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This conversation con Cesare Pietroiusti took place after the Forum on Italian Contemporary Art organized by the Luigi Pecci Contemporary Art Center in Prato (Italy) last September 2015.
Cesare Pietroiusti is an Italian artist based in Rome. Trained as a medical doctor, he studied Psychiatry in the late 1970s. His work focuses on paradoxical situations that are hidden in common relationships and in ordinary acts. His book "Pensieri non funzionali" (Non Functional Thoughts) published in 1997 gathers many of his projects, both realized and un-realized. His work has been widely shown in Italy and abroad. Selected exhibitions: "Exhibit A," Serpentine Gallery, London, 1992; "NowHere," Louisiana Museum, Humlebæk, 1996; Venice Biennale, 1990, 1999, 2003; Tirana Biennial, 2005; Performa 07, New York 2007; Athens Biennale (2009); "When Art Comes to Life,"Isabella Stewart Gardner Museum, Boston, 2011; "Impossible Community," MMOMA, Mosca, 2011; "Wide Open School," Hayward Gallery, Londra, 2012.
The Negotiation of Paradox
Conversation transcription below
Tiziana Casapietra: What is the role of our work nowadays? We take care of communication through art in a world that is overwhelmed by hyper-communication. How can art find its own room?
Cesare Pietroiusti: The role of art has always been that of questioning the modes of language and therefore of exchange, of knowledge as well as of emotions. Besides working on a specific knowledge's contents, art has always acted on the modes through which said knowledge would be exchanged among human beings. This work on modes should always be taken into account because, within language, we are talking without realizing it. When talking, we are conveying an amount of cognitive content using a language that is not necessarily limited to the verbal one.
I believe that the function of art is that of trying to explore the margins, the abnormalities, the heterodoxies and the peculiarities of language to highlight the modes through which we are using it. This means offering an example of the possible alternative and invented uses, playing with all the components of language. While I realize that this is a rather vague answer, to me the role of art is to offer a critical tool to analyse one's own way to exchange knowledge and emotions, because it's not only about contents and knowledge but also about the impact this knowledge has on our sensitiveness and our emotional life.
TC: Another question I had in mind is on the ethical sense of our work. The issue of sustainability is increasingly important and popular, but it also means reducing to a minimum the production of objects that have an environmental impact. I see the world of contemporary art scarcely reflecting this issue: the production of works and objects such as books and editorial productions goes on uninterrupted. Why are we not strongly addressing the issue of the impact of our work and of the production of our objects?
CP: I would tackle the problem with a slightly different approach. To me, placing guilt on the production of objects itself is a losing attitude. An object is not only a question of fascination: there's no comparison between the beauty of a book or an artifact, even an industrial one such as a car, and that of a PDF on a PC screen. Producing objects is in fact deeply rooted in action, in the human poiesis of improperly using natural resources.
I always refer to my interpretation of the initial passages of the Genesis. The problem is that we always associated the tale of the original sin with sexual desire and sexual intercourse. To me, this interpretation is wrong: the fact that man and woman would couple and reproduce through the mechanism of desire had been wholly designed. The actual original sin is that when Adam and Eve realize they are naked and feel ashamed of it, they take some leaves from the trees and use them as drawers. This is the real original sin: the presumption of being able to change the use, the purpose and the nature of Nature.
Obviously, I don't believe this to be a historical fact, but mythologically the fig leaf says a lot about how the human adventure — with everything it entails, as marvellous as it may be — is inextricably connected with such an usurpation of nature. As such, I don't think that we can stop producing objects. We are very far from even the imaginative hypothesis of no longer producing objects. Maybe the point is trying to see things differently.
What I often say about the relationship between a critical look and the work itself is rather more connected to the concept of unfinished. One of the aspects we can work on is to free ourselves from the ideological bottleneck that leads us to consider objects, artifacts or even works of art as finished objects, and to think that they need to be because they must be placed on the market. An object has to be closed and defined to become merchandise. Not only its use, but also its meaning must be enclosed within a very precise definition, otherwise it could not enter the market because what is for sale would be unknown. This could generally apply also to books in general, and not only to works of art. The point is trying to imagine that a work is never finished or even that is was ever made, because if I say that I made something, just by saying "made" I'm enclosing it within a definition that joins my authorship with my action's completion. Therefore, rather than trying to imagine a world where we produce PDFs rather than books and files rather than works of art, I would try to work on the concept we have of a work of art, which is to say of an object, an artifact or whatever, be it material or immaterial.
Art gives us the great possibility of considering works of art as continuously being made, unsaturated, incomplete. Therefore, to answer your question, we should start thinking before producing more works of art, because there's still work to be done on the ones already made.
These works are incomplete and they are contemporary not because they have anything to do with the present but because they exist within the same time. It means they are all with us now, and they are contemporary because they're here with us. As an artist, I can speak primarily of the works of art I have started, which I define as "made" in order to be understood when I talk at presentations.
They're here with me now, and they're not older, younger, livelier or more obsolete depending on whether they were made sooner or later.
I call "unsaturation" such contemporaneity, such incompleteness, because I like to imagine these molecules a bit like the ones of proteins, which feature the ability to change their conformation in space, and as such offer several parts of their structures to diversified bonds. They are unsaturated because in certain points they may create bridges with other molecules.
It's clearly a metaphor to say that each work of art, when reconfigured, re-contextualized, questioned and rethought, immediately creates new connections of meaning. It is therefore no longer logical to say that a work of art was made in whatever specific year, because it is actually being made now too, and becoming as such contemporary. This double valence of the unsaturation of contemporaneity could be a key in helping us to lose the compulsion — forced by the market ideology and the museum ideology — to make things, to imagine and convince ourselves that what we have made is an accomplished and defined object that can be moved and exchanged for money and, therefore, merchandise. Even just releasing ourselves from the idea that a work of art is merchandise would be a good step in this direction.
TC: Before talking about your work, I would like you to address the ultimate issue: in this vast universe of communication, information and images, how can we give visibility to our work?
CP: I don't know, I don't think I have an answer. I believe the answer lies in what I recently heard at a convention. Lacking an artistic education background, I thought for a long time that, although I was doing it, I wasn't really capable of being an artist and I always referred to the dilettante's freedom.
The "perfect dilettante" is a person that doesn't know how to do anything and as such is attached to no specific technique and maintains its freedom and its potential to do anything. The contemporary situation is in a way actually moving in such direction, because — as you highlighted — we have thousands, hundreds of thousands, maybe even millions or hundreds of millions of people that produce videos and upload them to Youtube or produce images and upload them to Instagram. I don't know how they work, but I somehow realize what is happening. For instance, I see photographers that no longer shoot photographs but gather images they find on-line, as there's so many that it even seems a waste to get down to producing new ones.
The idea of amateur artist is actually booming, and this is a very interesting situation to me. Maybe it's all about seeing things in a different way. To me, it's all about releasing oneself from the anxiety that one of these images should prevail on the others, that one's production should necessarily be seen by anybody in order to exist. For an artist, the fact that the artwork should be seen by anybody in order to exist has always been a challenge.
Yet, I believe that an even greater challenge lies in the strong sensation of renouncing authorship.
Although I do understand that it's complicated, I often realize that if somebody with an artistic project in mind carries out a good search on-line using the correct keywords on Youtube or on other Web sites, he/she will often find it was already done. Rather than depress us, this should give us the sense of a collective identity, of a collective authorship where, although the personal and individual contribution to an exchange of meaning is really small if not infinitesimal, it's in any case there as part of a sort of Matrix-like mind. Obviously I'm referring to the movie, although with a rather less distressing approach, but also to several considerations in feminist theory on the concept of individual author and on the extent to which the latter is connected to the patronymic and the father's name. These tools suggest how to create a subjectivity that is actually hyper-connected and therefore has a sort of collective nature.
In my laboratory experience, which I dearly love and always refer to, it sometimes happened that people started to think together from an individual's spark, and ideas were produced that couldn't be ascribed to a specific person but to a collective mind. These are magical moments that nevertheless happen and are normal, there's nothing transcendental in them: it's when we realize that our thought finds meaning and also pleasure in sharing the collective belonging to a group mind. It's where I see the same embryos that can be found in the Net, in this oceanic dimension that can make us feel a bit like castaways or potentially drowned. To me, the only way is not so much an effort to try and emerge as much as an attempt to see whether one can sink a little deeper and lose the boundaries of the ego.
TC: Yet, in reality the artist must face its gallery, which expects an object, therefore we find ourselves exactly denying what we just said. The gallery expects a closed object signed by a specific artist and none other, rather than a collective object, because even an artist must face everyday life; the curator itself needs its event to be communicated and call in visitors in large numbers, otherwise it would end up losing financial support.
CP: Yes, I perfectly understand all this. But I'm thinking as an artist because it's obvious that when I'm operating as an organizer — as I have done and continue to do — I follow different logics. As an artist, I intuitively understand paths that also have an existential nature, because since I started I'm used to negotiate contradictory needs; my point is that right shouldn't be separated from wrong in a polar way. I consider polarities interesting because they create tension fields, not because they point to a right direction as opposed to a wrong one. In this field of opposed tensions, the artist may suggest this approach, this challenge.
What happens then from a purely practical standpoint in the relationship with the gallery lies on a different plane, it's another issue that shouldn't be intimidating. I see many very clever youngsters, a lot cleverer than when I was young, and they have a lot more energy and determination. But they are hindered by this fear that was somehow put in their head that they might fail to find a space in the system, in the world and in the cell-like organization of work. The first duty is to abandon this fear and try to achieve autonomy. The self-sustainability you were mentioning earlier is very interesting to me.
I'm taking part in a project in Apulia where we are trying to work in total self-sustainability, total independence from electric and water networks. I'm interested in self-sustainability especially if seen as independence, which is to say in considering our work, our existence and our access to pleasure and enjoyment as not determined by pre-ordained structures only. It's impossible: I refuse to think that my own pleasure is organized in advance, according to a scheme that was established before me. We have to find a way to conceive our life in trying to obey neither to the ideology of merchandise nor to the ideology of individualism, while also trying to dilute individuality in this collective intelligence, in this collective thought. We must also be able to consider that our individual contribution to this collective intelligence is actually an individual and independent one that is ours, something we have that wouldn't have been there hadn't we donated it.
It's not about penetrating the cell but about creating connections, possibilities of existence, and this is the greatest fear that is injected in young people's head nowadays. When I was a child, perhaps the greatest fear one had to face was Communism, whereas now it's failing to find a job, as if life was about identifying a place that somebody else created for you and enter it, a bit like what happens at the end of one's life. Studying psychology, certain psychology, taught me that when one has a problem that seems impossible to solve, one should try to think counter-intuitively, for example by making it bigger rather than striving to contain it. A bit like what we were saying earlier on about the ocean, which is to say to try and sink a little deeper rather than desperately trying to remain afloat.
TC: I would also like you to tell us about the projects you are currently working on.
CP: The one I was mentioning before is a project (editor's note: called "Lu Cafausu" and launched in Salento, in the South of Italy) that I hold very dear and is just starting, so it might be a bit early to talk about it. In any case, I am creating a foundation in Salento with a group of old friends — Emilio Fantin, Luigi Negro and Giancarlo Norese — with whom I shared the Oreste experience in the nineties, together with Luigi Presicce, a newer friend. The idea is to create a training place that also allows living together. It's a sort of crossroads between some of my past experiences, such as the Laboratorio Arti Visive (IUAV) and the Oreste open residencies. It's a dream, an ambitious project, but I believe that the time has come to create something like this; I'm investing the resources I can, we'll see what happens.
From a more individual and artistic standpoint, I enjoyed an exhibition I organized recently. I've been thinking of a retrospective for many years — perhaps too many. Even everything I was saying earlier on about unsaturated works of art and the contemporaneity of all works are all reflections coming from the idea of creating a retrospective that should go beyond taking the works of art and putting them all one after another. I created this exhibition in a small space in Rome, the Zoo/Zone Art Forum, managed by artist H.H. Lim and his partner and curator Viviana Guadagno. It was a retrospective of unknown works.
I gathered from the studio, the garages and several other places where they were more or less hidden, the artworks I had actually created in the past for some other occasion, but that at the last minute I had considered wrong or ugly, or that somebody else had held too similar to those of another artist, and which therefore couldn't be shown. In one case, it was even a photographic work that I had considered too beautiful, and thus wouldn't represent my approach to the specific performance that those photos were intended to document. Ultimately, they are all works that were more or less created between the end of the seventies and 2010. I got them out and created an exhibition called "Lavori da vergognarsi ovvero il riscatto delle opere neglette. Una retrospettiva di Cesare Pietroiusti" ("Artworks to be ashamed of or the revenge of the neglected works. A retrospective by Cesare Pietroiusti") with all those works I had created, finished and put away without showing them to anybody.
As you may have gathered, I like paradoxes, I like counter-intuitive thinking and I like so called paradoxical requirements, all the pragmatics of human communication and relational psychology. I enjoyed creating this exhibition because the more wrong things I found, the better.
Obviously, all these works together acquire a new meaning and even a new time. I'm extremely interested in this and I have to say it opened a wide field of research, which is also a retrospective and individual research. It led me to consider all the things I carried out wrongly, all the wrong interpretations, all the thoughts or writings that an individual may have considered wrong at a certain point, and put away for this reason. In this occasion, to let it all out, somehow.
TC: Where was it?
CP: In Rome, in Via del Viminale 39. The exhibition was dismantled last week, because it was opened in May and lasted for the whole summer, rather a long time. I really enjoyed it and I see it as a perspective for further work in this direction: art can always question right and wrong, failure and success. I believe it opens many possibilities exactly because, among other things, it leads one to reconsider one's own approach to time: what was considered wrong and suddenly becomes right again for whatever reason, and acquires new temporal presence.
Another scope I'm working on — and if you attended the Forum you know it already — is protecting the Italian language, the mother tongue. Italian is clearly a special language because it's Dante's language, the one invented by poets. But the problem is that, as a skill, it's no different from the one of a French person or a Turk, it's the same one. The point is that all of us, French people, Turks or Italians, have the problem of having to communicate. And it's also a will, because communicating using this lingua franca that is not even English but basic English — a specific English — is a great opportunity.
TC: I remember that at a conference we were said to speak Bubble English.
CP: Bubble English. Like a bubble.
TC: Exactly, a bubble English.
CP: A bubble English that you might even chew.
TC: And also a very elementary one.
CP: Certainly. The problem is that using an elementary language makes thought elementary too, makes it childish. I feel such a risk on myself, and when I talk in English I become more stupid, it's just the way it is.
TC: It happens to us all.
CP: When I talk with mother tongue English-speakers I become more stupid because thought adjusts itself to linguistic skills. Articulating elaborate and clever concepts that would be difficult to articulate even in one's own language would take too long. In basic English mode you simplify things, there's no time and you put up with being a little more stupid. Therefore, my proposal is to try and find systems that allow avoiding fully abandoning the basic English and communication haste ideology by including some terms from one's own mother tongue in basic English, while somehow trying to explain them.
Italian has three words for "face": "faccia", "viso" and "volto". "Viso" is obviously connected with "seeing" (in Italian, "vedere"), "volto" with turning (in Italian "volgere") one's attention and face, probably, with frontality and therefore with facing somebody.
English only has "face". But if I want to express the nuance contained within the word "viso" or "volto", how do I do it in English?
Therefore, I am forced to say that, in my language, the word is "viso" and that it's connected to the Latin word "videre", the concept of "visus" and "visto". The fact that, while they have the past participle "viewed" we have "visto", and that they have no equivalent word for "viso" while we have a whole etymology around this concept, must be explained to them. It takes five minutes, and I explain it. And this obviously requires me to use a lexicon from my mother tongue. In connection to this issue, I'm currently working on a series of conferences on Italian art history held in Italian for people that do not speak it.
English translation: Fulvio Giglio
© radicate.eu


