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The new art of Patagonia
A couple years ago, what had been the south wall of the Turner Supply Company sported a double mural collaboration between Nathan Brown and Chris Zidek, who signs his work Zidekahedron, which I featured in the post From me to you. But this is go-go Nashville, Turner Supply has moved on, and the new tenants wanted something else. Actually, two tenants wanted something else, the local branches of the chains Patagonia and Superica. The original mural had a Brown piece on the left (west) side of the wall, with Zidek's piece on the right (east). Now there's no Zidek piece, and a new Brown piece is on the right, on the side of Patagonia, while there's a hand-painted sign on the left on the side of Superica, which I'll feature whenever I figure out who the artist is (It would be nice if it were credited anywhere by Superica, but I haven't found such credit yet). The new Brwon piece, while very much reflecting his style, does seem to evoke mountains, bringing to mind the great outdoors Patagonia wants you to associate with their brand. It's also another example of a national brand sporting a local mural, though this not such a stretch for the brand image of Patagonia. This wasn't an easy photo to shoot, as there is a building right across the road which makes it very difficult to get a straight-on picture, which is necessary because of the wooden slats. I had to hold the camera to my side and take a bunch of pictures hoping I got the right shot. A lot got left on the cutting room floor! I also had to do two different shoots, because the first time, I didn't realize anything was under the wood slats!
Located at 601 Overton Street. The mural actually faces Mansion Street, on the south side of Patagonia. You can put some coins in the meters along Overton, but many of the nearby paid lots have one-hour free parking to encourage shopping in the Gulch, so make it part of your Gulch crawl and enjoy the art!
The Cobra (Part 2)
Sometimes I report on new art, sometimes not. While not nearly as old as the art in my last post, this mural at The Cobra on Gallatin goes back to September 2016, and I posted about the larger mural on the side of the bar way back in April of last year (see below). Obviously, it's by Eastside Murals. It continues the theme of skulls found in the mural on the side, but not the cobra or beer imagery. Here the skulls are complimented with abstract art. There is another mural altogether on the backside of the bar, one very different from the other two. Maybe I'll post it before the end of 2020.
Located at 2511 Gallatin Road. As it faces Gallatin, your best bet for a good view is actually across the street, where there is a Walgreen's with ample parking. The bar itself has plenty of parking, particularly early in the day when the bar is closed.
G.P. Rose & Co.
This may at first just appear to be a picture of an old brick building, found on 8th Ave South just south of the railroad bridge, a building which until recently housed the Downtown Antique Mall. Look closer though, and a faded set of signs emerges. Damage on the taller part of the building has erased part of the original sign, and banners, one for the departed antique mall, one advertising the building for lease, hide much of the long thin signs down the length of the building. (There's a clip from Google Street View below that doesn't have the leasing sign.) They advertise a firm that was called G.P. Rose & Co. According to the 1919 edition of Grain and Farm Service Centers, Vol 43 (scroll down to the bottom of page 1143, the linked page) G.P Rose & Co. was founded in 1884, the successor to Smith & Rose. The company featured direct access to the L & N and the N.C. & St. Louis Railroads (there are still tracks behind the building, and rail traffic still passes by regularly) and was powered by three 35 h.p G.E. engines (in 1919, anyway). There were two buildings at the time that could hold a total of 95 thousand bushels and handled wheat, oats rye, field seeds, and cowpeas. As the signs on the building say twice, "A Feed for Every Breed." It's quite conceivable the sign goes back to 1884. If so, it would have been originally painted 136 years ago. It's also possible the sign is somewhat younger or was substantially altered at some point – being sure will take more research. But it's very likely to be one of the oldest painted signs in Nashville, if not the very oldest. Nashville was a much smaller place back then, as can be seen from the 1889 G.M. Hopkins Atlas of Nashville, and there aren't many candidates left. For instance, you can see a few faded letters high up on 423 Broadway, present home of the downtown version of Mellow Mushroom, which seem to read "—WELL BROS & Co" that may be from the late 19th century, but that's about it for Lower Broad and its cross streets. The 1889 Hopkins Atlas also explicitly shows G.P Rose, though back then 8th Ave was called Spruce Street (see the excerpt below). I also found on eBay a collection notice signed by Mr. G.P. Rose himself, dated April 29th, 1885 (which I bought!) – you'll find it at the bottom. It would be really nice if this sign was spruced up. That will likely depend on the building's next tenant, assuming it's not torn down.
Located at 606 Eighth Ave South. It's possible to park for a while in the space just south of the building, between it and Norris Architecture next door. Otherwise, you'll need to park on the other side of 8th Ave.
Urban Juicer, Eastside Edition
If you think about it and are a little generous, you can say that the twisted straw on this mural spells out the word "urban." Which makes sense, since this mural sits on the side of the Gallatin Road version of a local juice bar chain called The Urban Juicer. If you look at that website, you'll see long, super twisty straws are part of their branding, so this colorful version hinting at all the different kinds of juice you can get fits right in. It's by David Wright of Manecoon Sign Company, who rarely signs his work, but if you peruse that Instagram account, you'll see that his art is all over town. The picture above doesn't capture the whole work, as there is also a The Urban Juicer logo and slogan off to the side, but that would have made a bad header photo for this post (see below). Maybe give The Urban Juicer a try – they were voted Best Juice Bar in the Nashville Scene's Best of Nashville poll in 2019.
Located at 1009 Gallatin Ave. The mural is on the south side of the building. Note that the parking lot it faces is not The Urban Juicer's parking lot. There's is in front of and behind their building. There is also street parking on Sharpe Avenue, just to the north.
Ready for a pun? Hanging Around is a custom frame shop. And if you look at the mural, you can probably guess it's found at the corner of 8th Ave S. and Lynwood. Back in May, the store acquired a new work by Kristy Oakley, of Where the Art Is. Oakley has produced community murals before, and while this is more focused on the store, it has some of the same elements of familiar local sights she has used in those murals. The skyline is roughly what you would see a block or so north of Hanging Around as you crest the hill on Eighth heading downtown, including the State Capitol and the Sheraton building, though large trees block out the view of the Batman Building at that spot. Look closely at the mural and you'll see Oakley has put in a couple extra plugs for herself. Besides the main signature, there's a "Where the Art Is" bumper sticker on the van and the luggage tag says "Kristy Oakley." There's hot chicken in the van and references to our local sports teams, and of course a guitar. The frame is reminiscent of a similar though less crowded one in one of her Donelson community murals. (This is the other one.)
Located at 1508 Eighth Avenue South. The mural is on the north side of the building, facing Lynwood Avenue. There is street parking on Lynwood.
Stock & Barrel
The small piece of Nashville wedged between 8th Avenue South and the Gulch is increasingly mural dense. As it should be, as tourists are beginning to really discover this spot, where, if you are lucky, some of the last free downtown parking spaces can be found. Stock and Barrel, their name a reference to their emphasis on bourbon and burgers, originated in Knoxville and is a relative newcomer to the scene. Their muralist, to my knowledge, is as well. Adam Newman (you'll find his Instagram page a little more informative) seems to be new to the mural movement here in Nashville, but his evocative piece for Stock & Barrel leaves me hoping we'll see more work from him in the future. I like how he just cut off the final "E" in "Nashville." It's the only vowel he used anyway, so why not cut it off?
Located at 901 Gleaves Street. The mural is on the west side of the building, facing Peg Leg Porker (which has its own new mural). There is street parking nearby, but most of it is metered. If you're lucky and you look hard, you'll find the free spaces (for now), mostly on 10th Avenue.
A colorful HOME
This is a story of a missing mural. I am certain that next to the front door of HOME there was a once small mural that contained music motifs, including a saxophone, that I both photographed and posted about. I can find no evidence of either. That's how much art is out there – even stuff I drive by every day I can lose track of. This mural, found on the east side of Center 615, is relatively new – it went in a few months ago – and is by Atlanta artist Kevin Bongang. He's done at least three other pieces in Nashville in this same colorful style, including one of the Off the Wall murals on Charlotte. As for the host of this mural, HOME stands for "Helping Our Music Evolve," and it's a music industry incubator, where music professionals can connect, collaborate, and get access to production facilities, office and rehearsal space. Now if that ain't modern Nashville, nothing is.
Located at 615 Main Sreet. The mural is on the lower floor on the east side of the building, facing North Seventh Street. Street parking is available on 7th. The mural does face a small parking lot, and there are often cars in front of. Maybe try very early in the morning.
Melrose Forever
Sitting near the busy intersection of Kirkwood Avenue and Franklin Pike on the backside of Melrose Mini Mart sits this tribute to three Tennesse R&B greats: Clifford Curry, Dobie Gray, and Bobby Hebb. Curry lived in Knoxville, and he recorded in Nashville, while Ray was born in Texas and lived in Nashville as an adult, and Hebb was a life-long Nashvillian. Curry was a master of Carolina Beach Music and was inducted into the Beach Music Hall of Fame, and is perhaps best known for "I Can't Get Hold of Myself." Gray and Hebb had bigger, iconic hits you all know but may not know who was behind them. While Gray had other hits, it's "Drift Away" he's best known for, though younger audiences may know the 2002 duet/remake with Uncle Kracker better than the original 1973 edition. Hebb is the guy behind "Sunny." That link, by the way, is to a stripped-down live version, since y'all already know what the studio version sounds like. You can hear it in your head right now, yes? All three men have passed in recent years; Hebb in 2010, Gray in 2011, and Curry in 2016. The mural is by Steve Ford, a Nashville artist who sells his work at Lazy Lane Graphics, and specializes in "Southeastern Sports Art," i.e., art about your favorite college football teams from the South. As far as I know, this is his first mural in town.
Located at 2609 Eighth Avenue South (Franklin Pike). The mural is on the north side of the building, facing towards downtown and the Dollar General at 2605. You can usually park in the parking lot between the two stores, but any day but Sunday, cars from the auto repair place attached to Melrose Mini Mart are likely to be parked in front of the mural.
Blek, Barista, and Beethoven
It's not often that a graffiti artist gets written up in the local news, his arrival in town excitedly heralded by local arts groups. But Blek Le Rat is not just any graffiti artist. He's an internationally known French street artist, known to some as the "godfather of stencil," that is, the use of stencils to make images on walls. He toured the U.S. south in late 2018, creating works in the Texas cities of Waco, Houston, and Austin, and also here in Nashville. He left stencils at Montgomery Bell Academy and the one above at the Germantown branch of Barista Parlor. In this video interview with WPLN, he explains that he came to Nashville because it is the capital of music and because he thinks his work would be ignored and unappreciated in a more outdoor art-dense city like New York. The subject is a young Beethoven, who Blek presents in more modern dress, imagining how the old master might present himself to the Nashville of today and its music. He also thinks "the real America is in Nashville, a city like Nashville." The video is worth watching because it captures a lot of his process as he produced the Beethoven portrait. It's not as simple as spraying a stencil! The picture below gives you a sense of context.
Further down the wall is the work of another stencil artist, For Becks, who is local. I've featured his Lego Men before. Here we see one of his "Like" stencils, which are popular on Instagram, including this one.
Located at 1230 4th Avenue North. Both murals actually face the 300 block of Monroe Street. The Blek piece is obviously at the corner with 4th, while the For Becks piece is almost all the way down at the other end of the wall, near the back of the building. Street parking is available on 4th.


