For all time, at the moment, 2021 year, Bobby Rahal earned $62 Million. Exact sum is $63860000. Youtube Short biography, height, weight, dates: Birth date: January 10, 1953 age 62 Birth place: Medina, Saudi Arabia Profession: Race car …Read More »
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Diane G. Longley, 79, of Woolwich, died May 13, 2017 with her family by her side at the Maine Veterans' Home in Augusta.
She was born on November 16, 1937, the daughter of Cyrus and Annie (Chandler) Longley. She grew up in Bath and graduated from Morse High School, Class of 1957. After high school, Diane went on to Airline School in Kansas City, Missouri and served in the United States Air Force. She is also a graduate of the University of Southern Maine.
Diane held many positions in her lifetime. She taught school for many years in Portland, South Portland and Phippsburg. She also was a writer and wrote stories for the magazine, Maine Life. Diane also wrote five books, "Fort Popham Maine, a Civil War Fort;" "Steel Over The Kennebec;" "The People's History of Bath;" "Life's Poems;" and "Woolwich Central School 1952-2010." She wrote news articles and took photos for the Bath Times newspaper years ago and then for the Times Record. She also wrote "Make a do Farm" series for several years for the Times Record newspaper. She also wrote for the Wiscasset Newspaper and took news photos, and wrote stories and news for the Coastal Journal.
Diane loved children and created Aunt Diane's Corner for the child in all of us. The show aired on Public Access TV channel in Woolwich.
In later years Diane was part of the group that, with the Bath City Officials and other wheelchair bound residents from the area, helped make downtown Bath handicapped friendly. She loved helping people and helped many men and women to attain their well-deserved service connected disabilities. She was Citizen of the Year 2010, which was presented to her by Sagadahoc County Sheriff Department.
Diane was a devoted member of the Bath United Methodist Church, a past commander of the Disabled American Veterans Portland and Brunswick Chapter; Past member of the Bath Historical Society; Member of the Bath Senior Citizens; Charter member of the Woolwich Historical Society; served on many of Woolwich's committees; serviced on the Serret Committee for the Sagadahoc Bridge, and was the fifth car over the bridge. She was a life time member of the Disabled American Veterans; past chaplain of the disabled American Veterans, Portland and Brunswick; and past adjutant of the Disabled American Veterans Portland and Brunswick Chapter.
She was predeceased by her parents; sisters, Joan Lombardo, Brown and Maryland Staling; sisters-in-law, Barbara Dunton and Margaret Hansom and brothers-in-law, Robert Staling and John Brown
She leaves behind her longtime friend, Arlene L. Whitney; and the children she helped raise, Karin Salmonson Gordon, Christina Salmonson McGahey and Diana Lee Salmonson Garnett; brothers, Walter L. Longley and William C. Longley; and many nieces, nephews, great nieces and nephews.
In lieu of flowers, if you wish to make a donation in Diane's name, the family wishes are they go to: Beverly Barlett Fund, Bath United Methodist Church, 340 Oak Grove Ave, Bath, ME 04530.
A Celebration of Life will be held on Saturday, May 27 at 2 p.m. at the Bath United Methodist Church, 340 Oak Grove Ave, Bath, Maine. Burial will be private.
To share your thoughts and condolences with the family, please visit www.desmondfuneralhomes.com
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The Book of Cain
by Jeff Lowe
296 pages
Richard Tyler is a "bad boy." Seventeen, going on thirty-five. A dangerous predator with extraordinary fighting skills and a record of extreme violence. In a last-ditch effort to keep him out of prison, Doctor Lillian Last is brought in to do what no one else has accomplished. She must peel back the scales and scar tissue of his mysterious past to discover some redemptive goodness under the hard shell of the boy who calls himself "Cain." It would take a miracle to find the truth. And when that miracle comes, the truth is an earthquake that shakes their world into a new and awesome form.
Available in paperback or Kindle eBook, and audiobook.


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All users must register a bank account with MAX before they are allowed to trade. To register an account, please do the following:
- Click on My Profile in the upper-right hand menu
- Under Bank Account Verification, click on Bank Account Setting
- Please review the guidelines at the top of the screen. They are also pasted below.
- Enter your bank, branch, and account numbers
- Click Add
- The bank account will show up below with Status pending
- After identity verification pass. The bank account verification process can take 1-3 business days.
- If you want to modify the bank account that is verified, you can reset it by pressing "Discard" and it takes 1~3 business days to re-verify your bank information.
- A $1 TWD fund will be made when verfying your account. The verification process can take 1-3 business days after KYC is verified.
- Please refer to the cover of your bank account passbook. You must provide the account holder's name, account number, and the correct branch code as they appear on the cover of your passbook. Some banks will use the first three or four digits of the branch code as the prefix of your account number. Do not omit these digits.
- Please select your branch based on the branch code rather than the branch name that appears on the cover or your custodial booklet. Your bank may change the branch name without notice. If you do not see your branch in the menu, please contact us first. Do not select a branch that you are not sure of.
- If you use the Chunghwa Post Co.:Please select 7000010 as your branch code if your account number issued by the Chunghwa Post Co., Ltd is 8-digit long. Please select 7000021 if it is 14-digit long.


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16.2 was another 20-minute grueling workout for the best athletes in the world. That is, unless you finished well below the time cap like the 2015 World's Fittest Man, Ben Smith, and Kara Webb. Smith finished all five rounds in 16:54 to take first place worldwide in the workout. Webb, who posted her score and video earlier in the week, finished the workout in a blazing 15:07.
Smith finished just six second ahead of Rich Froning and 36 seconds in front of Mathew Fraser. After two events, Ben Smith is in 21st worldwide after bouncing back from 115th in 16.1. Froning is in 11th and Mathew Fraser sits in 5th. All three will be competing at the 16.5 announcement show at The Ranch in three weeks.