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by Julie Dodd
Your letter of application (or cover letter) is a key part of the faculty job application process. The cover letter is how you introduce yourself to the search chair and the search committee. The letter should convey your interest (and enthusiasm) for the position and provide an overview of you, referring to your vitae and online portfolio where more information is provided.
Here are some general tips for writing a cover letter.
Tip #1 – Be sure to use the format for a business letter.
Because most of our communication is now done with email and social media, writing business letters is a new format for many who are applying for jobs. You can find many examples online. The Purdue OWL (Online Writing Lab) provides tips for academic cover letters and a sample letter.
Tip #2 – In the first paragraph, indicate what specific job you are applying for.
Sometimes colleges or departments are hiring for more than one position, so you need to indicate the job title. [For example: I am applying for the position of assistant professor in new media.] Some jobs have a reference number. Be sure to include that job number.
Tip #3 – Your cover letter is strengthened if you can tie your interests and abilities to the specific job.
In your opening paragraph, you want to say why you are interested in this specific job. Research the curriculum offered, the faculty in the department and the kind of work being done in the program and include reference to those (as appropriate) in your letter.
Tip #4 – Your letter should contain paragraphs addressing specific areas.
- Your teaching experience
- Your research
- Your professional experience
- Your service
In your application, you are submitting your curriculum vitae, but your cover letter lets you provide highlights of each area. If you don't have experience in one of those areas, then you would not include that in your letter. When you decide which faculty jobs to apply for, you are evaluating your own experience and abilities in the context of the job's requirements. For some faculty positions, the emphasis is on teaching, and research experience isn't necessary. For other faculty positions, research experience is the top priority.
Tip #5 – Your letter should be about one-and-a-half to two pages.
If your cover letter is less than a full page, you may come across as not being as serious about the job. I've seen cover letters that are more than two pages, but usually those letters are from candidates who are applying for an administrative position or endowed chair.
Tip #6 – Take advantage of the ability to tell more about yourself through a website or social media.
In a cover letter, you can include the URL to your online teaching portfolio or to a course you teach where you've posted course materials. You can include your Twitter handle. That online content lets you tell more about yourself and your abilities. That online content also conveys that you know how to use technology, which is important in so many teaching positions. But remember that if you include URLs or your Twitter handle that you need to keep information up-to-date and appropriate for review.
Tip #7 – Carefully edit your letter.
Don't let your well organized and well written letter be diminished by grammatical errors or typos. You also should ask a trusted colleague, your thesis/dissertation chair, or a friend to read the letter and offer suggestions. If you are a graduate student, your university may have a writing center that offers assistance. For example, the University of Florida offers writing assistance for graduate students and faculty at the Writing Studio.
For more information about writing a cover letter for a faculty job position:
The Chronicle of Higher Education has a number of useful articles about the job application process. Some of those articles are from the early 2000s but are still valid in terms of the content and purpose of the cover letter. Here's a good one with advice about the tone of your letter. Beyond the One-Page Cover Letter – Gary DeCoker
Guide for Writing Letters for Faculty Positions from the National Institutes of Health