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Demi Moore's New Swimwear Collaboration With Andie Is Sweet and Sexy
Photo: Courtesy of Drew Escriva
Demi Moore has long been a swimwear icon. Who can forget when the bombshell actor stepped out in Charlie's Angels: Full Throttle wearing a barely-there triangle bikini while carrying a surfboard? Moore's love for bathing suits has never faded. The proof is in the waterproof spandex: Today, the actor has released her first collection with the swimwear label Andie, which consists of 10 styles and ranges from $75-$155.
For her design debut, Moore opted for more coverage. "So much of what I've seen in the last couple of years was just less and less fabric. Like how much can we show? Sometimes it leaves nothing to the imagination," says Moore. There are still some of those pieces, albeit a bit more subtle versions, including the actor's all-time favorite style. "I personally do tend to love a very simple triangle bikini," she says. Some of the suits, like a white wrap skirt and a black one-piece with an extreme, diving neckline, take a more modest approach.
Moore, who considers herself a child of the '70s, looked to yesteryear, fuller-coverage bikinis from the '30s, '40s, and '50s to inform her designs. "There was something for me about exploring the idea of what is sexy and sweet and empowering that doesn't necessarily show everything, that is a great fit, that feels comfortable," she says.
The actor had plenty to pull from, as she's a long-time collector of vintage swimwear. "I have quite an array of pieces from the '20s, from [suits by] Jantzen to some interesting kind of European, very obscure German swimwear-makers." Norma Kamali's swimdresses of the '80s also inspired her. "The suits that she had were actual dresses that you could wear out and nobody would know that it was a swimsuit. I lived for that. Maybe just because it was clever," she says. "That's where the [Andie] skirt came from, with it being a skirt that you could wear with different tops."
Though the inspiration came from decades past, the innovation behind the swimwear was incredibly modern. Moore worked with Michelle Copelman, the vice president of brand and design at Andie. They infused the one-piece suits with powermesh to add some compression to the fabric without restricting the wearer. "It was a little bit of a balancing act," says Copelman. Each of these features is meant to act as a seamless second skin and add support.
Andie's sizing runs from 0-26, and Moore stresses that there is something for a range of body types and ages in this collection. She cites her daughters as being her swimwear soothsayers. "They keep me aware of what's appealing to a different generation," says Moore. "We do share [swimwear], but you know, they don't cover the butt!" Ultimately, Moore wants to drive home that there's a suit for everyone, no matter how much you do or do not want to reveal. "I think it exudes confidence to know that you don't need to show a lot of skin to be sexy," she says. "[You have] the option to feel covered, but to not have it be matronly. It still feels flirty and sexy and fun."
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redpajama_set_name: RedPajamaCommonCrawl


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Health workers need more: 'independent' panel no way forward
During last year's election campaign Labour seemed to be the party that offered pay equity and a boost to health spending. Nurses, health care assistants and midwives, working in unbearable conditions under National's cutbacks, took Labour at its word. In November the ordinary member of the New Zealand Nurses Organisation voted down a collective agreement, recommended to them by their negotiating team, which gave just 2 percent pay rises. In March the membership voted down another deal that gave 2 percent increases. Then in early April health workers showed an unmistakable spirit to fight for the radical uplift to public health services that they and the public need. As health workers rallied outside hospitals the general public enthusiastically tooted its support for the cause.
The Ardern government was facing its sternest test yet from its natural supporters. A radical increase in pay and staffing levels in the DHBs would require a loosening of Labours' and the Green's compact, the Budget Responsibility Rules, to hold public spending in check. From the Labour-led coalition's point of view, to concede to the health workers would open the floodgates to pay demands and risk losing the confidence of the capitalist class that the government parties so crave. When it comes down to it, Labour believes in a market-dominated economy.
With the health workers threatening to strike, the government was in a hole. But Labour has managed to pull off one of the oldest escape tricks in the book. To stymie the momentum of health worker militancy it offered a so-called independent panel to mediate a settlement. The NZNO high-ups willingly fell into the elephant trap.
The panel chair will be Margaret Wilson, former Labour MP, Attorney-General, Speaker of the House, Director of the Reserve Bank, and currently a Professor of Law. The other panel members are: Geoff Annals, the chief executive of Accuro Health Insurance and a former NZNO chief executive; and Julie Patterson, former CEO of Whanganui DHB.
Health workers will have plenty of time to cool down. The panel will meet for the first time next week and then take 4 weeks to receive submissions from the Union and the DHBs. The final recommendations from the panel will be made in mid-May and only then will the DHBs make a revised offer to NZNO. It is possible that the threat of industrial action will prompt the panel, and the government behind the scenes, to prod the DHBs to up their pay offer, but a major breakthrough in pay and staffing levels is unlikely to come out of the panel process.
Only strike action will force Labour's hand to radically increase the DHBs' budgets. In case the membership are not satisfied with the panel outcome, the NZNO will start an industrial action ballot on 23 April. Helpfully, the NZNO has told the DHBs what the action will be: two 24 hour strikes in early July. Could the process be dragged out any longer? The clear danger is that the delays will dissipate the current energy for action, but let's hope not.
Book review: Workers Can Win


Sleep. Some have it. Some don't.
For the past year, I've been in the don't camp. I mentioned in a "recent" post how we got to this sleepless state, so I won't get into all the nitty gritty details here. But long story short, it has been the most painful year of my entire life. Which first off, says something about how fortunate I've been so far in life and second off, is strange because the very thing that made life painful also brought great joy — Henry the Hard.
I'm a pretty empathetic person, so empathetic that I sometimes can feel pain that may or may not exist. Would Henry have felt abandoned if we did sleep training 6 or 9 months ago? Who knows. But the thought of it was too much for me to bear. Everyone told us that we had to be consistent and once we started the training, we couldn't waffle. I was not confident that I could do that if I couldn't explain to him what we were doing. So, I waited and suffered through long, sleepless, painful nights. Until recently when we made the decision to sleep train Henry. His language and comprehension skills were improving — I knew he understood what it meant when we said "Henry go nighty-night." And I was very, very quickly reaching the end of my empathetic rope.
So, we talked to some sleep consultants — yes, those are a thing. My boss referred us to them and I'm so grateful for their guidance. Together, we developed a strategy. I told them how hard it was going to be. Henry's very temperamental. He's not easy-going or flexible. He's a screamer. He's been throwing tantrums since the womb. I promise, this is going to be very, very difficult.
I had a theory that Scott was going to be the key to all of this. He has a good relationship with Henry and Henry is more easy-going around him. So, we started there — with Scott putting Henry to bed at bedtime. The first two nights, I had to leave the house. I was a total nervous wreck. I knew it was going to be so awful. Hours of screaming, pleading to be rocked to sleep.
Except it wasn't. There was not a single tear. Not a single scream.
That was a few weeks ago. Scott puts him to bed every night without issue and within the last few days, he's been sleeping the whole night through. If he does wake in the night, most of the time it just takes Scott going in there for a few minutes to reassure him.
The sleep consultants said to try bedtime and then overnights first before we worked on nap time. Last week, I was having a pretty rough time rocking him to sleep at nap time, so I put him in his crib and told him "Henry, nighty-night in Henry's bed." The first day it took about 30 minutes before he was out (no tears or screams) and the next three days were about 10 minutes each.
Seriously, I'm pretty sure this kid's sole purpose in life is to screw with me. Who knows if it would have been that easy 6 months ago or if it was that easy because we waited. But I'm just glad it hasn't met my expectations.
And I feel like a human again, y'all. I feel happy and light and like sunshine is radiating through me. I can't convey in words just how huge that change is. This past year, I've been living inside a storm cloud. Always exhausted. Always grumpy. Trapped in a sleepless cycle. So, if you're wondering why the sun is brighter or the butterflies are happier in Kansas, now you know. The storm cloud has lifted.
Thanks for sharing, Katie! I'm so so glad that things are better!!