The top of the men's leaderboard is littered with CrossFit Games veterans. Josh Bridges, coming off the best score of 16.1, followed up with a 6th place finished to maintain the top spot on the worldwide leaderboard. Behind him is Noah Ohlsen, Frederick Aegidius, Kyle Frankenfeld and Mathew Fraser. Frankenfeld is in the Australia region and finished 7th in the Pacific Regional last year.
Webb, who finished 58 seconds ahead of Brooke Wells, now sits in 6th worldwide after two events. Webb is in good company near the top of the women's leaderboard with two of the Fittest Women on Earth, Katrin Davidsdottir (2nd), and Camille Leblanc-Bazinet (3rd). Emily Bridgers and Sara Sigmundsdottir are also in the top 5 in 1st and 5th, respectively. Also in 3rd place is Jamie Greene. Greene, who lives in Abu Dhabi, UAE, competes in the Africa region. Greene is no stranger to the top of the leaderboard as she finished 1st in the Africa region last year and was 102nd worldwide in the 2015 Open.


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Last Updated on March 4, 2014 by Amir Arif
Dodge Dart has been named as Best Bet under the small car category in 2014 Edition of The Car Book. Last year, it earned the same name. It is indeed an honor for Dodge to win the same title in two consecutive years. This recognition is completely based on an analysis conducted by The Car Book and the Center for Auto Safety. This analysis took into account varied factors such as fuel economy, complaint data, insurance costs, rollover rating, preventative maintenance schedules, repair costs, and warranty coverage. 2014 Dodge Dart score 9 in this analysis while highest score is 10.
President and CEODodge Brand, Tim Kuniskis said, The Car Books recognition of the Dart as a Best Bet for two years running confirms what our customers are telling us.The Dodge Dart has unique combination of distinctive styling, fun-to-drive performance, up to 41 mpg, segment-leading safety features, and easy-to-use technology, all combined, making it a tremendous value.
According to Strategic Vision Total Quality Index,Dodge Dart also secured top position due to its top quality in compact car segment.
Insurance Institute for Highway Safety named 2014 Doge Dart as Top Safety Pick when this compact car passed the highest assessment crashing-testing program of IIHS.
The performance of Dodge Dart is boosted up through more than 60safety and security features. Dodge Dart is integrated with a 1.4-liter turbocharged, intercooled I-4 engine with MultiAir electro-hydraulic valve-actuation and six-speed manual transmission. Therefore,it delivers highway fuel-economy almost 41 miles per gallon (mpg). Another great thing about this small car is its 68-percent high-strength-steel content-ratio, which is the highest value in the industry.
Connected World Magazine gave Dodge Dart with an accolade 2014 Connected Car of the Year due to its Uconnect hands-free navigation and communication technology.
Jack Gillis from The Car Book says, We appreciate the fact that Dodge has made a significant contribution to improving the market choices for the American car buyer.The fact that your vehicles have the quality and features most important to todays car buyer is a testament to your desire to meet customer needs.2014 Dodge Dart also listed among Most Loved Vehicles in America by Strategic Vision, which took into consideration vehicle performance, features and customer attitude while composing a list.
Dodge Dart 2014 offers an amazing drive experience to its customers since it features with advanced, high standard safety features, and wonderful material. This compact car lets the driver to use a 2.4 liter engine with 184 horsepower, well-tuned suspension, hyper black 18-inch aluminum wheels and some class-specific features such as media center and LED racetrack taillamps. This amazingly small car is quite efficient due to its power and technology. Its price starts from U.S. MSRP of just $15,995.


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"I think the recognition given to each kid at the end was very well done, and contributed to each kid's enjoyment and sense of worth."- Boat Captain
This is a C.A.S.T. for Kids event designed to provide children with disabilities, ages 6 – 18, the opportunity to enjoy a quality outdoor recreational experience through the sport of fishing. Take to the water with C.A.S.T. for an unforgettable morning of fishing!
Event Location
Lanexa, VA (map)
Event Contacts
Event Coordinator
Billy Barnes
(804) 347-8077
Video From A Memorable C.A.S.T. for Kids Moment
Event Itinerary
Our C.A.S.T. for Kids events include lots of fun and celebration! You can expect 2-3 hours of fishing, a delicious lunch and an awards celebration where your child will receive a personalized plaque. This is a day of fishing your child will never forget!
Thanks To Our Event Sponsors
New in 2022! Sponsors to come soon!
C.A.S.T. Covid-19 Event Policy and Procedures
The C.A.S.T. for Kids Foundation will be holding all 2022 events in compliance with state and local guidelines for Covid-19. We will be following these guidelines for the safety, health and well-being of our participants, families, volunteers and staff. We encourage all in attendance to follow local and state Covid guidelines in place at the time of each event. It will be impossible to guarantee the safety of all C.A.S.T. participants and volunteers. Please consider each of your individual risks associated with the Covid-19 pandemic when making your decision to attend any C.A.S.T. event.


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I've written a number of times here about the findings of a Thomson Reuters survey, The State of the U.S. Small Law Firms Study, in which solo and small firm lawyers were asked about how they define success, the challenges they face and what firms are doing to achieve success.
Recently, I joined Karl Florida, managing director, small law firms, at Thomson Reuters, to discuss the survey in a podcast moderated by Leonard Lee of Thomson Reuters.
The podcast is now posted at the Legal Current blog. You can listen to it there or download the MP3 file.
Here are my prior posts about the survey:
- This Week In Legal Tech: Exclusive Results Of A New Small-Firm Survey.
- Exclusive Survey Results: Small Firms' Greatest Challenges And What They're Doing To Address Them.
- More Exclusive Survey Results: How Small Law Firms Measure Success.
- More Exclusive Survey Results: Few Small Firms Implementing New Technology.
- This Week In Legal Tech: Survey Sheds Light On How Solos Differ.