subset: commoncrawl


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Interview: Mei-Ling Hopgood, author of Lucky Girl
Tuesday, April 28th, 2009
Taiwanese-born Mei-Ling Hopgood was adopted by an American couple when she was just a baby. She never had any real desire—or made any attempt—to contact her birth family, but 20 years later, they contacted her. Her memoir, Lucky Girl, chronicles her journey to Taiwan, where she finds that the life she escaped was nothing like what she expected. Hopgood, a reporter living in Argentina, recently sat down for a g-chat with Andrea Kahn. You can read their conversation, about adoption, writing, and dealing with cultural assumptions, below. And for a sneak peek of Lucky Girl, be sure to check out the first chapter, "Come Back Taiwan." -Elizabeth Minkel
Andrea: So it's been several years now since you first got back in touch with your birth family. What was it that inspired you to start working on Lucky Girl?
Mei-Ling: It might sound cheesy, but I knew from when I first made contact with my family in 1997 that I wanted to write about it. It was probably the journalism instincts, but also I've always written to record, express, clear my thoughts. and this was certainly an event that i knew I'd need to do all those things. The idea that it would be a book was always kind of a joke at first—everyone said it when I told my stories, and I thought it…But I didn't seriously start thinking of writing a book until several years later. I needed time to get to know my family and what was happening to me, to process it all…I can't be exact, but probably a few years ago, I thought it was time to think, seriously, about a book…
Andrea: So were there certain aspects of the experience that you were able to see in a different light after writing a book about them?
Mei-Ling: Absolutely. You know when you live things, you often don't take the time to step back and put things into perspective. I didn't really think about "what it all meant" until I sat down to write my story. I didn't deeply explore my feelings for my birth father or mother and all the things they did or did not do, for example. I obviously FELT something and had opinions, but I never really questioned myself. If that makes any sense. writing—and researching—for the book also forced me to answer and question the people in my lives, in ways I don't know that I would have (at least at this point)…Confront some things, because well, I needed to know for my book. (Not just because of the book, of course, but it kinda forced me to go ahead and ask questions that I might not have asked…)
Andrea: Were you at any point hesitant to publish a book about such a personal experience? As a journalist, I imagine you're more accustomed to writing about people and events a bit more disconnected from you…
Mei-Ling: Yes. Of course. I had moments when I wondered if I should…More for the sake of the privacy of the people involved, though. I've been a journalist for awhile, a columnist, and written about myself, so I wasn't bothered by it.
Andrea: What does your birth family think about the memoir?
Mei-Ling: Well, Ma and Ba know I wrote it. They vaguely know what it says. They have copies but can't read it, and my sisters aren't going to take the time to read it to them. A few of my sisters read it, as best they can. Find it interesting. My brother-in-law, an Australian, is the only one who really really read it. And he thinks I went light on some of the people in the family. I did everything I possibly could to get them to read early versions, correct mistakes, know what I was writing, short of having it translated in Chinese. I ended up having to do a whole list of True or False questions that my brother-in-law read to my sister who read them to my mom. That's the kind of language barrier problems I had.
Andrea: Oh, wow. That must have been a real test of patience…
Mei-Ling: You said it! Plus Ma doesn't read even in Chinese. And they speak Taiwanese, not Chinese first. So it was tough. But I worked really hard to get things as close to correct as I could. That was important to me.
Andrea: You mentioned speaking on panels about adoption, and that a lot of adoptees who had tried to get back in touch with their families later in life had had negative experiences or barely any experiences at all. Did hearing these stories influenced your decision to write a book?
Mei-Ling: It didn't really influence my decision to write a book…but it did always strike me the variety and range of perspectives and opinions that I heard. They often seemed really different from mine.
Andrea: Do you think it's generally a good idea to try to get back in touch?
Mei-Ling: Hmm, I think that is something that goes on a case by case basis. I really didn't try to make any big pronouncements about adoption or reunions in the book, even though my book revolves around those two huge events. I think readers can judge—in my case—whether it was good or bad. It's just want happened to me. We have the spectrum in my own family even: me waaaaay in touch with her birth family, my brothers none…and we're all okay.
Andrea: I also wanted to ask you how you felt about your Chinese roots these days, since you mentioned in the book being completely disconnected for the first twenty-some years of your life, and then initially upon getting in touch with your family making efforts to "be more Chinese." How connected to this culture do you feel these days—especially now that you're living in yet another country?
Mei-Ling: That's a really good question. I just wrote an essay about that. I'm drifting a bit. I am much more tuned into Spanish and culture here [in Argentina]. When I see Chinese peeps here they give me crap about it and tell me I need to teach my child Mandarin. But I think I came to a certain peace with my Chinese culture. I rediscovered it and embraced it and my family. It is part of me and always will be. But I believe culture is a fluid thing, made up of not only your origins, or where you were born, or where you grew up, or what your parents taught you. It changes with every move you make, every person and experience that influences your life. Culture is a changeable thing that will grow and mature over time. So the short answers is yes, I am not being real Chinese these days. But it is part of me.
Andrea: Did you always know you would pursue writing as a career? You refer many times to "journalistic curiosity"—how has this affected your life, and have there been times when it's gotten you into trouble?
Mei-Ling: Ha! I was a writing nerd since I was in 9th grade, and decided I wanted to be a journalist. Possibly began earlier. I always loved to write. I ask a lot of (invasive at times) questions. I think that's why I've always liked to live on the move, experience different things, new places. Some awkward situations probably, but the biggest "trouble" is getting myself involved with my birth family because I had to find out more.
Andrea: Do you have any advice in particular for writers who are just getting started?
Mei-Ling: Read, read, read. Write, write, write. Look for places to intern/get published. It's a tough time right now—especially in journalism, but also in publishing. But I think things will calm down and we'll be surprised at the media that will emerge for writers. Hopefully!
Andrea: I hope so, too! One last "big" question, and that is: What is it that you hope readers will take away from Lucky Girl? An overall message, sentiment, etc.?
Mei-Ling: I hope people see that Lucky Girl is not just about adoption. It's about coming to terms with the family and the fate that we are given, and doing the best we can with it. We all have complicated pasts and colorful characters in our families, and we all have to come to terms with them. The question is where we take it from there.
Andrea: And one last "small" question—we always ask people: What's your six-word memoir?
Mei-Ling: One plane ride can change everything.
READ the first chapter of Lucky Girl
BUY a copy of the book
WATCH the Lucky Girl trailer


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Following the tradition ( 2006, 2007 , 2008, 2009 & 2010), here are the 2011 highlights for me.
The Highlight of the Year : Welcome to Annika Diya Sebastine on November 7 2011.
Achievements this year: Pregnancy, Bed-rest, Tele-working, Labor , Delivery, Newborn Care !
Travels this year: Given that I was on "bed-rest" for about half the year thanks to pregnancy complications, our travel was extremely limited. Other than the beginning of the year trip to Belgium, we did not venture out of the tri-state area (Virginia, Maryland and Washington DC). By the end of my pregnancy, I had severe cabin-fever and was desperate for a vacation.
"Could do better" of the Year: I have pretty much neglected writing on my blog, writing emails or even writing notes! Hopefully I'll do better next year.
Summary this year: Everything that happened this year can be summarized in one single word: Annika. Looking forward to more adventures in 2012.
Wish you all a very happy and exciting new year-2012


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In this edition of EmpowHER's "HER Week In Health" for the week of November 4, 2011, Bailey Mosier discusses a study that examines how cutting calories year round especially during the holiday season may actually slow the aging process. We'll also learn that being lonely at heart may actually affect your sleep and if your sweet tooth is actually a reflection of your personality.
Hi, I'm Bailey Mosier. This is EmpowHER's HER Week in Health.
It's the holiday season and we'll probably all overindulge in our favorite treats. But in this week's edition, we'll tell you why it's crucial to restrict calories during the holidays and all year long. We'll also learn that the lonely at heart toss and turn in the night and if you're the type of person who has a sweet tooth, that may be reflective of your personality.
In a study published in the journal Molecular Cell, researchers at the University of Gothenburg found that a person who consumes fewer calories can actually slow the ageing process and the development of age-related diseases such as cancer and type 2 diabetes can be delayed.
And the sooner you start reducing calories, the greater the effect.
The researchers zeroed in on one certain enzyme that counteracts damage to our genetic material. In those people who restrict calories, this enzyme remains active and fights the effects of ageing.
Researchers from the University of Chicago found that loneliness breaks up a normal night's sleep which can adversely affect our health.
The researchers measured sleep cycles in 95 adults in rural South Dakota and while none of the adults were socially isolated, their perception of loneliness varied and those who thought they were lonely had more fragmented sleep.
The researchers say that loneliness and social isolation are two distinct concepts. Loneliness reflects perceived social isolation or being outcast, and this study furthers our understanding of how social and psychological factors affect health.
A research team from North Dakota State University found that if you have a sweet tooth, you may have a sweet personality too.
In one test, the researchers found that people who ate chocolate were more likely to volunteer to help another person in need, compared to those who ate a cracker or no food at all. In another test, people who liked sweet food were found to be more agreeable and helpful.
The team's results suggest there is a real link between sweet tastes and pro-social behavior.
Psychologists believe that even hidden cues about ourselves and our habits can actually reveal real characteristics of our personality and behavior.
That wraps up your EmpowHER HER Week in Health. Join me here at EmpowHER.com every Friday for the latest in women's health.
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9 October
Global markets are entering a 'late cycle' phase, as demonstrated by interest rate cuts, according to RARE...
In order to give you the best site experience, we need to know what kind of investor you are. Please select the title that best describes you below.
Financial Advisers - Investment
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ROH World Television Champion Jeff Cobb def. Silas Young
I've become a big fan of Cobb's since he showed up in Ring of Honor late last year and I'm glad he's beginning to face increasingly more credible competition. Young is a former ROH World Television Champion in his own right and definitely posed a threat to the title here. This started out slow, but once they picked up the pace in the second half, it turned into a real solid match. While not as exciting as some of Cobb's past championship defenses, it was smart wrestling throughout.
Rush def. ROH World Six-Man Tag Team Champion Vinny Marseglia
Rush previously beat Marseglia's fellow Kingdom member TK O'Ryan in his ROH debut match several weeks back. That was an incredibly exciting outing, but I liked how this was more hard-hitting and filled with intensity because Rush was out for revenge after The Kingdom ambushed him that night. The final few minutes were a ton of fun and Rush going over decisively was the right call. He has "star" written all over him and his eventual encounter with Taven should be great.
Jonathan Gresham def. ROH World Six-Man Tag Team Champion Matt Taven by Disqualification
Taven issued an open challenge to anyone except Jay Lethal, which was accepted by Gresham. It started so close to the top of the hour that you knew it wasn't going to last long, instead turning into an angle with The Kingdom attacking Gresham before Lethal and Lifeblood made the save. Lethal then proceeded to destroy Taven's fake world title belt, which served as good hype for their upcoming ROH World Championship clash at the 17th Anniversary Show.
Overall Show
ROH's 17th Anniversary Show is coming up next Friday, so I was happy to see the card finally come together on this show. In addition to Taven vs. Lethal, it was announced that The Briscoes vs. Villain Enterprises for the ROH World Tag Team Championship, Bandido vs. Rush, Kenny King vs. Marty Scurll, Mayu Iwatani vs. Kelly Klein for the WOH World Championship and Cobb vs. Shane Taylor for the ROH World Television Championship were also being added to the event. This was a quality edition of ROH TV overall with plenty of build for the pay-per-view and a strong match between Rush and Marseglia.
All #AskGSM Cruiserweight Classic Halftime Heat Hidden Gems Lists/Rankings Mae Young Classic Mixed Match Challenge News Opinion Previews Retro Reviews Reviews RJ's Two Cents Satire SummerSlam Recall Tribute To The Troops Worlds Collide WrestleMania Recall WWE Starrcade
July 2020