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Presencia y función de los saberes psi en la "Edad de oro" de la literatura de Ciencia Ficción chilena (1959- 1973)
: Presence and function of psi knowledge in the "golden age" of chilean science fiction (1959-1973)
Francisco Pizarro Obaid, Mariano Ruperthuz Honorato
Education and Social Sciences School
The works of Hugo Correa, María Elena Aldunate and Antonio Montero have been recognized as crucial contributions in the development of Chilean Science Fiction, giving rise to the so-called "Golden Age" of the genre (1959-1973). Despite that their novels and stories problematize the sociocultural transformations of their time, their writings also incorporated conceptual references from psychology, psychiatry and psychoanalysis -psi knowledge- in the configuration of the plot and the features of its characters. The present article seeks to identify the presence of concepts coming from the field of psi knowledge in the work of these three authors and analyze the literary effects they had in the construction of the arguments and the characters of their stories. In this way, the singularity of the works of this period could not be reduced to their social sensitivity or the use of technological or scientific categories. In addition to interpreting socio-cultural conflicts, Chilean Science Fiction of that decade showed a marked interest in the dilemmas of the subjectivity of its time by addressing the problems pertaining mental, intelligence, perception, psychological self, anxiety, and alterity through the incorporation of psi knowledge in the process of literary creation.
Presence and function of psi knowledge in the "golden age" of chilean science fiction (1959-1973)
Estudios Filologicos
10.4067/S0071-17132020000100045
Dive into the research topics of 'Presence and function of psi knowledge in the "golden age" of chilean science fiction (1959-1973)'. Together they form a unique fingerprint.
science fiction Social Sciences 100%
Golden Age Arts & Humanities 77%
Science Fiction Arts & Humanities 77%
Cultural Conflict Arts & Humanities 51%
Singularity Arts & Humanities 51%
cultural conflict Social Sciences 51%
Literary Creation Arts & Humanities 48%
development of science Social Sciences 48%
Obaid, F. P., & Honorato, M. R. (2020). Presencia y función de los saberes psi en la "Edad de oro" de la literatura de Ciencia Ficción chilena (1959- 1973). Estudios Filologicos, (65), 45-63. https://doi.org/10.4067/S0071-17132020000100045
Obaid, Francisco Pizarro ; Honorato, Mariano Ruperthuz. / Presencia y función de los saberes psi en la "Edad de oro" de la literatura de Ciencia Ficción chilena (1959- 1973). In: Estudios Filologicos. 2020 ; No. 65. pp. 45-63.
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abstract = "The works of Hugo Correa, Mar{\'i}a Elena Aldunate and Antonio Montero have been recognized as crucial contributions in the development of Chilean Science Fiction, giving rise to the so-called "Golden Age" of the genre (1959-1973). Despite that their novels and stories problematize the sociocultural transformations of their time, their writings also incorporated conceptual references from psychology, psychiatry and psychoanalysis -psi knowledge- in the configuration of the plot and the features of its characters. The present article seeks to identify the presence of concepts coming from the field of psi knowledge in the work of these three authors and analyze the literary effects they had in the construction of the arguments and the characters of their stories. In this way, the singularity of the works of this period could not be reduced to their social sensitivity or the use of technological or scientific categories. In addition to interpreting socio-cultural conflicts, Chilean Science Fiction of that decade showed a marked interest in the dilemmas of the subjectivity of its time by addressing the problems pertaining mental, intelligence, perception, psychological self, anxiety, and alterity through the incorporation of psi knowledge in the process of literary creation.",
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Obaid, FP & Honorato, MR 2020, 'Presencia y función de los saberes psi en la "Edad de oro" de la literatura de Ciencia Ficción chilena (1959- 1973)', Estudios Filologicos, no. 65, pp. 45-63. https://doi.org/10.4067/S0071-17132020000100045
Presencia y función de los saberes psi en la "Edad de oro" de la literatura de Ciencia Ficción chilena (1959- 1973). / Obaid, Francisco Pizarro; Honorato, Mariano Ruperthuz.
In: Estudios Filologicos, No. 65, 2020, p. 45-63.
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N1 - Publisher Copyright: © 2020 Universidad Austral de Chile. All rights reserved. Copyright: Copyright 2020 Elsevier B.V., All rights reserved.
N2 - The works of Hugo Correa, María Elena Aldunate and Antonio Montero have been recognized as crucial contributions in the development of Chilean Science Fiction, giving rise to the so-called "Golden Age" of the genre (1959-1973). Despite that their novels and stories problematize the sociocultural transformations of their time, their writings also incorporated conceptual references from psychology, psychiatry and psychoanalysis -psi knowledge- in the configuration of the plot and the features of its characters. The present article seeks to identify the presence of concepts coming from the field of psi knowledge in the work of these three authors and analyze the literary effects they had in the construction of the arguments and the characters of their stories. In this way, the singularity of the works of this period could not be reduced to their social sensitivity or the use of technological or scientific categories. In addition to interpreting socio-cultural conflicts, Chilean Science Fiction of that decade showed a marked interest in the dilemmas of the subjectivity of its time by addressing the problems pertaining mental, intelligence, perception, psychological self, anxiety, and alterity through the incorporation of psi knowledge in the process of literary creation.
AB - The works of Hugo Correa, María Elena Aldunate and Antonio Montero have been recognized as crucial contributions in the development of Chilean Science Fiction, giving rise to the so-called "Golden Age" of the genre (1959-1973). Despite that their novels and stories problematize the sociocultural transformations of their time, their writings also incorporated conceptual references from psychology, psychiatry and psychoanalysis -psi knowledge- in the configuration of the plot and the features of its characters. The present article seeks to identify the presence of concepts coming from the field of psi knowledge in the work of these three authors and analyze the literary effects they had in the construction of the arguments and the characters of their stories. In this way, the singularity of the works of this period could not be reduced to their social sensitivity or the use of technological or scientific categories. In addition to interpreting socio-cultural conflicts, Chilean Science Fiction of that decade showed a marked interest in the dilemmas of the subjectivity of its time by addressing the problems pertaining mental, intelligence, perception, psychological self, anxiety, and alterity through the incorporation of psi knowledge in the process of literary creation.
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which game was stranger? this one or baltimore vs denver?
Froggy wrote: which game was stranger? this one or baltimore vs denver?
Julio Jones with an INT? Good as anything to end such a wacky game.
Wait... did BIllick just say this win legitimizes the Seattle Seahawks as the number one seed and the team to beat?
The falcons work hard to make people think they stink.
the wicked child wrote: Wait... did BIllick just say this win legitimizes the Seattle Seahawks as the number one seed and the team to beat?
Yeah. He's double wrong since he was talking about the falcons. Anyone who thinks this win was impressive needs their head checked.
the wicked child wrote: Julio Jones with an INT? Good as anything to end such a wacky game.
As the interception occurred I was very impressed by the timing of the jump and the hands displayed by the defensive back. Then I saw it was Julio Jones and it all made sense.
Atlanta will probably get destroyed by San Francisco.
That's what is hilarious. How can anyone think Atlanta is the team to beat after they BARELY scraped together a victory at home against the six seed?
i was rooting for the winners of both of today's games next week, regardless of who won. i want a harbaugh free superbowl.
Froggy wrote: i was rooting for the winners of both of today's games next week, regardless of who won. i want a harbaugh free superbowl.
I hate the Patriots, although I don't hate them nearly as much as I did six or seven years ago. Absolutely no frigging way I would rather have Flacco, Harbaugh, Suggs, Lewis, Reed and company there instead of the Pats.
I really needed the Seahawks to advance there since I have Russell Wilson for my playoff pool for $$$. Had to keep up with the few people who took Kaepernick. Oh well.
And on another side note, I can't believe the Patriots have not won a Super Bowl since 2004. And I can't believe the Steelers have won two SBs since the Pats won their last one.


I have been in Rome for a few weeks. Every time I get up to 4060 trophies I run into the same glitch. The next time I log into the game it takes 60 trophies away for no reason. I don't loose any matches...the trophies just disappear! This has happened multiple times now. I am ready to just give up on this game. Any ideas?
I have been unable to watch any ads (either after games or to get free money). I get a notice saying "Please try again later." I have tried everything to fix- restart app, restart iPhone XS, clear memory in browser, try on cellular and WiFi. No one else in my house is having this issue. Help?!?


It would be a mistake to summarize Roy Brown's discography to "Good Rockin' Tonight". In addition to Deluxe/King, he cut sides for Imperial, Home Of The Blues, DRA and even Chess and died in 1981 after making a well deserved triumphant return to New Orleans. This mammoth cd (29 songs) presents his lesser known sides recorded for King between 1952 and 1955, and 6 tunes from his Imperial sessions. Brown's new home had no plan to change a formula that was successful and this sides are in the same vein of his precedent releases, sharing the same arrangements or themes ("Ain't No Rockin' No More" is a sequel to his massive hit). "Mr Hound Dog's In Town" (which is nothing but a adaptation of Hound Dog) is slightly different accompanied by just a guitar-bass-drums trio. The Imperial sides show a different side of Brown with an unexpected cover of Buddy Knox's Party Doll which saw his return in the charts in 1957 (#13) followed by "Let The Four Wind Blow" (#5). A good addition to anyone interested by Blues shouters and a good replacement to the Classics (1951-1953) cd which is now hard to find.
Share the post "Roy Brown – Saturday Night"