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This is a true story related to me a few years ago. My friend was working for a software contractor on a project for a large technology giant. The technology giant is wedded to the idea that the value of software is directly related to the number of lines — which is crazy. Most of us stopped counting lines decades ago, but here is a shocking example of what can happen if you don't understand what your client thinks is valuable. Continue reading
Monthly Archives: January 2012
All-or-Nothing is a poor planning technique
I work with a large development group. Every 6 to 9 months we go through a planning phase. What follow is a curious ritual that I will recount in detail, that end up in a project that is deemed excellently planned by the engineers and managers, even though the resulting software product is summarily disliked by the customers. It is all based on the theory that perfect software requires a perfect plan. Continue reading
Learning to Iterate
I work with a large team in Japan that develops software. The software produced is late, out of date, falling behind the competition, and is filled serious usability problems. The software is of high quality from a Japanese point of view: the products do exactly what they say they will do. Certainly no less, and generally no more, than advertised. The development is expensive, and the product is falling behind the competition. It is clear to everyone, even the team itself, that something needs to be done to 'fix' the development methodology. Continue reading
Installer Design Principles
Software needs to be installed. This has been a large pain point in many of the software products I have seen. Proper installer design can make a huge difference in the supportability of a product. Continue reading


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Four years ago, Daniel Howie was on the cusp of national success as front man of the Charlotte alt-rock band Sugar Glyder when he walked away from the music biz and began working as an IT recruiter. After recording and releasing a handful of indie records to growing acclaim throughout the 2000s, Sugar Glyder had signed with the Warner Bros. Records subsidiary ORG Music in 2012, and the following year released its major-label debut, The Eyes: They See.
But all was not well in paradise.
"We had personal issues within the band," Howie remembers. "It wasn't drugs or violence or anything like that — it was just issues with responsibility, the stresses and strains of touring, the new stresses of being signed and playing with somebody else's money. The members of the band just weren't getting along."
Shortly after the album came out, Sugar Glyder released an acclaimed video for one of its tracks, "Lost in the Woods," and began touring. But soon thereafter, bassist Emily Aoyagi had had enough of the drama and quit. Sugar Glyder recruited Robby Hartis, the bassist of Charlotte's The Lights, Florescent, whom Howie calls "a super-awesome dude. He really jump-started the band."
But the problems persisted.
"We tried to address them and fix things but they just didn't get fixed," Howie says. "It got to the point where other members were going to leave, and I didn't want it to come to blows, or to an explosion onstage." He looks away, pensive. "I didn't want it to become a Liam and Noel Gallagher thing," he goes on, referring to the famously fighting brothers of Oasis. "We all cared about each other and the band. That's why you have that kind of friction. But I wanted the memories and the importance of what Sugar Glyder was to this city to remain positive."
Howie pulled the plug on the group and moved on to his career as a recruiter, eventually joining the technology-based marketing and sales company Red Ventures, where he still works today. But while he left the stage and the acclaim of being the front man of an up-and-coming rock outfit, he never completely left music.
In 2014, Howie started collaborating with Charlotte drummer and producer Mark Eckert on a solo project he called Mouth Sounds. The two began tinkering with loops and other sounds, Eckert bringing a fresh new electronic sensibility to Howie's sugary pop.
The result is Mouth Sounds' debut seven-song EP Sing or Swim, released digitally last year and coming out in physical form this week. Mouth Sounds will perform an album-release show at the Visulite September 21, and Howie says he couldn't be happier with the low-key, more organic way that his latest project has come to fruition.
"When we started out, I had no idea what I wanted to create," Howie, 33, says. He's sitting at Amelie's Bakery — not the hip one in NoDa, but the suburban one at Carmel Commons in South Charlotte — looking, he notes with a laugh, "pretty fly" in a grey, button-down collar shirt, black jeans and combat boots.
"Working with Mark, I was able to just be myself," he says. "I know what I like and that's what I always write. So we sat down and created a foundation of seven songs, started working on a story, and started building on the idea of, 'What is Mouth Sounds? Who is it for?'"
The name comes from the way Howie composes. He'll come up with a melody and begin humming it and then singing it, initially forming gibberish lyrics.
"It's very phonetic, the way I write," Howie says. "It always starts out with a song in my head that I wish was a real song. It's usually a hum or a sound, and then just random consonants and vowels. Then I'll put chords to it and I'll play off the rhythms of whatever I'm hearing and feeling.
"The meaning and lyrics take a back seat," he says. "They don't come until later."
Howie addresses that process on the EP's first single "In the Night," over a bright buzz of keyboards and a heavy electronic beat: "Don't get carried away with the words on the page," he sings, "they're just words anyway."
The song is a notable departure from the slick harmony guitars of Sugar Glyder tunes like "Lost in the Woods," and certainly a far cry from the band's earlier, heavier songs, such as the title track of its 2009 LP Poor Baby Zebra.
"I wanted to take a different approach to this album," Howie says. "Coming off the heels of being in an environment of working with others in all that strife and conflict, I wanted to be open to different collaborators. I wanted to invite new people in and just let the organic nature of the collaborations come out under the name Mouth Sounds."
In addition to Eckert, Howie enlisted New York bassist Sam Enright and sax player Ryan Saranich, who plays in the Pink Floyd tribute band Brit Floyd and provides subtle touches to "In the Night" and the quirky "Slow DiMaggio."
Eckert, a full decade younger than Howie, was thrilled to be part of the project. "I'd been a big fan of Sugar Glyder back in high school," Eckert says. "I loved how they incorporated synths in their sound. Not many bands in Charlotte were doing it back then, and I really felt like they were pushing boundaries for an indie band." When he heard an early solo mix of "Higher Ceilings," a track on Sing or Swim, Eckert says, "I immediately shot a message via Facebook and asked if he wanted to hang out. After meeting up and talking, we were pretty dead set on making a record together."
Eckert helped bring out the crisp, percussive elements in tracks like "Higher Ceiling" and "Marigold," the album's wistful closer. "I had been toying with backing tracks, synth programming and triggers since I was in early high school, and I've been playing with artists since then that only do that," Eckert says. "So immediately I said to Daniel, 'Let's just go for it. Let's put in all the sounds we can, and the logistics of the show can be figured out later. It ended up working out great."