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walk through metal detector gate, metal detector door frame price, arched metal detector gate
33 zones security walk through metal detector Technical Parameter:
1) Operating Temperatures
-20°C to + 70°C; Humidity: To 95% non-condensing
2) Power Fully automatic 100 to 240 VAC, 50 or 60 Hertz, 5 watts; no rewiring, switching or adjustments required.
3) Weatherproofing / Foreign Object Protection Standards
Meets IP 55, IEC Standard. "Degrees of Protection provided by Enclosures," IEC 529.
4) Tamper-Proof
All settings are secured with a key lock and two levels of access codes. Further security is accomplished with a cabinet lock which prevents unauthorized access to physical cables, connectors and electronics.
5) Control Outputs
Solid state switches (low voltage AC or DC) for operating external alarms and control devices.
6) Traffic Counter
Counter tracks the number of patrons that have passed through the detector, the number of alarms and calculates alarm percentage.
7) Synchronization
Dual channels and DSP circuitry allow several JH-33Z's to operate simultaneously in close proximity to one another.
8) Interference Suppression
DSP built-in circuitry eliminates effects from x-ray monitors and other potential electrical interference sources.
9) Programmes
Sixteen (16) independent programs designed to meet all installation-specific requirements including the new TSA Enhanced Metal Detector (EMD) System requirements for airports.
10) Alarms
Audible tone and volume adjustable. Bright LED visual alarm
11) Target Pinpointing Lights
Thirty-three distinct zones are displayed with two independent columns of LED's located on exit side of the gate.
12) Dimensions
(1) Overall sizes (mm): 2240 (height) x 900 (width) x 580(depth)
(2) Size of alley (mm): 2240 (height) x 760 (width) x 580 (depth)
Function and characteristics
Easy Self Assembly
The JH-33Z ( LCD, 33 zone ) modular design allows for a quick and easy assembly of its 4 sub-assemblies using only 8 screws and 3 internal electrical connections. This can easily be done in situ by two people.
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There are 33 Distinct Pinpoint Detection Zones on the JH-33Z ( LCD, 33 zone ) for full target coverage on the left, centre and right side of the body from head to toe. The sensitivity on the 6 vertical zones can be set individually to target any part of the body.
Entry Pacing Lights
On the front of the archway on both legs are two traffic light style pacing lights. They are internationally recognized symbols at an easy to view eye level and help to control any queues that may form.
Overhead Control Unit
The main control panel is housed in the overhead control unit. This houses the LCD display, alarm lights, LED bar graphs and the control touch pads. All of the wiring, connections and electronics are integrated into the overhead unit which is lockable for security. The control touchpad is also lockable to prevent any unauthorised access.
Multi-dimensional Coil Design
The JH-33Z ( LCD, 33 zone ) is exclusive multi-dimensional coil design provides unmatched detection of potentially lethal metal items such as guns, knives and other flat and rod-shaped weapons regardless of location and orientation.
Audible and Visual Alarms
There is an audible alarm as well as visual LED lights signal when a target has been detected. The Pinpoint lights on the back of the archway will show where on the body any offending object may be.
Touchpad Controls
The JH-33Z ( LCD, 33 zone )'s Access Control Panel is designed for use by authorized personnel with specific, multi-level security codes. It allows authorized users to change settings such as detection Program and Sensitivity. Security of the detector's settings is maintained with a non-resettable sequence code, which indicates every attempt at access to the settings. A tamper alarm sounds within 10 seconds after the Access Touchpad is pressed, unless a proper access code is entered. This can be backed up by the use of a key to operate the touchpad.
master carton 227X73X22CM ,80X59X28CM
G.W: 75kgs, shipping weight:90kgs
Guarantee:12months ( labor and parts )
accepted OEM,ODM.
1-Trade terms:accepted FOB Shenzhen,CFR,CIF,EX Works
2-Payment method:T/T,West Union.


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A leading historian of the treatment, recovery and Recovery Oriented Systems of Care movement, William White, has published a new edition of his classic, "Slaying the Dragon". Let him tell you in his own words.
I want to let you know that the new edition of Slaying the Dragon: The History of Addiction Treatment and Recovery in America has just been published. This second edition contains 31 chapters, 580 pages, and more than 100 photographs of addiction treatment and recovery pioneers. The Table of Contents and a Sample Chapter have been posted at www.williamwhitepapers.com.
I don't know much about promoting books so have always relied on my friends to help get the word out on my new publications. Please let anyone you think would be interested know that this book can be ordered by going online or calling toll free 1-888-547-8271.
RecoveryNC needs to point out that RCNC's own Chairman Chris Budnick was co-author of Mr. White's updated chapter on the history of Narcotics Anonymous. It has been said that a people without their history are a lost people. Many thanks to Bill and Chris for the dedication and the hard work it takes to unearth our history.


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I was going to get this done last weekend, but made the mistake of thinking I'd just pull the ragweed out of the asparagus. And this grass that's going to seed. And… several hours later, one side of the bed is done. And my wrist and shoulder were not up to handling the quilt. I still have one side of the asparagus left to do. And while reading a garden blog, I realized what I should have done with the garden sections I left empty this year – flowers & herbs for butterflies and birds. Oh well, next year, unless my garden mojo returns, which I doubt it will until I retire. (more…)
Archive for August, 2017
Another finish!August 28, 2017
A quilt finish for me!August 14, 2017
Finally, a long term project is done. Is it perfectly done? Oh heck no, I had many sessions where I told myself "done is better than perfect".
This quilt is very loosely based on a quilt I saw in late 1990s perhaps. It was gold & black, with square quarter-log cabins and a border print sashing between the blocks. It was the use of border print sashing that really caught my eye. I saw this rose fabric in Cottage Rose quilt shop in Marion, Iowa (no longer a physical store presence), loved it, bought it, and had no clue what to do with it, until the memory of that gold/black quilt popped in. After several rounds of thinking, drawing, using EQ, this is what I ended up with. I modified that gold/black quilt to use diamond shaped blocks, hoping it would look more like rosebuds, and used the border print only between the columns of blocks. I only have selvedge from the dark green fabric and it's dated 2004, sadly I don't seem to have saved the rose print selvedges for some reason. (more…)


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i kept thinking of the song hot lava by the b-52s when i was knitting it.
but it's finished.
and i should go back and finish it some more, but it will suffice for now!
pictures later.
magic loop is fun and saves you from the agony of dpns, especially if you're thinking of making a pinwheel blankie!
hot lava oh oh oh oh oh
Posted by heatherfeather Monday, August 08, 2005
i kept thinking of the song hot lava by the b-52s when i was knitting it.
3 comments:
- particleman Tuesday, August 09, 2005 1:03:00 am
i still can't get over rock lobster, not that it's something worth getting over. and which song is it that covers various dance styles? that one's good too.
- heatherfeather Tuesday, August 09, 2005 9:20:00 am
aw, nuts, what IS that song... "you do the aqua velva!"
semaphoria, do you remember?
- heatherfeather Tuesday, August 09, 2005 9:23:00 am
i caved and googled it.
it's "dance this mess around"