Department of Medicine, Division of General Internal Medicine, Queen's University, Kingston, Ontario, Canada.
Download article PDF – POCUS Journal 2019; 4(1):2.
A 59-year-old man, with known alcohol-induced liver cirrhosis and diuretic refractory ascites, was seen in General Internal Medicine clinic for a therapeutic paracentesis. The tense large volume ascites caused abdominal pain, which had been previously relieved with paracentesis on several occasions. In preparation for paracentesis, routine POCUS was performed to landmark for the procedure. POCUS revealed an unexpected thin-walled mobile structure (Figure 1) within the abdominal cavity (online Video S1). There was no history of abdominal surgery, or any indwelling catheters.
Figure 1. Point of Care Ultrasound of Right Lower Abdominal Quadrant. Four still images captured from the 6 seconds of video recording.
Video S1. Point of Care Ultrasound of Right Lower Abdominal Quadrant.
Intraabdominal cysts are classified based on their organ of origin. This particular cyst appears adjacent to mesentery or omentum. The most common mesenteric or omental cysts are lymphangiomas, which are multiseptated structures . Less common are thick walled enteric duplication cysts, hypoechoic enteric cysts, and thin anechoic unilocular mesothelial cysts . Pathologic examination is required for definitive diagnosis.
POCUS imaging characteristics in this case were consistent with a mobile benign mesothelial cyst. Benign mesothelial cysts are a relatively rare tumor, within the category of multilocular peritoneal inclusion cysts [2,3]. These cysts are generally tethered to organs, but a small subset is non-tethered and can be free floating in the presence of ascites [2,3]. They are often found incidentally, in reproductive age women during caesarian sections, or during abdominal imaging.
These thin-walled and fluid-filled structures are typically three to ten centimeters in diameter . When examined histologically, the cyst walls are fibroconnective tissue with flattened to cuboid mesothelial cell layers without any mitotic activity . While the pathophysiology remains unknown, there may be a link to peritoneal inflammation or elevated estrogen states [2,5]. End stage liver cirrhosis would cause both a pro-inflammatory state and elevated estrogen levels.
While these cysts are commonly asymptomatic, they can cause abdominal pain and compressive symptoms if large. Management is complete surgical resection, although there is a propensity for recurrence.
This patient underwent an effective therapeutic paracentesis, avoiding the cystic structure. Unfortunately, shortly after these images were obtained, he deteriorated due to progression of his decompensated liver cirrhosis, and subsequently passed away. In keeping with his goals of care, repeat therapeutic paracentesis was performed to help relieve abdominal pain, but no further investigations were performed on this cyst.
1. Stoupis C, Ros PR, Abbit, PL, et al. Bubbles in the belly: imaging of cystic mesenteric or omental masses. Radiographics. 1994;14(4):729-37.
2. Tsui KP, Tsai HJ, Huang SH. Free-floating intra-peritoneal mesothelial cyst with histologic properties of amniotic epithelium in term pregnancy: Report of two cases. J Obstet Gynaecol. 2016;36:376–377.
3. Ross MJ, Welch WR, Scully RE. Multilocular peritoneal inclusion cysts (so-called cystic mesotheliomas). Cancer. 1989;64:1336-46.
4. Ousadden A, Elbouhaddouti H, Ibnmajdoub KH, et al. A giant peritoneal simple mesothelial cyst: a case report. J Med Case Rep. 2011;5:361.
5. Watson HI, Borovickova M, Shetty A. The curious case of free-floating pelvic cysts. BMJ Case Rep. 2014;doi:10.1136/bcr-2014-205229.


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The Kalas Story
This Book of Memories memorial website is designed to be a permanent tribute paying tribute to the life and memory of Stephen LaScola, Jr.. It allows family and friends a place to re-visit, interact with each other, share and enhance this tribute for future generations. We are both pleased and proud to provide the Book of Memories to the families of our community.
LaScola, Jr.
Kalas Funeral Home & Crematory
2973 Solomons Island Road
Edgewater, Maryland
Obituary for Stephen Joseph LaScola, Jr.
Stephen Joseph LaScola, Jr., 66, a 37-year resident of Mitchellville, MD and previously of Bowie, MD, passed away on January 18, 2018 at Prince George's Hospital. He was born on March 26, 1951 in Washington, DC to Rosemary and the late Stephen Joseph LaScola, Sr. He graduated from Springbrook High School and attended Montgomery College. Stephen served in the U.S. Navy Reserves. He entered an Electrical Apprenticeship program which led him into a career as an Electrician, owner of his own electrical contracting company, LaScola Electrical Contractors, and eventually as a Vice President of the Natelco Corporation. He was a member of the International Brotherhood of Electrical Workers (IBEW) Local 26 for more than 45 years. In his spare time, Stephen enjoyed fishing, boating, automobiles, and social gatherings.
Stephen is survived by his loving wife of 42 years, Bertie Marie LaScola; his daughter, Michelle LaScola-Wehner and her husband, Scott Wehner of Middle River, MD; his mother, Rosemary LaScola of Annapolis, MD; one brother, Joseph LaScola of Annapolis, MD; and three sisters, Donna Titsworth and her husband, Michael Titsworth of Davidsonville, MD, Theresa Jefferies and her husband, William "Spence" Jefferies of Arnold, MD and Marcia Kokoski and her husband, Richard Kokoski of Gambrills, MD.
Friends are invited to celebrate Stephen's life at the George P. Kalas Funeral Home, 2973 Solomons Island Rd., Edgewater, MD on Wednesday, January 24 from 2 to 4 and 6 to 8 PM. Mass of Christian Burial will be offered at Holy Family Catholic Church, 826 W. Central Ave., Davidsonville, MD on Thursday, January 25 at 11 AM. Interment will follow at Lakemont Memorial Gardens Cemetery in Davidsonville. Condolences may be made by accessing the link on this page.
In lieu of flowers, contributions may be made to the American Heart Association, 217 E. Redwood St., Suite 1100, Baltimore, MD 21202.
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Select other Coyotes Bjugstad, Nick Boyd, Travis Brown, Josh Chychrun, Jakob Crouse, Lawson Fischer, Christian Gostisbehere, Shayne Guenther, Dylan Hayton, Barrett Ingram, Connor Kassian, Zack Keller, Clayton Maccelli, Matias McBain, Jack Moser, J.J. Nemeth, Patrik O'Brien, Liam Ritchie, Nick Schmaltz, Nick Stecher, Troy Valimaki, Juuso Vejmelka, Karel Coyotes Roster
J.J. Moser
Team: Arizona Coyotes Height: 6-1 Born: 6/6/2000
Position: D Weight: 173 Birthplace: Biel, Switzerland
10/13 @ Pit L 2-6 0 2 2 -1 0 0 - 0 2 0 0 0 23:34
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11/13 @ NYR L 1-4 0 0 0 0 0 2 - 0 0 0 0 0 26:06
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11/23 @ Car W 4-0 0 1 1 1 0 1 - 0 0 0 0 0 22:58
11/25 @ Det L-SO 3-4 1 0 1 0 0 1 100.0% 0 0 0 0 0 21:46
11/27 @ Min L 3-4 1 0 1 0 0 2 50.0% 0 0 0 0 0 21:06
12/01 @ LA L 3-5 0 0 0 -2 0 2 - 0 0 0 0 0 20:52
12/03 @ Van OTL 2-3 0 0 0 0 2 2 - 0 0 0 0 0 20:33
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12/16 NYI W 5-4 0 0 0 0 0 1 - 0 0 0 0 0 22:31
12/17 Buf L 2-5 0 0 0 -2 0 1 - 0 0 0 0 0 19:08
12/19 Mon OTL 2-3 0 0 0 0 0 1 - 0 0 0 0 0 18:31
12/21 @ VGK L 2-5 0 0 0 0 0 1 - 0 0 0 0 0 20:32
12/23 LA W-SO 2-1 0 0 0 0 0 0 - 0 0 0 0 0 19:47
12/27 Col W 6-3 1 0 1 1 0 2 50.0% 0 0 0 0 1 17:43
12/29 Tor W 6-3 1 0 1 1 0 1 100.0% 1 0 0 0 0 20:40
12/31 @ TB L 3-5 0 0 0 -1 0 1 - 0 0 0 0 0 18:48
01/03 @ Fla L 3-5 0 1 1 0 0 1 - 0 0 0 0 0 18:34
01/05 @ Phi L 2-6 0 0 0 0 0 1 - 0 0 0 0 0 10:55
01/06 @ Chi L 0-2 0 0 0 0 2 0 - 0 0 0 0 0 14:10
01/08 Pit L 1-4 0 0 0 0 0 0 - 0 0 0 0 0 16:07
01/10 SJ L 2-4 0 0 0 -2 0 1 - 0 0 0 0 0 12:33
01/12 Ott L 3-5 0 0 0 -1 2 2 - 0 0 0 0 0 19:12
01/14 @ Min L 1-2 0 0 0 0 0 2 - 0 0 0 0 0 18:33
01/15 @ Wpg L 1-2 0 0 0 0 0 2 - 0 0 0 0 0 17:45
01/17 Det W-SO 4-3 0 0 0 0 0 0 - 0 0 0 0 0 15:58
01/19 Was L 0-4 0 0 0 0 0 0 - 0 0 0 0 0 18:08
01/21 @ Dal L 0-4 0 0 0 -1 0 0 - 0 0 0 0 0 18:54
01/22 VGK W 4-1 0 0 0 1 0 2 - 0 0 0 0 0 18:51
01/24 Anh L 2-5 0 0 0 0 0 2 - 0 0 0 0 0 19:03
01/26 StL W 5-0 0 0 0 0 5 1 - 0 0 0 0 0 18:16