The collaboration has made Howie feel alive again. "I had about 80 or 90 songs on my computer," he says. "A lot of it had spun off into Sugar Glyder stuff — songs we ended up recording as a band — but some of it stayed dormant." He pauses. "I mean, I'd been doing this since I was 16 years old. I have so many ideas floating around."
Daniel Howie wasn't always so open with his music. His dad John and uncle Eddy Howie were members of the '70s- and '80s-period AOR pop-metal band Sugarcreek (think Kansas, Foreigner, Loverboy), a Charlotte act that eventually landed on the pre-American Idol TV show Star Search, where they performed two songs — "Rock the Night Away" and "Here We Go Again" — to great fanfare. At first, Daniel was too shy to play music around his father, who was also a bodybuilder and owner of the Enterprise Fitness gym in Monroe. Daniel dabbled a little on a Casio SK-1 synth and eventually got himself a cheap Peavey guitar.
"But I didn't feel comfortable doing it in front of people," he says, "because my dad had been in this big rock band. Those were big shoes to fill."
By high school, Howie had discovered his own musical preferences — acts like Weezer, Foo Fighters and Jimmy Eat World. He and childhood friend Chris Rigo started playing in cover bands at parties, but when Howie went off to North Carolina State University in Raleigh, the two separated for a couple of years. At college, Howie worked as a DJ for the campus radio station, where he fell in love with Britpop. When he came back to Charlotte to study at UNCC, he and Rigo formed Sugar Glyder. Their first show was at the now-demolished Fat City in NoDa.
From 2003 to 2013, Sugar Glyder honed its sound at venues like Fat City and Tremont Music Hall. And that sound was nothing like the metal and punk bands they shared bills with. It was a mix of indie experimentation with pop-song structures and dramatic dynamics reminiscent of Muse or Snow Patrol — "bands that had theses grandiose choruses that would literally be an explosion of sound, but that also had this sweet, subtle kind of melancholy," Howie says. "I gravitated to sad melodies, but with music that's very anthemic — that shifts from that sad, morose music into these big, explosive choruses. A lot of ups and downs and louds and quiets."
Around that time, Howie developed his signature, high-pitched vocal style purely by accident. He wanted Sugar Glyder to stand out amid the roar of lumbering hard rock and punk bands.
"We didn't have the best equipment, and I specifically had to try hard to be heard over music," he remembers. "So I wrote everything and sang everything in a higher register. I had to just push everything, which in retrospect was for the best. It gave us a sound that was exciting and energetic."
Charlotte music fans took note, and after the band self-released four solid albums — The Unsaid and the Obvious, in 2006; We Cracked the Sky, in 2008; Poor Baby Zebra, in 2009; and Lovers at Light Speed, in 2011 — major labels began taking note, too. In 2011, Sugar Glyder played an unofficial show at the South By Southwest Music Conference in Austin, Texas, for reps from ORG Music, a vinyl reissue label which had released a few original projects including new works from Mike Watt (Minutemen, Firehose) and Josh Klinghoffer (Red Hot Chili Peppers). The label signed Sugar Glyder and released The Eyes: They See, which was a leap forward for the band in terms of sound and production. The record got good reviews, and the video for "Lost in the Woods" won director Josh Stauffer a "Best Music Video" award at the 2013 Los Angeles Cinema Festival. ORG was ready to push Sugar Glyder hard, but then everything fell apart.
"It was certainly disappointing to have Sugar Glyder break up so soon after the album's release," says ORG's Andrew Rossiter. "With a developing act like Sugar Glyder, that makes it nearly impossible to recoup the money or energy we spent on the album, which is always disheartening." (ORG has since returned to releasing reissues only.) Howie felt bad about letting ORG down, but he moved on with his life, getting a straight job to help support his wife and family.
"Super Glyder was a full-time effort, so coming out of that was a big bounce," Howie says. "The questions for me at that time were: How do you support a family? How do you pull in a real income? I'd always had a lot of support growing up and throughout Sugar Glyder's years of touring and traveling. At some point I realized I wanted to give back. So when the band broke up, it gave me the opportunity to start a career."
Musicians don't just stop making music, though, and Howie couldn't stay away from it for more than a year. Fortunately for him, Red Ventures doesn't discourage its employees from having side hustles, so Howie got busy again tinkering with songs. But he plans to take things much more slowly with Mouth Sounds. He's in no hurry and is no longer chasing fame or fortune.
"The life cycle of this project is not about working at a breakneck speed of putting an album out right now and then touring right now, and then putting another album out. I'm pushing that model aside," Howie says. "And if you're not in this business to make money — and I'm not — then it's not necessary to work like that. I want to create the cicada life cycle of a band [laughs] — underground from seven to 17 years and then let it hatch when it's time, not try to force it out of the ground before it's ready."
Howie has an outline for how he'd like for Mouth Sounds to develop: He plans to do seven songs on seven different albums, beginning with Sing or Swim.
"Seven is just the perfect number," he says. "There are seven notes in a scale, seven colors in a rainbow, seven days in a week. Seven years is when you get the itch." He laughs at his own enthusiasm. "It's just a good solid number, and it gives me form with which to wrap my ideas around."
As far as creating a massive fan base and going out on the road, Howie says he's not overthinking that.
"There are people who will like it and people who won't," he says. "And that's completely OK with me. Even if only two people like it, I'll be doing this for the rest of my life." He smiles and shrugs: "This is what I do. I make music. I always will."


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Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we're reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This January, we're doing the first season. Check back daily for the latest review.
Vox Sola is a rather sedate late-season instalment of Star Trek: Enterprise. Largely designed as a bottle show, Vox Sola has a rake of interesting ideas, but doesn't offer any particularly insightful exploration. The alien creature of the week is unique and distinctive, but the episode constructed around it feels rather lacklustre. There's a sense of late-season fatigue at work here, with Vox Sola feeling rather like a more low-key variation on the strange-space-phenomena-of-the-week story template that Star Trek: Voyager would use routinely.