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Feeding show poultry is totally different to feeding broilers or layers.
In South Africa, all chicken feeds are based on Maize and Soya. This is acceptable up to a point, but remember that maize is rich not only in protein but also in sugars and starches. Not all of this is good for your show birds, and when it comes to feeding Brahmas, one of the very large breeds, things take another turn again.
I discovered through my own experiences with Brahma large, that these birds do not feed like other breeds.
Perhaps because they are more closely related to the original jungle fowl, and are wired more like a game bird than a soft feather, which is their category, they eat differently.
A Brahma chick will give you grey hairs. One day it will eat everything in sight including its siblings. The next you are wondering if it has eaten anything at all. Don't panic, this is normal for a Brahma! Brahmas go through growth spurts. They seesaw much like a growing horse for months before attaining adult status. This means you need to feed according to its needs. Most people feed as per amount of birds in the pen, and when they see that the food is being left, they reduce the amount of feed. BAD IDEA with the Brahmas, because they are probably undergoing one of their low growth points, and when they hit a high growth point, the food will not be available, and the chick will eat its siblings or starve. You will not get full potential from your Brahmas if you do not adhere to this programme:
1. Feed plenty of good feed and feed with a high protein content for the first 18 weeks. Start with only growing mash, and add a container filled with soured milk, maas. This separate from the mash.
2 Week three add whole grain such as wheat. Wheat of good quality has more protein than maize without the starch or sugar. It does not build fat, it builds muscle.
Keep on with the maas.
3 Week 6 you can add greens such as whole maize plants weeds such as blackjacks or plain grass.
Keep with the whole wheat.
4. Once birds are of a certain weight and size to be able to handle whole maize, add that to their feed. You can add sunflower later on if they eat it but watch that wild birds don't eat it first.
Once these birds are fully vaccinated and on the way to laying you can slowly replace the mash with layer pellets, but these birds still need a lot of protein so do not be in too much of a hurry to switch.
In the case of large cocks, I find a little extra calcium on the food does them good but only in adults.
If you can add a little oil to the feed, cod liver oil once a week or Omega 3 and 6 oil once a week this works well too, especially for the feathers. Deworm regularly to ensure good feather quality.
Feed greens as often as you can: Banana plants are great as the stem is full of minerals, Lucerne, fresh from the garden, any green leafy vegetable except rhubarb which is poison.
Feed plenty of fruit, guavas are ideal as the fruit when it has been stung by fruit flies produces an enzyme called tryptophan. This is what we pay a fortune for in our commercial feeds, and is available free from our humble guava trees.
Feed as much vitamin C as you can, any citrus, pawpaws, bananas,avocados which are full of lycine and vitamin E, as well as lecithin. Mangoes are also good, but stay away from rotten fruit, the guavas being the exception with the fruit flies. Never feed rotten vegetables or fruit as these contain pathogens, ecoli . Never feed cooked meat to the birds, and never feed rotten carcasses which may contain botulism.
If you have a problem with cannibalism, feed fresh liver and blood from the abattoirs…must be fresh. A tablespoon of table salt added to a ten litre font for 3 days also sorts out cannibalism. Basically it is a cause of deficiency in the diet which is easily rectified.
You will find that birds will not eat the peel of the citrus which is full of pectin and poison for them, and they know it too.
if you can, try to grow your own greens, such as wheat, which can be grown in trays and fed with the roots as soon as the plants are about 10cms high. You then get full value of the wheat germ oil which you can see if you squeeze the base of the seed still attached to the little green sprouts.
If you can, grow COMFREY as well, which is a natural source of vitamins, iron, minerals and a natural antibiotic to boot. If the birds are a little under the weather, or some are coughing, often a dose of comfrey sorts it all out without having to resort to chemicals or expensive antibiotics. Some feed additives now are made from oils and derivatives from natural herbs, origanum being one.
If you are very enterprising you can even grow your own meal worms, but you need a lot of meal worms to satisfy few birds!
Meal worms are a wonderful source of protein, fat and lactose. They are clean in that they do not eat rotting food stuffs, only grain, bran or vegetables such as gem squash, carrots, potatoes and cereals. Feeding earth worms is a risk, seeing as they harbour tape worms; meal worms are pure feed value but require a lot of effort to produce, and they must be kept dry at all costs and away from ghekos and other predators.
To provide a constant source of meal worms you will have to have several containers for the beetles, the pupas and the worms as they are growing. They do not grow very fast, and weather will affect the final outcome. In winter the worms will develop more slowly, in summer more quickly. There are several types of meal worms, the giant and the standard being the most popular.
The internet will provide ample information should you be interested in starting your own meal worm farm.