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THE "MORTAL REMAINS" OF OUR BLESSED FOUNDER AND OF OUR CO-FOUNDER
Scritto da Postulazione Generale, IMC
Whoever visits our Mother-House in Torino can see (in what is now called the "Church of Blessed Joseph Allamano") the sarcophagus of Bd. Joseph Allamano, our Founder, and (not far from it) the more modest one of Fr. James Camisassa, our Co-Founder. But, this has not always been so...
The "mortal remains" of these two priests, who worked so closely together for 42 years, for a number of years have been apart.
Torino's General Cemetery
Fr. James Camisassa died on 18 August 1922, and on 21 August 1922 was buried in the part of the General Cemetery of Torino reserved for the clergy, in the section for the Canons.
Fr. Joseph Allamano died on 16 February 1926 and was buried in the same section of the General Cemetery of Torino on 18 February 1926.
As early as 1927, there was a plan to bring together into our Mother-House their mortal remains. At the death of Fr. Camisassa, Fr. Allamano said that he had wished that the two of them could be buried in the same grave. In 1927, Bishop Perlo had requested and was granted permission from "Propaganda Fide" to "transfer the mortal remains of Canon Joseph Allamano and of Canon James Camisassa from the General Cemetery of Torino to the Chapel (Public Oratory) that is [was] being built in the Mother-House of the Consolata Missionaries".
Unfortunately, however, for various reasons, the transfer did not take place.
Mother-House
The Consolata Missionaries had always felt that the mortal remains of their Founder should be in their Mother-House. It is true that he was a priest of the Torino Archdiocese all his life, and he worked at the Consolata Shrine as such, but they felt that, being their Founder, their Father, he had to be with them.
This desire became reality in 1938. After all the required arrangements had been made, on 11 October 1938 the mortal remains of Canon Joseph Allamano were transferred from the Torino's General Cemetery to our Mother-House in Corso Ferrucci. An inscription, prepared by Fr. Lorenzo Sales, pointed out the meaning of this transfer:
"Amore e pieta' di figli "Love and piety of children
riconoscenza di discepoli gratitude of disciples
accolgono la venerata salma welcome into this house
del Can. Giuseppe Allamano the venerated mortal remains
Fondatore dei Missionari e Missionarie of Canon Joseph Allamano
della Consolata in questa casa Founder of the Consolata Missionaries.
dove il suo spirito vive e si perpetua In this house his spirit is still alive
a santificazione di apostoli and perpetuates itself
in luce di redenzione alle genti." to sanctify new apostles
and be light of redemption for the nations."
After a whole night prayer vigil (in which many people participated), in the morning of 12 October 1938, with the participation of many Consolata Missionaries (men and women) and of Diocesan authorities and priests, a Mass was celebrated, during which the characteristics of Fr. Allamano, as a man, a priest, apostle and founder were remembered. Then the coffin was placed into the sarcophagus that had been prepared for it at the back of the church, where it is still now.
Here his missionaries (men and women) and the people who knew him started coming to pray and draw inspiration for their life.
Uviglie
But... a few years later, something happened that required the removal of our Founder's mortal remains from our Mother-House.
During World War II, our Mother-House on 20 and 28 November, and especially on 8 December 1942, was bombed, and the front wing was completely destroyed except the chapel where the sarcophagus of our Founder was.
For security reasons, on 15 March 1943 the coffin (still well preserved) was removed from the sarcophagus and quietly transferred to our House of Uviglie, at Rosignano Monferrato (Alessandria), which was part of an old castle, where the Theology Seminary had been previously transferred. There, after a prayer vigil, it was placed into a concealed underground area of the castle.
If our missionaries in the Mother-House missed him tremendously, the seminarians at Uviglie were thrilled at having the Founder with them. In the "Da Casa Madre" of March 1943, they wrote, "He is now living with us. Now we feel twice as much that he is our father. We will guard him, and he will guard us. The vital energy of his heart, still living among his children, will be absorbed by us, it will make us grow into giants, and make us run toward the goal that his silently speaking presence indicates to us."
Back to the Mother House
Our Founder's mortal remains stayed at Uviglie until 30 April 1949, when they were brought back to the re-built Mother-House in a rather solemn way and, after the Ritual Prayers for the Dead, they were placed back into his sarcophagus.
In the "Da Casa Madre" of May 1949, the Uviglie seminarians wrote, "After six years of forced concealment, our Founder goes back to his house. During these years, however, he has not been in exile, because he has been among his children who also needed him. For our Theology Seminary he was in a real way the foundation stone." In the same issue of "Da Casa Madre", the members of the Mother-House wrote, "We have been waiting... for six long years... Now he has returned to the heart of his beloved family, so that new sap may flow through the branches of the vine he has planted and made fruitful. He is back, and in our hearts grows a decisive will to follow him all the way in the courageous simplicity of his spirit."
There were two particular reasons that made the Founder's return even more meaningful. It was the 30th of April and, in those days in 1949, a painting of Our Lady Consolata, which was carried as a "pilgrim" through the churches and religious Houses of Torino, was about to arrive at our Mother-House. Also, when alive, our Founder used to go to the Mother-House House on the 30th of April of every year to prepare the community for the month of May, Mary's Month. The members of the Mother-House felt that the Founder had returned to prepare them for the visit of O.L. Consolata (the painting)!
Naturally, all the above sentiments were shared by the Consolata Missionary Sisters, whose Mother-House was [and is] next to ours.
Through all this time, the mortal remains of Fr. James Camisassa, our Co-Founder, continued to remain in the Torino's General Cemetery, in the clergy section reserved for the Canons. This lasted till 1976, when, at the Consolata missionaries' request, on the 15th of November they were transferred into the IMC Chapel of the Torino's General Cemetery.
Inspection of Venerable Joseph Allamano's mortal remains
When the Vatican Congregation for the Causes of the Saints had completed the examination of the life and work of our Founder, and after the Holy Father had declared the heroic degree of his virtues, before his beatification could take place, an inspection of his mortal remains was required. The reason for this is not just the "curiosity" to see how the body had been preserved. It is an ecclesial act: it is as if the Church "takes possession" of the mortal remains of one of his members whom she intends to propose to all the faithful for public veneration. Another reason is also to officially ascertain that the remains really belong to the Servant of God to whom they are attributed. The inspection/recognition of the mortal remains of Venerable Joseph Allamano took place on 3 October 1989, at the presence of a number of Consolata Missionaries (men and women) with their Superiors, the Archbishop of Torino, Giovanni Saldarini, diocesan priests, and a number of other people.
Surprisingly, the body of our Founder, in spite of the various transfers, was found in very good condition, as if naturally mummified, complete in all its parts. After all that was required had been accomplished, the body was carefully removed from the old coffin (partly slightly damaged), placed in a new one, and replaced in his sarcophagus, which had been slightly modified. In view of his beatification, the two-sloped top had been replaced by a flat marble slab. Also the little chapel in which the sarcophagus rested had been beautified: a stained-glass window had been placed at the back, on which the three fields of action of Fr. Allamano are seen: the Consolata Shrine, our Mother-House, and the world.
At the beginning of 1990, Fr. G. Pasqualetti, IMC wrote, "The sepulchres of the Saints are endowed with a particular grace. Their bodies sanctify the places in which they are laid and the people who visit them: they are for all 'a source of sanctification and blessings' (St. John Damascene). The Saints, in fact, have been disciples and imitators of Christ, faithful to him till the end. Even in their tombs, they are models of courage, and stimulate us to follow their examples. 'The voice of these dumb bodies is more powerful than the voice of preachers... God has left their bodies with us. They have won, but their bodies have not yet taken part in the resurrection; and this was for you, for your good: they are in front of your eyes as athletes, in order to draw you into their race' (St. John Chrysostom)."
Fr. Camissa's mortal remains come home
Just before the conclusion of the IMC Centenary celebrations in Torino (which took place on 7 October 2001), on 5 October 2001 the mortal remains of Fr. James Camisassa were transferred into our Mother-House, the House that he had planned, and had been built under his supervision. It took a long time to obtain all the permissions required, but finally the long dream and desire of the Consolata Missionaries, i.e., to have together Founder and Co-Founder as they had been in life, had become true. In the evening of the 5th of October there was a prayer vigil; then on the 6th of October a Mass was celebrated in the presence of the small steel coffin containing Fr. Camisassa's mortal remains. Fr. G. Pasqualetti, Regional Superior of Italy, presided; Fr. P. Trabucco, Superior General, Mgr. Franco Peradotto, Rector of the Consolata Shrine, and about fifty Consolata Missionaries and diocesan priests concelebrated; many Consolata Sisters and friends were also present.
In his homily, Fr. Pasqualetti recalled that, in the last days of his earthly life, the seriously ill Fr. Camisassa had in mind to go to the Mother-House, as he had been doing every day. On the last day he tried to get out of bed in order to "go to the Institute", but... he collapsed and died. Now he was at the Institute to stay! Founder and Co-Founder, different as they were, complemented and fulfilled one another in founding the two branches (men and women) of the Missionary Institute; it was very good to have their remains together, so that they could continue together to transmit to their sons and daughters their passion for mission.
Whoever now visits that corner of Bd. Joseph Allamano's church in Corso Ferrucci in Torino, especially the Consolata Missionaries, will find the whole Consolata Missionary Family there: the Mother (the Consolata picture that hanged over the bed of the dying Fr. Allamano when he was healed in 1900), the Father (Bd. Allamano's remains), his faithful collaborator for 42 years (Fr. Camisassa's remains), and the members of the Consolata Missionary Institutes, represented by the photographs of the Consolata Missionaries who "poured out their blood while in mission".
(From: "Giuseppe Allamano: dalla Consolata al mondo", Gennaio-Marzo 1990;
"Da Casa Madre", Novembre 2001;
"Giuseppe Allamano: dalla Consolata al mondo", Gennaio 2002, Maggio-Agosto 2004,
Gennaio-Aprile 2006.)