Vox Sola is the last Enterprise script credited to writer Fred Dekker. Recruited at the start of the first season, Dekker would depart the show before the start of the show's second season. Unlike other fresh-faced recruits like André and Marie Jacquemetton or Antoinette Stella, Dekker had quite an impressive resumé when it came to genre work. His work included genre fare like Night of the Creeps and The Monster Squad.
However, Dekker had also been the writer and director of Robocop 3, a rather infamous science-fiction sequel. The movie had done enough damage to Dekker's career that his next writing credit was on Enterprise eight years after the initial release of Robocop 3. Nevertheless, having a writer and director like Fred Dekker on staff was a boon to the show. At the very least, The Monster Squad is on the way to becoming a cult classic.
Dekker himself has been quite candid about his time on Enterprise. Asked if he felt like the show had not paid enough homage to what came before, he replied:
Ironic question, because I feel the show was too beholden to Star Trek history! A key reason I wanted to be involved was to tell stories pre-Kirk, pre-Picard, pre-everything we know about Trek canon. I thought it would be a great opportunity to start with a totally clean slate and do a show about the first space explorers with warp drive capability. What would be out there? What life forms would we encounter? Unfortunately, apart from one episode (Fight or Flight), I feel like the first season quickly devolved into rehashing all the stuff we'd already seen – Look, more Vulcans! Hey, it's the Andorians! Oh, no, those darn Ferengi! Yawn. But the cast and crew – and my fellow writers — were fantastic.
Dekker is expressing a sentiment shared by a number of different creative forces on the show. He's arguing that Enterprise really needed to be more adventurous and exciting. It's something repeated quite frequently about the early years of the show.
Dekker's two other script credits for the season are The Andorian Incident and Sleeping Dogs. The Andorian Incident is a reasonable well-liked early instalment of Enterprise, albeit one that tends to coast on a rather powerful ending and the appeal of the returning iconic blue-skin aliens. Sleeping Dogs is one of the more bland and generic offerings of the first season. It isn't as bad as Unexpected or Terra Nova or Two Days and Two Nights, but it just occupies space.
Vox Sola does something similar. The episode is not the most distinctive of the season, even if it is perfectly functional. There's no real "umph" to it, no energy and no vibrancy. It's an episode where a bunch of stuff happens, our heroes react to it, and then continue on their way. There's no profound character moments, no exciting twists, no nuances and nothing that seems too far outside the norm. This is a shame, because a script about an alien fungus infesting the Enterprise should be great fun.
The script has a number of good ideas, but no real idea on how best to execute them. The space monster is an absolutely intriguing creation. The design is quite wonderful and memorable. The alien organism was nicknamed "the linguine monster" by director Roxanne Dawson in the On the Set Documentary, but undoubtedly given much more colourful nicknames by fans. (The fact that Dawson can't seem to describe the creature without giggling suggests that she is aware of the comparison.)
Indeed, Vox Sola is largely noteworthy for the production of an On the Set documentary charting the development of the episode. It's an insightful glimpse at the level of design and craft that goes into crafting just about any episode of Star Trek. Although the documentary was not broadcast, it is pack with all manner of interesting observations. For example, Brannon Braga suggested that the design of the creature should be based on a cover illustration of a H.P. Lovecraft book, most likely The Tomb and Other Stories.
Coupled with a rather insightful – and decidedly playful – text commentary from Michael and Denise Okuda, Vox Sola might be the most average episode of Star Trek ever to get this sort of in-depth treatment. Then again, it's a nice glimpse at precisely how much work actually goes into producing even a decidedly "average" episode of Star Trek. One of the nicer aspects of the current home media age is the ability to peel back the layers and explore how everybody working on a Star Trek show does their job.
It is very easy to gloss over the level of care and skill that goes into producing an episode of Star Trek. After all, this isn't a show that can shoot on location in Los Angeles. Whole cultures and societies and creatures need to be crafted week-in and week-out, with the show moving at a relentless pace. The budget is significant, but the demands are phenomenal. The level of care that goes into constructing the world deserves acknowledgement and recognition.
At the same time, this doesn't stop Vox Sola from feeling more than a little bit stale. It's nice to get a sense of the crew relaxing. Reed, Sato and Mayweather check out a movie together. Archer and Trip watch water polo in the Captain's Mess. Two lower-deck staff are left running Engineering. There's an endearing sense of what day-to-day life on the ship must be like, as seen in shows like Breaking the Ice or Dear Doctor.
Unfortunately, there's also a sense that these scenes really need to start telling us about these characters. It's great to have more scenes focusing on the crew relaxing together, but they really need to let us know more and more what these people are about. In Vox Sola, we spend a great deal of time with Archer's love of water polo, but we never get a sense of what that says about him. Mayweather jokes about how Reed likes to blow things up, but it feels like a rather superficial take on the guy.
In one of the strange scenes of the episode, Mayweather gets to handle an important diplomatic communication with the Kreetassans. Given how awkwardly the last contact went with the Kreetassans, it seems odd that the helmsman is dealing with them – that he doesn't summon Hoshi or T'Pol to the bridge. In fact, given that Vox Sola affords a little character arc to Hoshi, it would seem to make sense for Hoshi to reconcile with the offended Kreetassans. When your helmsman does a better job with the awkward aliens than your linguist, it suggests that at least one of the two is in the wrong job.
It's a sequence that exists to give Mayweather something to do. That's not a bad thing. So far, there has been a shortage of episodes that give Mayweather things to do. However, Vox Sola just throws the scene in there, with no build-up or pay-off. Mayweather wasn't even present in the earlier scene where the Kreetassans stormed off the ship. Archer never gets to reconcile with these rather strange aliens. It's a scene that gives Mayweather something to do in the easiest manner possible, without questioning why Mayweather should be doing this.
Hoshi's character arc is similarly confused. One of the better aspects of Sleeping Dogs was the way that Dekker brought Hoshi and T'Pol together. Their scenes in that episode brought out T'Pol's more sensitive side, while allowing Hoshi to admit her own insecurities to somebody outside the Starfleet command structure. There's a sense that this should have been the start of an interesting relationship between the two.