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Street Justice "No Holds Barred!"
I would like to believe that; as human beings, we have progressed from the days of blatant, deliberate inhumane treatment of other human beings.I had hope that the days of witch trials and the violent lynch mobs of people exacting vengeance were a thing of the past…but I am not so sure that we have truly progressed to the point where we should be as an evolved species.
Those exacting street justice is no better than those who are in a position to effect change but who conspire to deny our rights in seeking true justice.
In all this, please believe that there are entities adding fuel to the fire for personal reasons.
Getting What You Pay For?
they believe that there is justification.
Let's just say that the public is eating up the gossip initiated obviously by those who are in positions and/or including those who have profited.
I have heard so many horror stories about Paul Allen, David McPherson, Larry Hatcher and Larry 'Roc' Campbell… that I don't even listen to the lies anymore. I had attempted to move on and to refrain from attempting to make sense of the misinformation but my immediate public makes it clear that it's not possible.
The real questions that should be asked are,
"How and why does so many have access to interfere?
Why is it so important to so many that my titles/books exposing corruption and abuse are not supported?
Why is this type of persecution allowed and encouraged?
If these companies standby idly while allowing and/or encouraging their representatives to exact street justice on their customers and affect business, they are libel under 'Superior Respondeat.'
Not to mention the many other small business customers that may be impacted by this kind of unprofessional behavior. When you sell a service or product, you have a responsibility to provide that service no matter how many millions a company may have.
Bad Business
Along the way I was met with extreme opposition and I have faced many obstacles from individuals and unsuspecting entities.
I wanted to share some of them with those who would like to know what some small businesses may face when competing or attempting to conduct business that may affect big business.
Obviously, the subject matter is very interesting, because there is definite interest and shown by the number of views and website visits. I enjoy sharing my experiences; especially, when I know that it can help those who may need the information that no one else is willing to share.
Although, I may not be charming and socially outgoing but I am not the type of person that would be able to allow anyone to walk into a burning building and not warn them. That's what my publications are meant to do, serve as a warning to potential victims of a cruel system that is set in place to victimize.
There is no earthly reason why I have only sold (5) five copies of any of my books in over (2) two years. Obviously, their is interest in this topic and this type of product is definitely rare and unlike most products.
(As of October 13, 2015….)
Yes, I know that I cannot possibly be the only one facing similar issues but I am the only one that has to fight everyone from individuals to companies – consistently on this level. Review the multitude of documents that show all the games from minor to O.M.G.!
I have provided some documentation which clearly demonstrates Unfair Trade Practices:
Google Books – did not have title listed in alphabetical order, showed different prices than as agreed through Createspace. Used links to sell and promote other books, shrunk cover, placed in wrong category…
Google search – listed title for $0.99 instead of the accurate price of $19.99 while promoting other titles, image search associated book to demeaning images
Amazon – did not have the title listed in alphabetical order, showed different prices than as agreed through Createspace. Used links to sell and promote other books. Instances where buyers advised having trouble downloading…
available or temporarily out of stock.
Amazon search for Music
Business It's a Dirty Game AND ISBN 978-0-98962253-0
showing under search!
EBay – There was use of my photos and a suspicious seller with alleged higher ranking after I forwarded my potential buyers to eBay for purchase at one price they had it a lower price. I spent hours and days sending potential customer to my eBay page only to find out about this suspicious seller. The seller was removed after I released a blog on them.
If there were no sells than how would there be any other sellers have this title, not to mention to this day I have been advised that there were no sales.
Web.com – Their personnel repeatedly, deliberately changed website headers, re-routed links, refused assistance, denied access to supervisor,
Not Kickstarter directly but someone thwarted a supporter/support for project investor (investor suddenly has no account after volunteering to support my entire campaign) possibly subjected to hardship similar to other unnatural, unexplained and unaddressed incidents.
Worldpay – SWP, LLC requested a direct merchant/gateway set-up without using a third party. After 2) two months and (5) five attempts to set up a merchant/gateway account for Seven West Productions. Worldpay reps and manager states that in order to use Worldpay direct without using a third party, your company must sell a large dollar amount..
They incorrectly opened up (5) five merchant/gateway accounts and one rep told me that I had to take the set-up that she was giving me. Each time they opened an account incorrectly, I requested immediate closure.
Even after requesting that their reps. to stop sending me DocuSign docs, they continued as if intended to harass.
Their manager confirmed that all accounts were closed and that there would be no fees since they were not able to open SWP, LLC a direct merchant/gateway.
Worldpay (cont.) – One of these incorrectly set-up accounts that was closed was then sent to a third party collection agency within 1-2 weeks from account closure.
URL links which provide supporting documentation are available for your review at the end of this blog!
Dun & Bradstreet –
SWP, LLC signed up for Dun & Bradstreet Credibility Corp to assist with establishing and maintaining trade references. While logged in, I was shown good numbers, stats and social media networks were all verified and in order. However, when I searched for my company when not logged in, I was shown completely different information.
A public view of my company's profile displayed incomplete and unverified information while forwarding my urls to forbidden websites; as if I had not spent hours and days updating and added my company information, contacts and social media links.
This was not an issue of not utilizing their service but my actual links were re-routed and information removed. They did not provide the service that my company paid $99.00 per month for.
Ultimately, I finally received a callback regarding the difference between the public views and my logged in view. Even after submitting them with print screens showing issues and errors were not on my end, they refused my request for refund for not providing the service. Any other company facing the same concerns would have been addressed properly and promptly.
Regardless of how popular or large a company may be, you do not always get what you pay for when subscribing and purchasing products or services.
It has always been necessary to double check and manage all aspects of my business; especially, one that is so controversial in nature. I would suggest that any business owner should schedule or delegate the duty to follow-up, confirm and maintain all services that they are paying for to ensure that other companies are actually providing the services or products that you purchase.
For more supporting documentation, visit:
Unfair and Unnecessary Opposition
Don't assume, handle your business by following up!
Getting What You Deserve?
that others deserve!
are told and most just join in exacting street justice… what is it that they deserve?
Black Planet, Myspace and Music Choice.
than twenty-four hours, my entire profile page was coincidentally deleted without
relationships (which I found to be a ridiculous idea).
Shortly afterward, I found myself seeing a local surgeon socially. After three dates he informed
me that he had been contacted about me and he was told that I was trouble. I
never even told him my full name but still I was not surprised.
and had begun to prevent myself from becoming attached emotionally because I don't
have time to play games.
relationship to the record labels involved with my allegations of copyright
initiated as some form of harassment or street justice.
I have always tried to maintain employment because this was one of the reasons that the public tried to use when I was denied rights…'they' claimed that I had never worked for a living back in the 90's. After my divorce, I actually had to work but there weren't many opportunities for me, mostly just threats.
I was saddened by the forced retirements, firings and reorganization that occurred shortly after the big boss at the Department of Employment, Training and Rehabilitation decided to give me an offer of employment. This offer came within two weeks of a $1500-2500 bonus that I was supposed to receive from my then current employment at AT&T (needless to say, I did not receive the bonus).
I was so excited because I felt that my hard work had finally paid off and I really liked the big boss. He was kind, firm but soft spoken and he was a genuinely decent human being.
That is when I noticed that the worst possible candidate for promotion was then promoted and boy was he a jerk. He could not wait to fire me without cause. He called twenty-four hours after I had major surgery to let me know that my position was intermediate and that they had chosen not to continue employing me. I could hear the joy in his voice but this was nothing new.
Usually, I am confronted by large groups of people who behave as if they have been given instructions to harass in an effort to cause distress.
I have never deliberately sought out tom harm ANYONE and there is no true justification for denying my civil rights. Just because no one cares about me does not make this injustice justifiable.
It is impossible for someone who has been abused for so long to pretend to be charming. If you repeatedly have to defend yourself and deflect verbally, you will eventually become an expert.
While watching others, I noticed that some friends and family were able to successfully obtain assistance in simple matters. Many of my friends were able to represent themselves in vehicular accidents and successfully obtained tens of thousands of dollars in settlements.
I have been a victim of three vehicle accidents in the last seven years; yet, two of these accidents left me jobless which lead to me losing my apartments and I wasn't even able to have my doctor bills paid. Even when I was young, hopeful and kind, I watched everyone around me have a life while everything that I reach for was blocked.
every blow…
watching nonstop from beginning to end you really don't know everything that
you think you know about someone and their situation.
Below is an example of the violence directly towards me. This is what I face from complete strangers but I guess it's okay because situations have been manipulated by people in positions…
This was posted online…
Really? Did he say, 'Stab them in the
face in front of everyone…?'
He admits that this was directed towards me but I do not know this person but he refers to me as a liar.
of the incidents or events which are covered in Music Business: It's a Dirty Game!
These same works generated hundreds of millions of dollars for others; yet, I received nothing but threats. Instinctively knowing that there is a definite connection between the use of my works and my inability to receive any type of assistance in bringing the culprits to justice.
This is difficult to accept especially after presenting supporting documents to substantiate my claims. I did not kill anyone! I just wrote lyrics and melodies but everyone manipulated and schemed so that they could profit from my demise…but I refused to die.
I feel that these Articles and books differ because it doesn't just give you words from one person's viewpoint, it provides step by step documentation proving how the artist works are stolen and how they are able to continue stealing lives with this modern day form of enslavement.
To continue reading, please click here!
Also Preview: SEVEN WEST PRODUCTIONS – MUSIC, MURDER AND MAYHEM – A True Story!
Pressure is applied to persuade anyone and everyone to assist with the dehumanizing tactics designed to strip individuals of their dignity, spirit and their very soul.
There are different methods used but first and foremost there is a great possibility– your family and friends will begin to play mind games with you in what I call the 'Love me, Love me not' game. At least that is one of the most notable tactics and most emotionally harmful methods use to initiate distress.
I also noticed that money is the tool most used to suppress. Whether its budgets cuts or payoffs, it happens on a large scale to push the public in a specific direction.
Situations are manipulated to portray you as something undesirable or undeserving with the hopes that pressure will be applied for the purpose of breaking you in any way possible.
Most are just looking for reasons to belittle you in an effort to elevate themselves. In some cases, events are created to instill fear and hate towards an individual so that the masses will respond in turn.
As you began to withdraw from your normal routines and become more aware of your surroundings, you will begin to notice the differences in how you are received by strangers. Passersby's and strangers will began to make you uncomfortable with their comments and mocking.
Everyone is so caught up in their own day to day that most they don't bother to recognize others grief until it reaches their door. This is when those in position manipulate situations to allow for violence to continue as a warning or threat. There are also those instances where onlookers see an opportunity to express their negative input.
Take a moment and go online to any controversial news article and read the comments listed. I can assure you even without knowing which article that you have selected, there will be a majority of ignorant unrelated comments expressing a crude opinion based on hate or discriminatory practices. This simply describes the unhappy, wicked element that rears its ugly head in our society.
Now imagine how many controversial articles or news stories that are generated daily. Assume each controversial article and each hostile comment represents a person or individual in your community, would you be able to communicate to the hate filled commenter or even understand the controversial person. Probably not, due to the fact that everyone is just standing by or too self-absorbed to even notice the wars on their steps. In addition to the mini wars, people are sucked into the media mindset and easily succumb to misdirection. Usually, violence is immediately blamed on gangs or is depicted as being one lone incident.
It never fails to surprise me how quickly the attention turns away from the controversial important issues. I have always made reference to some news reporters as being cold and callous when delivering the news.
News- "Two bodies were found shot this morning on the cities west-side near an abandoned building… but on the lighter side of the news. Today, is 'national wash your dog day' or something utterly ridiculous and not even news worthy spoken within minutes.
That used to concern me but lately out of all the events happening in the world I find the stories that are selected as being part of a bigger picture. There are a lot of newsworthy
incidents that do not obtain any press and I have found that certain articles do not even allow for comments while others have plenty.
Contrary to what I used to believe, I have learned that there are opposing viewpoints in every issue. Articles, books, magazines are filled with the writer's personal opinions, substantiated by whatever evidence is deemed sufficient.
I have found that some are influenced or manipulated, especially, with regards to big money issues. For instance, recently, many have spoken out against the tobacco industry stating that there are over 30 thirty chemicals and toxins inside cigarettes. I used to smoke cigarettes for years and I had no knowledge of them containing anything other than tobacco and menthol.
Information can be controlled; given or limited. People say, 'Power to the People' but if you only provide limited details, half-truths combined with the blame for random violence…suddenly you have an army of people ready to exact vengeance on whoever they choose!
Again – The 'Power to the People' phrase is not accurate if 'the people' are not fully informed. Although some literature may deliver some pertinent information, there seems to always be the underlying question as to what or who is behind the position taken and who is affected.
In many instances, the general public has been guided by informational sources taking many stands on different life changing issues. These positions are solely based on comments presented by so-called reputable sources. They never consider that it is possible for some facts to be withheld. Most simply accept. Yes, after twenty plus years of abuse, I decided to stop waiting… hoping for change.
To continue reading, please click here!
Please contact me using any of the emails, phone numbers and website contact forms at any of the following websites –
Note: Remember that those in positions have been able to thwart justice and hinder assistance using technology. Some of my calls are not getting through and some of my emails are not being received so please try to reach me and if I don't respond please use another method of contact because I am very serious about obtaining proper resolution!
Phone: (702) 750-7190, (702) 750-7214, (702)860-0116
Email: firstname.lastname@example.com, firstname.lastname@example.com, firstname.lastname@example.com,
Websites: http://7westproductions.com, http://sevenwestproductions.com, http://musicbizadirtygame.blogspot.com
All rights reserved. No part of this blog or books may be reproduced in any form or by electronic or mechanical means, including information storage or retrieval system, without permission in writing from the publisher, except by a reviewer who may quote brief passages.


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Santa's sleigh is out of control and losing presents fast! Luckily one of his Snow Birds is there to retrieve Santa's presents. Catch them in the air or find them along the hills, just watch out for that pesky flaming coal!
* Enjoy an exciting unique level every time you play!
* Earn extra combo points by collecting series of presents in a row.
* Easy Tap to fly, hold to dive.
The smoother you land on the hills the faster you go. Tap to fly up and adjust your flight trajectory. Hold to dive down into the hills and regain your energy.


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See how Reyets is empowering citizens all around you.
Our Mission.
Imagine a more just world. We do. We're a tech company, but we're also citizens. We value an equitable, just society, and think technology can be used for the good of all - as an agent for postive social change.
Passionate about rights and doing good? We are looking for like minded partners to do meaningful work together.
Organizations, Lawyers, Journalists, Artists, and others looking to join the new Reyets movements contact us.


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Guinness Ghana Breweries Limited (GGBL), in service of its ambition to build thriving communities across the country, has extended its flagship Water of Life (WoL) programme to the Suhum municipality of the Eastern Region.
The total beverage company together with its partners Jaldhaara Foundation and WaterHealth Ghana, commissioned an ultra-modern small-town water facility which will provide safe and reliable drinking water to over 40,000 beneficiaries in the municipality and environs.
At a ceremony to officially inaugurate the facility, Deputy Minister for Sanitation and Water Resources, Mr. Michael Gyato commended Guinness Ghana and partners for the project in Suhum.
He added that, "Given the importance of water for preserving health and supporting balanced economic development, the project will contribute to the constant supply of potable water and enhancing sanitation in the Suhum municipality.
Mr. Gyato indicated that one of Government's top priority is to ensure development of water infrastructure across the country to provide safe drinking water to citizens in an equitable way.
MD of Guinness and other dignitaries savor some water from the facility
Speaking at the launch, Managing Director for GGBL, Gavin Pike said GGBL a subsidiary of Diageo Plc, regarded the sustainable access to clean drinking water and sanitation as the bedrock for building strong and thriving communities across its operational areas.
"The human right to water is indispensable for leading a healthy life in human dignity. It is a pre-requisite to the realization of the socio-economic well-being of communities. Over the past decade, we have directly invested in over 12 water delivery systems in communities across the country with a goal is to equip these communities with the resources to build a better future", he added.
Mr. Pike called on the municipality to ensure the facility served the people of Suhum and its environs for years to come by safeguarding and patronizing it.
Gabriel Opoku-Asare, Corporate Relations Director at GGBL further underscored Guinness Ghana's commitment to the provision of water to communities where it sources local raw materials; adding, "we believe that sustainable access to water, sanitation and hygiene (WASH) is central to meeting global development goals on poverty, health, education and economic growth."
Some residents who attended the commissioning ceremony thanked Guinness Ghana for siting the project in their municipality, as it would bring relief to Suhum and adjoining communities, who are often at the mercy of acute water shortages.


text: Posted on September 13, 2018September 14, 2018Terry Fox Run- September 27th Georgetown Elementary School is excited to be participating in the Terry Fox Run again this school year. See Mr. Gallison or homeroom teachers for pledge forms if interested in campaigning for donations for this very worthwhile cause. Georgetown Students will be running on Thursday September 27th.