Drone photography is becoming more popular through the years, so it's no wonder we're seeing more and more amazing drone photos these days. Drones can take truly unbelievable photos we never thought would be possible. And they can get to places that would be too tricky for humans. Most of these places would require unlimited helicopters, and some areas would be too difficult even for those. Check out this collection of 18 incredible and impressive drone photos captured in 2017. Because you might be inspired to try out this new kind of art.
Firstly, this is the ultimate summer photo everyone needs to have.
And this whale swimming right beneath the boat. Truly incredible.
More than 5 million flowers and plants were used to recreate the A380 plane in Dubai, UAE. Impressive!
This drone captured the tops of the buildings visible in the clouds.
And this is what paradise means.
Because sometimes it's the simple pictures that are most the impressive. A long road that stretches across the forest at sunset in USA.
This stadium exploding in fireworks after a match between Bulgaria and Italy.
These people riding on quad bikes in Dubai, UAE.
Some cows drinking in the morning sunshine in South Africa.
A sunrise in the Devil's Throat waterfall, Misiones, Argentina.
Some elephant seals chilling out in California, USA.
A winter wonderland in Ukraine.
The great polar bear swimming in the Arctic. Incredible or what!
Just a normal day for these industrial window cleaners. Mercury City Tower, Moscow.
A family of storks nesting on an electrical tower in Poland.
And lastly, a woman collecting water lilies in Mekong Delta, Vietnam.
Aren't these pictures just stunning?


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American Legion: All-time Dream Dozen selections
Gametime CT | September 1, 2014
Branford 83, 38 all-time selections to the Dream Dozen
Kyle Hart (2014), Mike Schettino (2014), Dylan Millhouse (2014), Nick Perrelli (2013, 2014); Greg Zullo (2013), Ben Criscuolo (2013), John Amendola (2013); Connor Moriarty (2012), Mike Forgione (2012); Oliver Hart (2010, 2011), Buddy Shea (2011), Jeff Stoddard (2011), Anthony Pellegrino (2011); Pat Simone (2010), John Lefeber (2009, 2010), Casey Dadio (2010); Kevin Korwek (2009), Rob Neagle (2009); Frank Mentone (2008); Jim Balzano (2007), Ray Jones (2007), Doug Papuga (2007); Mike Tamsin (2004, 2005); Karl Derbacher (2002, 2005); Ed Bethke (2005), Nick Lefeber (2005); Brad Olt (2004); Conor Reardon (2003); John Cronin (2000, 2001); Chris Fraenza (2000, 2001); Chris Tracz (2000).
Orange 127, 35 all-time selections
Doug Rives (2014), Mike Appel (2014), Chris Winkel (2014), Sebastian DiMauro (2014), Mike Concato (2012, 2013), Keith Klebart (2013), Nick Fusco (2013), Matt Ronai (2013); Nick Baviello (2011, 2012), Ted Ballou (2012); Conor Keniry (2008, 2009); Lou Concato (2009, 2010); Kyle Birdsall (2008); Max Russell (2007); Dave Appel (2006), Fred Geisinger (2006), Steve Tamagni (2006); Pat McKenna (2005), John D'Angelo (2005); Casey Frawley (2004), Mike Moras (2004), Scott Meyer (2004); Tucker Frawley (2001, 2003); Will Hill (2002); Ethan Silverstein (2002, 2003); V.J. Pisano (2003); John Artes (2001), Mike Nosal (2001); Mike Abrams (2000).
Milford 196, 29 all-time selections
Ed Michaud (2011, 2012), Shawn Cariglio (2012), Jake Saley (2012), Matt Ferraiolo (2012); Jason Lewicki (2011), Brian O'Keefe (2011); Mike Pascarella (2010), Zack Soulier (2010); Brian Ward (2009), Joe Michaud (2009), Gabe Guerino (2007, 2009), Cody Quinn (2008, 2009); Ed Doran (2006, 2007); Matt Ranaudo (2005, 2006); Garrett Walker (2001, 2002, 2003); Brian Sena (2002); Jared Rohrig (2002); Brian Crowley (2002); Josh MacDonald (2000, 2001); Jeff Maurutis (2001); Mike Picarazzi (2000).
East Haven 89, 17 all-time selections
Bryan Kucharski (2014); Andrew Hinckley (2012, 2013), Brandon Wynne (2013), Kyle Lockery (2013); Mike Anastasio (2010, 2011, 2012); Mike Perry (2011); Steve Pelliccia (2009); Matt Caputo (2008); Pat Paulson (2007); Chris Dady (2006); Bill Paulson (2004); Sean Cahill (2002); Dominic Montalvo (2001).
Shelton 16, 16 all-time selections
Vin Backert (2014); Mike Dew (2011); Andy Price (2010); Nick Georgalas (2009); Mark McCormack (2008), Kyle Lavin (2008), Jason Foster (2006, 2007, 2008); Matt Mauri (2008); Jay Correia (2006, 2007); Ken Burns (2007); Tom Ballaro (2005, 2006); Joe Smeraglino (2000).
North Haven 76, 15 all-time selections
John DeCusati (2014); Christian Karnauchov (2012); Edison Rodriguez (2010); Ron Bathrick (2005, 2006, 2007); Blake Barone (2007); Dan Golden (2006); Dave Jermine (2005); Rob Jermine (2003, 2004); Jason Lavorgna (2004); Mike Salzillo (2003); Tim Binkoski (2002, 2003).
West Haven 71, 13 all-time selections
Matt Gagne (2013); Tyler Gambardella (2011); John Ascenzia (2010); Tom Lawrence (2009); Dave Riccio (2008); Dan Doria (2006); Matt Gianini (2003, 2004, 2005); Matt Dolan (2005); Kevin Bowerman (2004); Scott Vitelli (2001); Joe Tomasi (2000).
Hamden 88, 12 all-time selections
Matt Bundock (2010); Kyle Cummings (2008), John Powers (2008); Bill Pask (2004); Phil Bednarczyk (2002, 2003); Jeremy Balisciano (2001, 2002); Jeff Natale (2000, 2001); Greg Dawson (2000), Ron DeLine (2000).
Madison 79, 4 all-time selections
Sean Mentzinger (2003); Ted Mullen (2003); Steve Ryder (2002); Tom Rispoli (2000).
Stratford 42, 1 selection
Shawn Blake (2014).
New Haven 1 selection
Mike Damiani (2004).
About Gametime CT


14 posts tagged with logo.
Where did the taglines go?
"Self-policing since 1999" up on the top left; gone the way of the dodo. Policy change or logo oversight?
Talk Like A Pirate Day logo.
Avast, Cap'n Mathowie! That be a lovely logo you've got there! Arr!
no one requested it, but I always wanted to do random images on the main page. The following image shows all the current taglines that popup randomly. They're not all gold, but some of them will be around forever (especially the crack one). Can you think of others? Go ahead and suggest one.


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text:
// <file>
//     <copyright see="prj:///doc/copyright.txt"/>
//     <license see="prj:///doc/license.txt"/>
//     <owner name="Mike Krüger" email="mike@icsharpcode.net"/>
//     <version>$Revision: 1965 $</version>
// </file>

using System;
using System.Xml;

namespace ICSharpCode.TextEditor.Document
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redpajama_set_name: RedPajamaGithub