While it might be too much to hope for a friendship like that which develops between Trip and Reed, perhaps T'Pol and Hoshi could exchange books or converse in Vulcan or discuss cultural differences occasionally. However, Vox Sola seems to resent their relationship back to zero. It is as if their interactions on the Klingon ship never happened. "Any progress?" T'Pol asks at one point. Hoshi snipes back, "Believe me, you'd be the first to know."
We get a whole subplot about the tension that exists between the two them. "I didn't ask for you to keep count of every time I make a mistake, or to second-guess all of my decisions," Hoshi insists. This seems rather strange, particularly since a key conversation in Sleeping Dogs had T'Pol acknowledging that Hoshi has to deal with her own insecurity and self-doubt. If T'Pol is that acutely aware of Hoshi's issues, it seems odd that she would place such pressure on the linguist.
In fact, Vox Sola goes a good deal further. "You've been looking over my shoulder ever since you came on board," Hoshi protests. "Double-checking my log entries, my translations." It seems odd that this is only coming up now. After all, Dekker wrote an earlier episode where the two characters were placed in a high-pressure environment and Hoshi was struggling with the pressure. Why didn't Hoshi raise that resentment there? Why didn't T'Pol's empathy in Sleeping Dogs help to defuse it?
This is inevitably leading to a scene where T'Pol expresses her admiration and respect for Hoshi, that has been misconstrued somewhat. "If you feel I've been unfair to you, I apologize," T'Pol offers, "but I hold you to a high standard, Ensign, because I know you're capable of achieving it." This is really just the same conversation that Hoshi and T'Pol had back in Sleeping Dogs, only Hoshi is a bit more aggressive towards T'Pol this time. Arguably, even that subplot was just a replay of Fight or Flight.
This brings us to the biggest problem with the character work in the first season of Enterprise. It is great that the show has afforded considerable space to character work. In particular, episodes like Breaking the Ice, Dear Doctor and Shuttlepod One are all happy to give the characters room to breath. However, there is a tendency to take this space for granted. If you're going to try to focus on character-based storytelling, there needs to be some measure of growth and development. It doesn't have to be seismic, but it has to be there.
So it feels quite frustrating that this is the third "Hoshi has self-doubt issues" subplot that the show has done to date. While it might be too much to present Hoshi as completely acclimatised to deep space exploration, it feels a bit much to devote another subplot to how Hoshi worries about being good enough to do her job. Archer and T'Pol seem a bit less patient with her than they were in Fight or Flight and Sleeping Dogs, and that perhaps reflects the mood of the audience as well. There must be some forward momentum of some sort.
Vox Sola compounds this issue with the decision to feature a fairly standard "watch the crew invent some familiar tech" plot. For a series about getting Star Trek to go "back to basics", Enterprise has been quite keen to feature familiar Star Trek technology. Broken Bow saw Reed introducing the crew to "phase pistols." In Unexpected, Trip experienced a holodeck. The Xyrillians also have something quite similar to cloaking technology and the Kantare have the ability to create holograms of people.
Here, Reed gets to invent what he terms "a stable EM barrier", but what most science-fiction fans will instantly recognise as a force field. It's a subplot that feels like it exists to pad out the episode, given that the force field exists only to allow T'Pol and Hoshi to address the creature. They could just as easily have used the ship's intercom to the same effect, and barricaded the cargo bay to contain the creature.
There is absolutely no reason that we need to see Reed invent a force field. Instead, it's the perfect demonstration of the sort of techno-fetishism that caused so many problems on Star Trek: Voyager, where the crew would whip up magical solutions to the problem of the week using nothing but technobabble. To be fair, we know that the future shows will find a use for force fields, but Reed's magical invention is brushed aside fairly quickly on Enterprise itself. Indeed, the ship's brig still uses locks.
That said, there are a number of nice touches to Vox Sola, even if they can't redeem the episode. It's nice to meet some crew outside the senior staff – even if characters like Rostov and Kelly don't quite become regular fixtures on the show. Similarly, it's nice that Vox Sola is framed as a horror story, only to morph into a first contact tale with a peaceful resolution. It turns out that it is possible to make contact with organisms that are so alien and so unique, and that it is possible to reason with them.
(This is quite effectively mirrored in the awkward – or, to quote Trip, "briefest" – first contact with the Kreetassans. The Kreetassans are horribly offended by something, but the crew can't figure out what they are talking about. Eventually, it turns out that Kreetassan culture is offended by the sight of others eating. When Mayweather asks how they eat, the aliens responds, "We eat the same way, but not in the presence of others." It's a nice reminder at how strange other cultures must seem.)
Still, Vox Sola can't help but feel like a decidedly average hour of television, and another episode demonstrating late-season fatigue at the end of what has been a long and troubled first season.
You might be interested in our other reviews of the first season of Star Trek: Enterprise:
- Broken Bow
- Fight or Flight
- Strange New World
- Unexpected
- Terra Nova
- The Andorian Incident
- Breaking the Ice
- Civilisation
- Fortunate Son
- Cold Front
- Silent Enemy
- Dear Doctor
- Sleeping Dogs
- Shadows of P'Jem
- Shuttlepod One
- Fusion
- Rogue Planet
- Acquisition
- Oasis
- Detained
- Vox Sola
- Fallen Hero
- Desert Crossing
- Two Days and Two Nights
- Shockwave, Part I
Filed under: Enterprise | Tagged: alien of the week, anomaly of the week, Archer, enterprise, Fred Dekker, fungus, hoshi, roxanne dawson, star trek, star trek: enterprise, t'pol, trip, vox sola, vox solis |


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Burn After Reading (2008)
Content by Tony Macklin. Originally published on September 18, 2008 @ Fayetteville Free Weekly.
Please send Get Well cards to the Coen Brothers. After last year's "No Country for Old Men," for which they won the Oscar for Best Picture of the Year, Joel and Ethan Coen have had a relapse.
Their new offering "Burn After Reading" is reminiscent of "The Ladykillers" the Coen Brothers' bomb with Tom Hanks in 2004. "Burn After Reading" is "The Ladykillers, Part 2." It has star power, but it fizzles.