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Warwick native Ariel Rose Bodman is taking on one heck of a project.
She is transforming the 107-year-old Aldrich Mansion in Warwick Neck into a music school called the Aldrich Mansion Music Academy.
Bodman also works as a luthier while running her own business at Rose Lutherie. Her drive and work ethic is unparalleled in the local community and she's using her talents to benefit the city's arts and culture as a whole.
I recently had a talk with Bodman about starting up the school; what made her pick Aldrich Mansion as the location; having an eye for detail; and how people can get involved with what she's doing
ROB DUGUAY: How did you go about starting the Aldrich Mansion Music Academy?
ARIEL ROSE BODMAN: The Aldrich Mansion Music Academy is currently in its start-up phase as we speak. We are in the process of becoming a nonprofit and hope to soon begin fundraising to cover costs associated with building this re-imagined music conservatory from the ground up. A venture like this means that there are still plenty of logistics that we're ironing out. With that being said, we are thrilled to have some extremely esteemed musicians on board as faculty. They are very enthusiastic about our mission to provide the highest quality contemporary, accessible approach to learning, creating and sharing diverse disciplines of music.
RD: It's an incredible endeavor you're undertaking. What inspired you to choose the mansion as the place to start the music school?
ARB: The Aldrich Mansion is a gem tucked in the heart of Warwick. As a turn-of-the-century marvel, not only is it aesthetically abundant, complete with acres upon acres of oceanfront views, but it stands to set a precedent of quality from the moment you set foot through the gates. Additionally, with the potential for eight faculty studios, six classrooms, a student lounge, a faculty lounge, gorgeous locker like storage space for instruments, and ornate halls perfect for performances, it's as if it was just waiting for a music school to call it home. We're thrilled for the opportunity to collaborate with such an incredible location.
RD: As a luthier, how long have you been making stringed instruments, and did it initially take a lot of work to get the process down?
ARB: I've been building instruments for about six and a half years now. Like any art form, there's always a learning curve and the area in which one excels is different for everyone. I know this because I also was fortunate to teach guitar building for a number of years. For me, I very instinctually had an eye for detail, a feel for how wood can be shaped, and a certain dexterity for manipulating it. At first, I had so much to learn about the physics and engineering behind instruments.
I'd say I still do – that side of the field is such a rabbit hole and is extremely fascinating. Instrument building under my label, Rose Lutherie, is something that I continue to do independently of the Aldrich Mansion Music Academy, but being able to come to music from every possible vantage point gives me a lot of perspective as a music teacher.
RD: Music education has increasingly been taken out of public schools over the last few years, with independent organizations playing an important role in teaching students after school. How do you feel about all of this?
ARB: This is a subject I'm very passionate about. Across the nation, the arts are getting cut from public schools when it has been statistically proven time and time again how positively they affect the developing mind. I have a few theories on why the importance of art and music continues to get neglected, the most relevant being that a standard and quality for creative music making needs to be made accessible. People need to be encouraged to learn about what interests them and execute what moves them. They also need to be given the freedom to create informedly while knowing that a high standard of music making is attainable to anyone given the ability to care about the music they are making.
By this, I mean that it's time for the entire paradigm of music education to shift and innovate. It is my personal belief that by creating tailor-made semesters aimed at the interests of our incoming students, the Aldrich Mansion Music Academy may have the ability to impact and permeate the general consensus about music education, at the very least within our community.
RD: How can someone interested in the Aldrich Mansion Music Academy get involved? And if someone wanted you to make them an instrument, how should they go about it?
ARB: I encourage interested individuals, curious students of all age ranges, and potential donors to visit aldrichmansionmusicacademy.org and to reach out to us at email@example.com. We would love to talk with folks and answer any questions they might have as we develop. While I'm grateful to have a waiting list for my instruments, I can be reached regarding potential commissions at email@example.com.


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Product Details
- Distraction device on the airsoft field.
- Four marking dummy projectiles included.
- Distance range simulates military training purposes.
- Capable to act as a distraction device on the airsoft field.
- Perfect to use as a cosplay accessory on shell holders.
Package Includes: x4 Dummy Grenades
We Got Your Back!
Product Reviews
Shipping & Returns
Free Shipping on all orders over $120. Use coupon: "freeshipping".
- Online purchases: 14 days from the date of delivery with copy of emailed receipt for exchange or store credit only. NO EXCEPTIONS!
- All guns are to be tested upon purchase, no damaged or defective gun returns are accepted (we have a tech available if needed).
- All used items have been tested and are sold "AS IS", and are not eligible for return.
- All used gear is not eligible for return.
- All consumable items are non-refundable if opened (unused BBs can be exchanged for different BBs of equal or lesser value).
- All guns being picked up from our techs are tested and cleared upon return and are not under warranty.
- Customized products are non-refundable in any circumstances.
- If the item is defective or you receive the wrong item, please contact our customer service at email@example.com for further instructions.
Please click here to view our Order, Return and RMA policies.


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With all lengths of hair, keeping it healthy and beautiful at all times can be time consuming and not an easy task. It was thinking of the men and women who are always on the run, and need to make sure their hair always looks impeccable, that Miracelly Salon & Spa launched the Membership Special with unlimited options according to your beauty needs.
With long experience in the beauty industry, owner and hair stylist Miracelly Castro is certified by the Akahoshi Academy in Sao Paulo, Brazil, and by Ricci's Academy in Newtown, Connecticut.
"My passion for hair styling started in 1988. Ten years later, I opened my first salon on South Street in Danbury," explained Castro. "I am grateful because my clients have always been loyal and followed me wherever I go."
Thinking of maximizing her salon space and expanding her services to offer more comfort and variety to her clients, in 2006, Castro closed her salon and moved to a larger facility just down the street, which is today the home of Miracelly Salon & Spa.
"The spa offers a wide range of services, such as hair design, wax services, massages and spa treatments," said Castro.
Castro carefully selects exclusive premium hair, skin and nail care products that her professionals use and recommend – from the popular Moroccanoil hair line, and global, professional hair care brand L'Oréal Professionnel, to the leader in "the science of hair" GKhair, in addition to Redken, Tressa Nioxin and many more. To provide a delicate, deep and effective waxing, she uses Beauty Image Finewax Cerapiel, which has cotton oil as its main ingredient, and lavender and Pink creme wax for sensitive skin.
"Miracelly has been my hair stylist for 26 years. I moved to Somerset, NJ, but every six weeks I make plans to come to Danbury and spent the day at her spa," shared Sandra de Assis Gonzalez. "The membership special not only helps you save money but it guarantees that you will be looking fabulous every day. I recommend it."
Some of the Membership Special perks include an unlimited offer for unlimited blowouts. Women know the cost of getting your hair blown out can add up. But Miracelly's Membership Specials offer a flat rate for all the blowouts you want.
More than a "beauty pass" for her clients, Castro believes that everyone deserves a random act of beauty kindness at least once a week.
"Whether you have a demanding job that requires that you look your best every day, or if you are a mother who does not find time to take care of yourself but would love to look beautiful, the Membership Specials are the answer. You have the flexibility to book an appointment that fits your schedule; just come, sit back, relax and let us take care of you," said Castro.
Miracelly Salon & Spa is located at 51 South Street, Danbury, CT. Call and make your appointment today at (203) 730-9183. For more details on the services offered at the salon, visit www.miracellyspa.com.