text:
Manga Spine Art Collection
Dragon Ball Manga Series
View Series Information
View List of Chapters
Series Releases/Publications
Weekly Shōnen Jump Serialization
Dragon Ball Tankōbon Release
Dragon Ball Kanzenban Release
Dragon Ball Full Color Release
Dragon Ball Digest Edition Release
Dragon Ball Digital Color Edition Release
Son Goku arc
21st Tenka'ichi Budōkai arc
Red Ribbon Army arc
Uranai Baba arc
22nd Tenka'ichi Budōkai arc
Demon King Piccolo arc
23rd Tenka'ichi Budōkai arc
Saiyan arc
Namek arc
Freeza arc
Artificial Human arc
Cell arc
Great Saiyaman arc
Majin Boo arc
Dragon Ball Super Manga Series
V-Jump Serialization
Dragon Ball Super Tankōbon Release
Dragon Ball Super Bonus Chapters
Battle of Gods arc
God of Destruction Champa arc
Future Trunks arc
Universe Survival arc
Galactic Patrol Prisoner arc
Granolla the Survivor arc
Animation Comics
Film Animation Comics
TV Animation Comics
Official Manga Spin-Offs
View General Information
Neko Majin
Promotional Game Manga
Galactic Patrol Series
Original Illustrated Stories
As with many long running manga series, Dragon Ball releases were printed with artwork on the spine. Not only that, but as you collected the volumes and placed them side-by-side on your book shelf, the spine art creates a larger image or montage. Each release, both the tankōbon and kanzenban, had their own respective spine art, as shown below.
Original Tankōbon Release
The tankōbon spine montage begins with the seven Dragon Balls floating around Shenlong, and is followed by various characters (led by Goku riding on Kinto-Un) from the series running across the spine. Akira Toriyama strongly hints in his "Ask Me Anything Corner" of tankōbon volume six that he drew the spine art for the tankōbon releases as they were being published, saying he wasn't sure what he'd draw for the spine of the eighth volume. You may also notice that there are a couple of nice cut-off points, or breaks in the artwork: volumes 7, 16, 24, 32, & 42.
The following characters appear on the original tankōbon spine art and are listed in order of their appearance:
Shenlong, Son Goku, Oolong, Kuririn, Yamcha, Kame-Sen'nin, Pu'er, Bulma, Piccolo, Yajirobe, Karin, Umigame, Lunch (bad), Son Gohan, Dende, Yajirobe, Ginyu, Freeza (1st Form), Vegeta, Kaiō-sama, Cell (Perfect Form), No. 17, No. 18, No. 16, and Son Goku (Super Saiyan).
Yajirobe Appears Twice
Yajirobe makes two appearances on the tankōbon spine art, which is yet another example of Akira Toriyama's forgetfulness. He actually addressed the issue in tankōbon volume 29's table of contents:
Here's the table of contents. Come to think of it, Yajirobe appears on the comics spine picture twice, doesn't he! I received a lot of letters saying that. I thought it was impossible, and checked out the comics, which I rarely see, and it turned out to be true. I'm really sorry.
Dr. Slump Reference
Kaiō-sama is shown on the spine art of tankōbon volume 30 running with some poop on a stick. This is a reference to his previous manga, Dr. Slump, where the protagonist Arale is fascinated by poop. She starts out poking it with sticks, and eventually progresses to carrying it around on sticks and using it to freak everyone out. Early on in Dragon Ball, Pilaf's underling Mai is also seen carrying poop on a stick, which Pilaf scolds her for, saying that the author wants to make this manga at least be a little bit classier.
A 43rd Tankōbon Volume?
On 20 June 1995, less than a month after Dragon Ball concluded in the pages of Weekly Shōnen Jump, the first daizenshuu was published, entitled "Complete Illustrations", in which all the tankōbon spine art was reprinted. This has caused some confusion over the years, as the artwork for 43 spines were printed as opposed to just 42 (shown below), with the last one being labeled as an "Extra" or "Unused" spine art.
However, one must remember that the first daizenshuu was published less than a month after Volume 41 was released, and over a month before Volume 42. As mentioned above, Akira Toriyama drew the spine art for the tankōbon releases as they were being published — he had no idea exactly how far ahead he should draw, but knew how thick each volume had been up to that point, which he could use as a reference. He had most likely already drawn the spine art featuring Cell (Perfect Form), No. 17, No. 18, No. 16, and Goku (Super Saiyan) when he abruptly ended the series. Due to the abrupt ending, Shueisha decided to cram 34 chapters (17 each) into two tankōbon volumes, rather than have three very short volumes. This forced them to edit the spine art as the width of the final two volumes had changed. However, with the first daizenshuu likely complete by the time this change had taken place, the 43 spine art images were printed in the daizenshuu as Akira Toriyama had originally drawn them, but not how they were actually printed on the tankōbon volumes themselves.
"Refreshed" Tankōbon Release
In May 2009, Shueisha revised the tankōbon covers with a new "refreshed" look. Although the cover artwork was for the most part kept in-tact, these new editions did receive newly drawn spine art by Akira Toriyama. Unlike the original tankōbon spine art, the characters featured in this "refreshed" version run all the way up through the Majin Boo arc, rather than stopping with characters from the Cell arc. You'll also note that many of the characters originally featured on the tankōbon spine art are not included in this "refreshed" version, specifically anyone from the Artificial Human arc. While not fully related to the spine art, most everything on the spines of this new version is now written in English as opposed to in Japanese like on the originals.
Oolong, Bulma, Pu'er, Kame-Sen'nin, Kuririn, Pilaf, the Tenka'ichi Budōkai Announcer, Chiaotzu, Shuu, Shenlong, Chi-Chi, Son Gohan, Bubbles, Freeza, Kaiō-sama, Yajirobe, Karin, Son Goku, Dende, Bee, Piccolo, Mister Popo, Vegeta, Trunks, Majin Boo, Gotenks, and Mister Satan.
Kanzenban Release
The kanzenban spine is set up in the form of a drag race, in which Goku and Kuririn (on foot) are competing against Yamcha, Kame-Sen'nin, Piccolo Daimaō, and Vegeta (in vehicles). Various characters watch from the stands and cheer their friends on. Unlike the tankōbon spine art, Akira Toriyama knew in advance how many volumes were being made for the kanzenban release, as the series had been finished for years. This truly freed up his ability draw an actual scene, rather than characters simply running across the spine. He also took the opportunity to give a "shout-out" to all the companies involved with the manga over the years.
Characters on the Sideline
The following characters appear along the sideline of the race on the kanzenban spine art and are listed in order of their appearance:
Sno, Hatchan (No. 8), Ninja Murasaki, Pu'er, Bulma, Oolong, Lunch (good), Umigame, Gyūmaō, Chi-Chi, Pilaf, Shuu, and Mai.
Studio Uccello and Studio K2R are credited as the companies which performed the restoration and editing work on the kanzenban. Studio Uccello is simply "Bird Studio" (Akira Toriyama's personal studio) written in Italian, while Studio K2R is the name of famed manga artist Masakazu Katsura's art studio. The studio's name is actually the phonetic spelling of Katsura's name when said in English with a Japanese accent (K=Ka / 2=tsu / R=ra).
The remaining companies should be familiar to most every Dragon Ball fan. Bird Studio is Akira Toriyama's art studio, which gets it name from the first kanji in his family name, "tori" (鳥), meaning "bird". Weekly Jump obviously refers to Weekly Shōnen Jump, which is the publication that Dragon Ball was serialized in from November 1984 to May 1995. Capsule Corporation is of course the fictional company owned by Bulma's father, Dr. Brief, throughout the series.
Akira Toriyama's Original Spine Art Illustration
Following the release of the kanzenban, the spine art was re-printed in the Dragon Ball Chōgashū ("Super Art Collection"). Rather than being an exact re-print of the spine as originally shown on the kanzenban spine art, the book provided the original spine art illustration drawn by author Akira Toriyama. The original illustration includes Tenshinhan and Chiaotzu, both of whom are not shown on the kanzenban spine art, as volume 34's spine cuts off just before their inclusion in the illustration. The two are shown standing on the sidelines watching like everyone else, although engulfed by smoke from the race. It appears that Shueisha chose not to adjust the drawing horizontally to ensure the entire illustration would fit on the kanzenban volumes, but at least it is apparent that these two were not forgotten by Akira Toriyama.


If you want a less formal, modern look to your window treatments then tab tops are the answer. They can be made in any weight of fabric from the finest sheers to heavyweights such as velvet and brocade.
These stylish curtains need at least 1.5 times the width of the window. The stack back width is the combined width of all the tabs.
The tabs are positioned at approximately 8" (20 cms) intervals across the top of the curtain, with one at each end (6 or 7 tabs per width of fabric). The length and width of the tabs can be adjusted to suit your own preference, however to obtain the best effect, the top of the curtain should cover the top of the window frame.
There are a number of styles of tab top curtain including, button tabs (both lined and unlined), box pleated and gathered which are usually lined.
The instructions below are for simple unlined tab top curtains, this style has both ends of the tabs stitched into the top hem and needs a fullness ratio of at least 1.5. The tabs have a finished width of 1.25" (3 cms) but this width can be adjusted for your own preference.
The other styles are fully covered in our e-book.
Matching, coordinating or contrasting fabric for the tabs.
Fit the pole above the window in the required position.
To calculate the number of widths of fabric required, measure the pole between the finials and multiply by the fullness ratio. Divide this number by the width of the fabric to be used and round up to the next whole number.
To calculate the cut length of the fabric for the curtains, measure from the top of the pole to the required length. Deduct the length of the tabs, this should be the length from the top of the pole to 1" (2.5 cms) above the top of the window frame. To this figure, add 7" (17.5cms) for hem allowances. If pattern fabric is used, extra will be needed for pattern matching.
To calculate the amount of fabric, multiply the number of widths by the cut length.
To estimate the number of widths of fabric for the tabs, decide on the number of tabs required for both curtains and multiply by the cut width of each one [3" (7.5 cms)]. Divide this number by the width of the fabric and round up to the next whole number.
To calculate the cut length of the tabs, take the finished length and double it. To this figure add 4" (10 cms) for seam allowances.
To calculate the amount of fabric for the tabs, multiply the number of widths by the cut length.
Cut the required number of pieces of fabric, each measuring 3" (7.5 cms) wide. Cut the length to twice the length required plus 4" (10 cms) seam allowance. Example: if the required finished length of the tabs is 3" (7.5 cms), the tabs need to be cut 10" (25 cms) long.
Fold each piece in half width ways, right sides together, pin and stitch 0.25" (6 mm) in from the raw edges down the length.
Turn right side out and press with the seam in the centre of one side.
Cut the fabric to the required size, allowing 4" (10 cms) for side hems and adding 8" (20cms) to the length for top and bottom hem allowances. If more than 1 width is required join widths together with a 0.5" (12 mm) French seam, matching the pattern on the fabric where necessary and adding any half widths to the outside edge of each curtain.
Turn in a double 1" (2.5 cms) hem at each side and pin.
Turn up a double 3" (7.5 cms) hem at the lower edge and pin.
Machine or slipstitch all the hems and press.
Lay the curtain on a flat surface, wrong side up. Turn down a double 1" (2.5 cms) hem at the top edge and pin.
Fold the tabs in half lengthways to make loops, with the seamed side innermost and pin at approximately 8" (20 cms) intervals along this edge slipping the raw edges into the hem. There must be a tab at each end with the others spaced evenly and at right angles to the top of the curtain.
Check the length of the curtain including the tabs and adjust if necessary.
Machine stitch or slipstitch the tabs in position close to the top and bottom folds of the hem.
Repeat for the other curtain, making sure to add any half widths to the opposite edge.
Thread the pole through the tabs and hang the curtains, adjusting the folds if required.