It's hard to understand how the collaborative duo that made such a dynamic, impressive film as "No Country for Old Men" could squander their next opportunity so abjectly. Two or three chuckles do not make a comedy. "Burn After Reading" is a shallow diversion.
"Burn After Reading" is a fitful, lurching would-be comedy about espionage. Osbourne Cox (John Malkovich) gets demoted from his position at the CIA and decides to write his memoirs. Linda Litske (Frances McDormand) desires four different cosmetic surgeries. Is McDormand's husband Joel Coen trying to tell her something? But Linda's HMO won't pay for the treatments. So when she and Chad (Brad Pitt), a co-worker at a fitness center, get hold of a CD with Cox's info on it, they decide to sell it back to him, to the Russians, or maybe to the dopey Alaskans. This is no Ninotchka. It's more Nincompoops.
Chaos ensues. Not funny chaos, just chaos. At times the Coens seem to suffer from arrested development. They love to be quirky, but many of their quirks seem to be dated. They have characters continually lob f-bombs. But after a while George Clooney, Tilda Swinton, Frances McDormand and John Malkovich exhaust profanity, and it becomes a weak gimmick.
I realize there is something enticing about casting actors in roles that are not their usual images, but talented actors should be given good material, no matter what their roles. The Coen Brothers sell them short.
"Burn After Reading" has a great cast, but they are blunted by mediocre material.
The only part that has any range is Osbourne Cox, and Malkovich nails it as usual. How far Frances McDormand has fallen. She won an Oscar in her husband's "Fargo," but as Linda she is given little with which to work; she was given much more by other writers and another director in this year's "Miss Pettigrew Lives for a Day."
Brad Pitt has zestful fun as Chad, the not-very-bright personal trainer who jives to music on his head phones. But it's a role that could be played by Rob Schneider or Pauly Shore.
As always George Clooney is good-natured in the skimpy role as Harry, a man who loves sex. Clooney's goodnaturedness is wearing thin. These days he often coasts. He has a lot of mediocre movies in his wake. The Clooney role could be cut from the film without any loss at all.
In "Burn After Reading" the Coens have become toneless. Joel co-directs and co-writes with brother Ethan. They edit the movie under the pseudonym of Roderick Jaynes. Their best movies, "No Country for Old Men" (2007), "Fargo" (1996), "Raising Arizona" (1987), and "Barton Fink" (1991) all have a strong sense of place and people. The very popular slacker-comedy "The Big Leibowski" (1997) has a strong performance that holds it together.
But at their worst the Coens are skitterish and even bland. Bland quirkiness, such as in "Burn After Reading," is not worth much.
Seeing "Burn After Reading" I felt like I was invited to a party on screen where all the other guests already had a buzz on. It made them think they were much funnier than they were. They thought they were a f**king riot. Maybe they should hand out bongs with your tickets.


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Satan. "Satan" comes from the Hebrew verb STN meaning "to be hostile, to oppose". The noun means "adversary," who usually is an earthling in the OT, but in 1 Chr 21:1; Job 1 & 2; Zech 3:1, 2 it refers to a heavenly being and is transliterated "Satan".
In the LXX, the Hebrew satan was always translated by the Greek diabolos ("the slanderer, the devil"), a word that doesn't occur in Mark.
"Satan" occurs in 5 verses in Mark.
- Satan tests Jesus in the wilderness (1:13)
- Jesus asks, "How can Satan drive out Satan?" (3:23)
- And answers: "If Satan has risen up against himself and is divided, he cannot stand, but his end has come." (3:26)
- In the explanation of the parable of the sower, Satan comes takes away the word that has been sown on the path (4:15)
- Jesus rebukes Peter, "Get behind me, Satan! For you are setting your mind not on divine things but on human things" (8:33)
Starting with the last occurrence, "Satan" seems to be anyone whose mind is not set on divine things – who seeks to stand in the way of Jesus (or us?) fulfilling God's purpose in our lives. "Satan" knows enough not to be divided against himself – which may mean that Satan is clear about his purpose and role in the universe, which is to seek to take away the Word of God, which is easily done with people who are too "hard-hearted" for the Word to take root. If God's Word is not well rooted in our lives, then we can't know God's purpose for us. Thus it will be easy for Satan or other people to steer us away from that purpose.
It is significant that Mark does not report the victory of Jesus over Satan, nor the end of the temptation (In contrast to Mt. 4:11; Lk. 4:13). It is the evangelist's distinctive understanding that Jesus did not win the decisive victory during the forty days nor did he cease to be tempted. Jesus is thrust into the wilderness in order to be confronted with Satan and temptation. It is this confrontation which is itself important, since it is sustained throughout Jesus' ministry. This explains why Mark does not say anything about the content of the temptation: his whole Gospel constitutes the explanation of the manner in which Jesus was tempted.
Wild Beasts. A detail recorded only by Mark is that Jesus was with the wild beasts in the wilderness. "Wild beasts" therion occurs only here in all of the gospels. In ancient Greek, therion especially referred to animals that were hunted. It is unique in Mark's account of the testing. It is a word that refers to any wild animal or beast. It is used in Acts 28:4-5 for the viper who bites Paul. It is used in Revelation to refer to the "beast" who is worshiped rather than God.
Since 1:12–13 is usually understood as a report of Jesus' triumph over Satan the reference to the wild beasts has been interpreted as an element in the paradise motif. Jesus in the midst of the wild beasts signifies the victory of the New Adam over Satan and temptation so that paradise is restored in which man is at peace with the animals. But as soon as it is recognized that the dominant motif of the prologue is the wilderness, Mark's distinctive reference to the wild beasts becomes intelligible. In the OT blessing is associated with inhabited and cultivated land; the wilderness is the place of the curse. In the wilderness there is neither seed nor fruit, water nor growth. Man cannot live there. Only frightening and unwanted kinds of animals dwell there. Significantly, when the wilderness is transformed into a paradise no ravenous beast will be in it (Isa. 35:9; Ezek. 34:23–28). Mark's reference to the wild beasts in v.13 serves to stress the character of the wilderness. Jesus confronts the horror, the loneliness and the danger with which the wilderness is fraught when he meets the wild beasts. Their affinity in this context is not with paradise, but with the realm of Satan.