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America's Mental Health Depends on Public Employees, The KOSE Wayby Kansas Organization of State Employees January 19, 2018
At the Kansas Organization for State Employees (KOSE), we work to ensure that state employees have the tools and working conditions they need to accomplish the public goals. If our families and communities are to thrive, they need an effective system of mental health services. Funding and staffing cutbacks in the state's system in recent years have jeopardized our members' ability to care for people affected by mental illnesses. Currently, Kansas state employees are being strained across the state, and staff shortages in critical sectors are leading to mandatory overtime, putting patients, employees and the public at risk. Larned State Hospital and Osawatomie State Hospital employees are constantly being asked to work 16 hour shifts and are constantly tired and burned out from working so many hours. Legislators must address this understaffing to guarantee the safety of all Kansans.
The state's two psychiatric hospitals, Larned State Hospital and Osawatomie State Hospital, are unfortunate examples of understaffing, highlighting the challenges state employees face and the threats posed to patients. The Osawatomie State Hospital, created in 1866, began with the goal of providing a more compassionate alternative to imprisoning people with mental illnesses.
Over time, however, this noble goal came undone. In 1990, the Mental Health Reform Act changed the landscape of mental health treatment in Kansas. It funded community mental health centers (CMHCs) and expected those centers to take over the treatment of patients who were residing at or would have been coming to state-run psychiatric hospitals. The hope was to reduce costs and provide better treatment.
But exactly as happened nationwide, problems emerged after lawmakers declined to fully fund the centers, which resulted in state-run psychiatric hospitals overburdened with too many patients and not enough beds. Consequently, today nearly half of Kansas adults with serious mental illness are not in treatment.
With the start of the Great Recession in 2007, funding for community mental health centers was cut further and state employees were faced with the responsibility of even more patients. Gov. Sam Brownback's 2012 tax cuts greatly exacerbated the problem by slashing resources for mental health services. Three years later, Osawatomie State Hospital was decertified by federal officials due to safety concerns, resulting in nearly $1 million in lost federal funding per month. These factors put more pressure on hospitals to prematurely release patients.
While state hospitals were trying to save costs by releasing patients early, other understaffed programs in Kansas were affected by their decisions.
For years, local hospitals and the criminal justice system have been working with Kansans needing mental health treatment. In 2013, it was estimated that 38 percent of incarcerated adults in Kansas had a mental illness.
In 2017, the Legislature voted to increase funding for Osawatomie State Hospital by $4.7 million, while months earlier Gov. Brownback had suggested cutting nearly $20 million more from the state's psychiatric hospitals. Despite the additional funding, which is a good first step to alleviate bed shortages, understaffing remains a problem throughout Kansas, resulting in an increase in mandatory overtime. Staff members at the state hospitals have worked, at times, more than 40 hours of overtime per week. The overreliance on overtime places state employees at risk of misjudgments and errors due to fatigue, which endangers patients.
Legislators must address understaffing and act to adequately fund state services. While the reversal of Brownback's tax plan this summer paid the bills we owed and stopped the bleeding in Kansas, it is still up to members of the Legislature to repair the damage done by years of disinvestments. There is only one way they can do this: by guaranteeing that state programs are properly funded to serve and protect the citizens of our state.
The Kansas Organization of State Employees (KOSE) a union for executive branch state employees, is the largest union of state employees in Kansas. All non-supervisory, non-confidential employees in the executive branch of Kansas government, except higher education, are eligible to join KOSE, which is affiliated with both the American Federation of Teachers and AFSCME. Our mission is to make real improvements on issues identified by our members, such as compensation, pay equity, healthcare and retirement security, workplace safety, career development, and having a voice on the job.


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Ah, the animated gif, a throwback to the early days of web development and simple animation. In this post I'll show you how to use a UIImageView to create a similar effect that you get with an animated gif.
Below I've inserted the animated gif that I'll use as a template for the iPhone app we'll write in this post.
Animated gifs are nothing more than a series of images, encapsulated within one gif file, that are displayed in sequence. Within an animated gif one can specify the duration that each image (aka frame) is displayed, which offers a wide range effects that you can achieve.
Animated Images on the iPhone
To achieve a similar effect in an iPhone app, we create a UIImageView and set the animationImages property to point to an array of images. Not unlike the animated gif, we now have a series of images in which we can control the amount of time to complete one cycle of the images, as well as the repeat count of how many times to cycle through the animation.
To keep the example short, I'll use only one class, the application delegate. Here is how I've defined the delegate class:
@interface animationAppDelegate : NSObject <UIApplicationDelegate> { UIImageView *animatedImages; NSMutableArray *imageArray; UIWindow *window; }
Not much here, the UIImageView, an array to hold the images and the UIWindow for the output.
The code for the implementation of the app delegate follows:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65
#import "animationAppDelegate.h" #define IMAGE_COUNT 36 #define IMAGE_WIDTH 240 #define IMAGE_HEIGHT 180 #define STATUS_BAR_HEIGHT 20 #define SCREEN_HEIGHT 460 #define SCREEN_WIDTH 320 @implementation animationAppDelegate @synthesize window; - (void)stopAnimation { [animatedImages stopAnimating]; } - (void)applicationDidFinishLaunching:(UIApplication *)application { window = [[UIWindow alloc] initWithFrame:[[UIScreen mainScreen] bounds]]; // Array to hold jpg images imageArray = [[NSMutableArray alloc] initWithCapacity:IMAGE_COUNT]; // Build array of images, cycling through image names for (int i = 0; i < IMAGE_COUNT; i++) [imageArray addObject:[UIImage imageNamed: [NSString stringWithFormat:@"Frame_%d.jpg", i]]]; // Animated images - centered on screen animatedImages = [[UIImageView alloc] initWithFrame:CGRectMake( (SCREEN_WIDTH / 2) - (IMAGE_WIDTH / 2), (SCREEN_HEIGHT / 2) - (IMAGE_HEIGHT / 2) + STATUS_BAR_HEIGHT, IMAGE_WIDTH, IMAGE_HEIGHT)]; animatedImages.animationImages = [NSArray arrayWithArray:imageArray]; // One cycle through all the images takes 1 seconds animatedImages.animationDuration = 1.0; // Repeat forever animatedImages.animationRepeatCount = 0; // Add subview and make window visible [window addSubview:animatedImages]; [window makeKeyAndVisible]; // Start it up animatedImages.startAnimating; // Wait 5 seconds, then stop animation [self performSelector:@selector(stopAnimation) withObject:nil afterDelay:5]; } - (void)dealloc { [imageArray release]; [animatedImages release]; [window release]; [super dealloc]; } @end
How it Works
On lines 3 – 5 we define the attributes for the images in the animation. There are a total of 36 images, each is 240 x 180 pixels. On line 22 the array is defined which will hold the images and lines 25 – 27 the images are added to the array. You can decipher from the code that the images I am using have file names in the format: Frame_1.jpg, Frame_2.jpg, Frame_3.jpg, etc.
On lines 30 – 34 we allocate an UIImageView object and configure the frame so the image is centered on the device display. Line 35 sets the animationImages property to the array of images created above.
Line 38 sets the duration for one cycle through all the images. We specify the images are to cycle indefinitely by setting the animationRepeatCount to -1 on line 41.
At this point we are pretty much good to go, all we need to do is add the UIImageView object as a subview (line 44) and start the animation (line 48).
Application in the iPhone Simulator
The movie below shows how the application looks when running in the iPhone simulator:
Porting Animated Gif to iPhone
Not unlike I did for the example above, if you have an animated gif that you would like to use within an iPhone app, it's as simple as extracting/saving each image inside a gif and using a sequential naming convention. I opened the original gif file and manually saved each frame in the image to a jpg file. There are a number of tools that will do the extraction/saving/renaming for you (search for gif extractor).
With all the images saved as separate file, swap the image attributes in the #define section and update the code on line 27 to match the filename you used for saving each file.
Xcode Project Source Code
Download the Animation Xcode project.
|Animated gif of Newtons cradle, courtesy: Wikipedia


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Big wins for Samoa and Black Ferns Development XV at Oceania Women's Championship
Samoa began their bid to qualify for Rugby World Cup 2021 as winners of the Oceania Rugby Women's Championship in style with an emphatic 65-12 win over Papua New Guinea in Lautoka, Fiji, on Monday.
With Tonga's match against Australia A in round one cancelled on health grounds and declared a draw and Fiji losing to the Black Ferns Development XV, Samoa are setting the early pace in the race among the four non-qualified teams for the ticket to New Zealand.
Full-back Saelua Leaula and winger Apaau Mailau both grabbed hat-tricks for Manusina in a solid display that will have pleased head coach Ramsey Tomokino, especially with a crunch match against Fijiana coming up on Friday.
Impressive second-row Maria Jacinta Ausai and Billy-Jean Ale added their names to the scoresheet and the new-look Manusina were also awarded a penalty try.
Papua New Guinea, who were 44-0 down at half-time, never gave up and scored two tries of their own. Full-back Fatima Rama showed every bit of her blistering pace to get the Palais on the board with an 80-metre try on the hour mark, before adding another with five minutes to go.
Oceania Rugby Women's Championships— Oceania Rugby (@oceaniarugby) November 18, 2019
Round 1 | Manusina XV v ANZ PNG Palais #EqualPlayingField #OceaniaWomens #OceaniaRugby https://t.co/cU3Erj6flX
The highest placed of the non-qualified teams at the end of the 12-day long competition will join the eight teams who have already confirmed their presence at RWC 2021. Samoa are top on five points with Tonga second on two. Fiji and PNG have yet to get off the mark.
Fijiana geared up for Friday
In a contest every bit as one-sided as the first, the Black Ferns Development XV despatched Fijiana 53-0 in the second match of the day.
Canterbury centre Grace Brooker cemented her reputation as one of New Zealand rugby's hottest prospects with an influential try-scoring display and several other players put their hands up for senior selection in the emphatic win.
A brace of tries were scored by Natahlia Moors and Leilani Perese, with Joanah Ngan-Woo, Lauren Balsillie and Hazel Tubic also adding their names to the list.
Fijiana captain Sereima Leweniqila said that the team expected it to be tough with so many new players coming up against class opposition.
"We were trying to work on our set pieces and our defensive line. All of this is really a psyching up to the game on Friday, which is the Rugby World Cup qualifying one," Leweniqila said.
"The main focus on Friday is to come away with a win and hopefully we can do that."
A top-seven finish at the last Rugby World Cup in Ireland two years ago guaranteed New Zealand, England, USA, France, Canada, Australia and Wales their place, while South Africa became the first regional qualifier back in August.


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From 16 July to 6 August 2017 the European Championships in women's football is being held – also on our garden terrace!
You do not have to miss important games because of sliding or diving!
We will be showing SRF broadcasts, especially Switzerland and Group C!
Group A: Niederlande (Gastgeber), Norwegen, Dänemark, Belgien
Group B: Deutschland (Titelverteidiger), Schweden, Italien, Russland
Group C: Frankreich, Island, Österreich, Schweiz
Group D: England, Schottland, Spanien, Portugal