In the first of a series of Lenten reflections, Bobby Taylor considers St John Ogilvie as a model for Christians in Lent.
Tasked with the job of writing the reflection for the First Sunday of Lent, it struck me that today also marks the 414th anniversary of the martyrdom of St John Ogilvie: the man who was raised a Calvinist in the north of Scotland and converted to Catholicism during his studies in Europe, and who eventually returned to his homeland – mainly because of his own pleadings – to preach the faith, for which he would give his life on the gallows in Glasgow.
At the start of Lent, John Ogilvie is a fitting character to study. Although we will never know exactly what happened behind closed doors, I think it is probable that he would have been offered freedom, the opportunity to walk away with his life, if he'd done as the torturers had asked; had he caved, one can imagine that the authorities would have used him as an example of their success. The similarities with the temptations of the Lord in today's Gospel are not difficult to see.
An important theme in this Gospel is one that we should be mindful of during Lent. We are all dependent on God for everything that we are and all that we have, a fact that the Jesuit martyr was aware of too. That which leads us to deny our dependency on God is from the devil and as Jesus did, so should we refuse it.
At the end of Luke's Gospel account, there is an ominous note: the devil will "return at the appointed time". St John Ogilvie faced serious temptation during his imprisonment and we too will face temptation again and again. We will be challenged often, as was the case for the Lord and St John. That temptation will often come at times when we are at our weakest. And yet, in the two examples set before us, we can see that to trust in God is key to rejecting the evil of temptation.
Jesus responding to the devil and John's response to his torturers teaches us how to respond to temptations in our lives and especially during this season of Lent. We must have confidence in the goodness of God's Word to feed us, trust in his protection during those times of weakness and failure, and knowledge that he is our loving and merciful God.
Bobby Taylor is a seminarian of the Archdiocese of St Andrews and Edinburgh. He is in his fifth year of formation at the Pontifical Scots College in Rome.


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Celebrating Clapton's 55 Years at the Albert Hall
This week, Eric Clapton returns to the Royal Albert Hall in London to play three sold-out concerts. Monday night's performance included tributes to Doris Day, with a reworking of 'Que Será, Será', and Prince, with Clapton covering 'Purple Rain' in the show's encore.
No stranger to the Albert Hall, Eric first played the iconic venue 55 years' ago with the Yardbirds, and has since returned to perform over 200 times.
To celebrate Eric Clapton's return to the stage he describes as 'playing in my front room,' we would like to offer our subscribers free shipping on our three editions in which he features: Genesis 100, Sunshine of Your Love and copies of Blinds & Shutters signed by Eric Clapton.
Enter the following gift code when you checkout online: ALBERTHALL
Note: Our binders are currently working on hand-binding the next copies of Sunshine of Your Love and Blinds & Shutters. Shipping expected during July and August. Secure your free shipping by ordering now.
This offer expires at midnight on Sunday 19th May.


text:
Reel About Services Work Blog Contact
The #10YearChallenge (for an Animation Studio)
By Exodo Animation Studios on May 25, 2019
Studio Stories
A couple of months ago, at the very start of 2019, there was a social media trend called the #10YearChallenge. And in our digital vicinity, quite a lot of people jumped into the trend wagon, and actually, for all we know you were probably part of it.
But in case you already forgot about this one, since we are talking about social media and everything goes by pretty fast; the idea behind this trend was more than interesting as you showed your picture before and after 10 years, to the surprise of everyone around you or following you (or even yourself).
This got us thinking at the studio: we COULD do the #10YearChallenge as an animation studio, we even had a couple more years to spare actually, but as today we are an animation studio with more than 10 years in the creative market and we can tell you all sorts of stories of how the animation industry was a decade ago. And that in itself is quite a story and more than a challenge…
In order to give yourself a bit of how hard this is to accomplish, according to this article from Entrepreneur from 2018, 75% of all companies in Mexico close before hitting the 2 year mark, and this is for all kind of local business, those in the creative industry tend to have a higher closing rate, trust us. A lot of the studios we used to look up in those days are long gone as they have closed their doors, all that's left of them are some YouTube videos which now we can see as the history of 3d animation in Mexico.
But looking back at 2009, things were quite, quite different for us as a studio: there were several partners running the studio, we betted on doing strong partnerships with local creative agencies and our intellectual properties were comprised of good ideas, superb artistic executions, but frankly going nowhere nor having a chance of being pitched.
Since then, some studio partners left, some left and came back, we shifted our focus from the advertising and creative agencies to the gaming industry, then to a more wide approach to CGI services and we continued to develop our intellectual properties to the point where we felt we understood the pitch and sell process, as well as the market around us. We also came to understand the internet had changed, it was no longer about just having a website with link to Vimeo videos, we had to monitor the inbound traffic, learn about SEO, understand what ROI means in the digital world and then, understand that the local agencies were long gone, the world was now open to our services.
Since 2009 we have had the chance to work with agencies and companies all over the world, something 10 years ago would be just mind-blowing to us. We also learned that the true engine of our studio is our staff, the animation powerhouse is comprised of a set of talented 3d modelers, animators, VFX & concept artists, as well as everyone involved in the production line. Over the years we have had great talent along our lines, and we continue to have open doors to such talent and luckily, these talented people continue to believe in our studio.
Yes, that is a CRT monitor… Exodo Animation Studios offices (back then, Exodo Digital Workshop) circa 2010
Being a decade in the animation industry gives you a whole different perspective of things, it also forces you to innovate, especially if you are looking to have intellectual property in your studio, as the audiences change and they also change in their interests as the technology itself changes. 10 years ago the idea of having a whole TV series made entirely of 3d animation was frankly, impossible to be achieved for a lot of studios, including us.
And although the overall animation industry in 2009 was celebrating movies like Avatar, just 3 years back Jimmy Neutron received in 2006 the award for "outstanding achievement in animated television production produced for children". Jimmy Neutron was basically the reference for animated productions and was an impossible task to produce such an animated feature for the majority of the SME animation studios out there. And in case you have no idea what are talking about, this is the trailer of Jimmy Neutron:
So yeah, things were not as they are now…
But before we go further in this rant of the past, we want to tell you that 10 years as an animation studio has certainly had its ups and downs, a rollercoaster of emotions and projects and a positive experience (for the majority of us at the studio), and that if you are planning to follow this road, be prepared for quite a rocky road, but with a reward on each step of the way.
The Exodo Animation Studios Staff
Sidenote: if you are actually keen to hear and understand how we envision and looked at the animation industry back in the days, CG Press did a lengthy interview to our then CEO, Paco Navarro, back in 2012:
Did you like the reading?
We are always keen to hear about your ideas, exciting projects to create and new partnerships
hola@exodoanimation.com
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My best friend and I are spending a couple of days in Hot Springs having a girls weekend.* I'm afraid I let her do most of the leg work on where we were going and what we were planning on seeing, so I had almost no expectations about what this trip was going to be like. We drove up along Highway 71, a winding two lane highway through the Ouachita National Forest. Despite getting stuck behind an army convoy, the trees and mountains proved peaceful and soothing.
Hot Springs itself suffers from the normal Arkansas problem–nice things next to not so nice things. 270 into Hot Springs is a less than ideal introduction to the city. Once we go onto Bathhouse Row, however, the city transformed into an almost Gatsby-esque space. The bath houses are stately, surrounded by magnolia trees. They're almost preserved in time with Adirondack and wicker chairs, slow ceiling fans. This impressions was strengthened when we went to the Fordyce Bathhouse.
Built by Samuel Fordyce, the bathhouse is an elegant space filled with light, porcelain, and mahogany. It's now the welcome center and museum, and it's decently curated. The national parks tour guide funnily emphasized the "health" aspects of the expensive three week treatments offered in the early 1900s. I'd feel better too if I spent three weeks in thermal baths and having Swedish massages. Admittedly, some of the people who came were in need of what the bathhouse had to offer, but the Fordyce is obviously built for the Gatsby's of the world, not the disabled or ill.
The original bathhouse was divided by gender, and the only still operational original bathhouse on the row, the Bickerstaff, is still done so. In classic Gatsby fashion, the men got the better rooms, complete with statues and stained glass ceilings.
I think my favorite parts were the gym (I remember some of that equipment from elementary school) and the large tub that they used for hydrotherapy. I also liked the tile in the music room, and then Beth and I drove up the mountain in the National Park. We could have walked, but I'm glad we didn't. Neither of us were wearing appropriate footwear, and now she's got blisters from the walking around town we did.
Hydrotherapy tub, especially useful for patients suffering from polio.
It was the music room in the Fordyce and the mountain view from the national park, however, when I fully felt like I could actually see Hot Springs as a place catering to the elite in the early twentieth-century. I could see women in white lawn dresses walking down the avenue with parasols, and men in high collars and slicked back hair sauntering down to the speakeasies run by the mob.
*Note: I'm using it as a sort of testing ground for the on the road blogging and for the on the road picture taking. Specifically, I'm working on taking pictures of people and things not just things. I have a bad habit of getting distracted by flora and fauna. Normally I'd be okay with just continuing to take pictures of flora and fauna, but my friend Mouse gave me advice specifically on how to do this whole documenting a trip through words and images thing. His advice primarily consisted of emphasizing taking pictures of people, both those I know and those I don't. So, I've tried to do that here.


Push yourself further during your regimen in these men's training shorts. With ventilated climacool that keeps you cool and dry, they have built-in compression tights for a supportive, comfortable fit and extra coverage. The shorts have zip pockets that hold keys and small essentials.


Skynet Healthcare Technologies has set up all the information about services and products on their website. Anybody can plan a direct presentation from their official website. The company also include comprehensive rationalization of how their system supports the senior living communities and what it really does. This is an excellent resource for all those individuals who are thinking about the company and are trying to discover more regarding them.
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The company is situated at Tampa Bay, Florida plus so they give a broad range of services. Skynet Healthcare Technologies' Actual Time Location System (RLTS) features ramble management, advanced emergency telephone, unobtrusive wearable technology, excellent hi-tech technology service, intuitive interface, and community reporting and data. Thanks to Skynet, the older home industry is currently way enhanced all because of the smart and advanced technologies.
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