Angels. Both the Greek (aggelos) and Hebrew (mal'ak) words translated "angel" have the basic meaning "messenger." Just as earthly rulers needed messengers to carry messages to others before there was the post office and faxes and e-mail, so it was thought that God needed heavenly messengers to carry the divine word to earth. This word occurs five times in Mark.
- Quoting Malachi 3:1, it is the messenger who goes ahead of you, preparing your way (1:2).
- They will be part of the entourage when the Son of Man comes in his Father's glory (8:38) and then they will gather the elect (13:27); but they do not know when that time will be (13:32).
- The risen dead will be like angels (12:25).
The eschatological emphasis on angels could indicate that Jesus with the wild beast is a picture of the peaceful kingdom that is coming. However, I would more likely present a contrast between "wild beasts" and "angels". The wild beasts are those who would "devour" Jesus. Angels are those who "serve" or "minister" (diakoneo) him. Perhaps it is not too important to try and define "angels," except as those who serve – a key thought in Mark's sense of discipleship
And how do these angels serve? The motif of the angel who guides and helps Israel through the wilderness is prominent in many of the narratives of the first exodus (Ex. 14:19; 23:20 [cited in Mk. 1:2], 23; 32:34; 33:2). The closest parallel to the Marcan account, however, is provided by 1 Kings 19:5–7 where an angel supplies nourishment for Elijah in the barren wilderness. Mark's reference to a plurality of angels indicates that Jesus is sustained by the servants of God. There is no indication in Mark that the service of the angels is withdrawn nor that it serves to mark the termination of the temptation. This is an appropriate description, for the Marcan account of the ministry of Jesus is dominated by his confrontation with demonic forces and the sustaining of temptation. Jesus' obedience to God is affirmed and sustained in the desert, the precise place where Israel's rebellion had brought death and alienation, in order that the new Israel of God may be constituted.
Mark 1:13 Satan. He is the great "adversary," as his name indicates. Satan does not play a major role in Mark, although demonic conflict does. After this scene, he is mentioned only in the dispute over the source of Jesus' healing power (3:23, 26), in the parable of the seed (4:15), and in the rebuke to Peter about Jesus suffering (8:33). Pheme Perkins [586] notes the brevity of Mark's reference to Satan. While some scholars conclude/presume that Jesus is locked in conflict with Satan throughout the narrative. Perkins notes that Satan rarely appears in the rest of the Gospel as the agent of temptation. And conjectures that Mark probably intends readers to assume that Jesus had already broken Satan's power before his ministry began.
forty days. It is hard to establish whether this number is symbolic: The Israelite nation wandered for forty years (Num 14:34), and Elijah's fast (1 Kgs 19:8) and Moses's time on Mount Sinai (Exod 34:28) both lasted forty days.
among the wild animals. Once again, it is unclear if this detail is symbolic. In Judaism, wild animals were associated with threat or evil; their subjection could represent the defeat of evil and the arrival of the new era (Isa 13:21–22; Ezek 34:5, 8). Alternatively, wild animals at peace picture an idyllic state could be part of a paradise motif (Isa 11:6)
angels. Angels also provided sustenance for Elijah (1 Kgs 19:1–8) and, traditionally, for Adam and Eve (b. Sanhedrin 59b; cf. Apocalypse of Moses 29:1–6). This divine care also hints that the new era of restored creation was present in Jesus.


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We visited the progress of our home with Jack on February 11, 2013. In November 2012, we told Jack "we wanted a home that will fit in with the Ashbourne Estates community, and we wanted his guidance."
Jack provided us with guidance and suggestions on three major areas:
1. Positioning of the house
2. Architectural changes in the living space
3. Designing of the front of the house
On our visit, we found that the house is shaping up to be something beyond our expectations. Positioning of the house resulted in an outstanding view as we drove by. The interior design of the house is superb.
We know it requires a great team effort to build a house. Jack is always patient and pleasant to work with. We found him to be open, knowledgeable and an excellent communicator. We are looking forward to moving to the Ashbourne Estates community.
Please convey our sincere appreciation to your staff.


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HIV/AIDS surveillance report : U.S. HIV and AIDS cases reported June 1997
Corporate Authors:
Description:Midyear Edition Vol. 9, No. 1 In addition to the importance of HIV/AIDS surveillance data for tracking and forecasting trends in the epidemic, data on the number of persons reported with AIDS are used to target and allocate resources for prevention and treatment services. Some of the tables and figures presented in the HIV/AIDS Surveillance Report include counts of cases (e.g., tables 1-3, 22; figures 3-5) which represent the number of individuals reported with AIDS or HIV infection. The number of cases reported cumulatively or during a recent time period indicates the size and characteristics of the populations affected by the epidemic and the distribution and impact of HIV/AIDS nationally. Through June 30, 1997, a cumulative total of 612,078 persons with AIDS were reported to CDC by state and territorial health departments (table 1). Of these, 84 percent were adult/adolescent men, 15 percent were adult/adolescent women, and 1 percent were children (under 13 years of age). Of adults/adolescents reported during the last 12 months (July 1996–June 1997), 36 percent were white, 43 percent were black, and 20 percent were Hispanic. Men who have sex with men accounted for the largest proportion of reported cases (38 percent). Among 609 children reported in the last 12 months, 15 percent were white, 63 percent were black, and 21 percent were Hispanic (table 6). Over 90 percent of these children were infected perinatally. In addition, 29 states that conduct HIV case surveillance of adults, adolescents, and/or children reported 86,972 persons who were diagnosed with HIV (excluding persons tested anonymously) but not yet diagnosed with AIDS (table 22). The demographic and risk/exposure characteristics of reported cases of AIDS and HIV are presented in tables 1-12 and 22-28. statistics_hivsur91.pdf Publication date from document properties.
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