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Fantasy Affairs The game of seductive fantasies, creative kissing, and intimate foreplay for two lovers. You and your lover travel around the board engaging in adventurous affairs while acting out a number of different roles and foreplay. Players control the length of the game by quickly earning Fantasy tokens through foreplay and role-play actions. After five tokens are earned, the game ends and a sexual fantasy begins.


Management there is not profession. They walk in your apartment with no proper notices. The manager loses your rental payments. Them take you to court. She is pretty and not trained well.
I would not recommend anybody to rent from any of Keystones Properties!
$15-$25 Monthly Pet Rent, $200 Non- Refundable Pet Fee.
In addition to a private swimming pool, each unit has its own private patio, huge bedrooms, and more! We have what all the other places for rent in Kinston NC don't.
Quit searching for apartments to rent in Kinston NC and check out The Willows, a complex that is chock full with amenities. At The Willows, you can spend a lot of time outdoors, between your private patio, a large swimming pool, and an outdoor picnic area, you'll have plenty to do on hot summer days. We have an outdoor playground for kids, so everyone can have a fun-filled day outside right at home.
We have what you're looking for whether that's a studio or an apartment with 1, 2, or 3 bedrooms. We are a pet friendly apartment complex, so you dont have to leave your furry family member behind. There is a laundry facility on our premises, as well as washer and dryer hooks ups in each unit. We have on-site management, so any necessary repairs can be attended to quickly. Our bedrooms are huge, so everyone is comfortable in their own space. Sound good? Then call us today!
Stop looking for places to rent in Kinston NC and come call The Willows Apartments home! Our grounds are well kept and we offer prompt, courteous, hassle-free service and maintenance. We're just minutes from local shopping and businesses, and we have all the amenities you are looking for at affordable prices.
I'm interested in The Willows. Please send me current availability and additional details.


If you want a honeymoon that blends the quintessential fly and flop with some culture and history, Cambodia is the perfect destination.
Yet to experience its major tourism boom compared to its South East Asian neighbours, Cambodia has retained its unspoilt scenery and authentic charm. A phoenix rising from the ashes of a turbulent past, Cambodia is very much a destination on the up; all the more reason to enjoy a luxury honeymoon here sooner rather than later.
Those in search of sun, sea, sand and some pretty spectacular hotels to boot should head to the coastal towns of Sihanoukville or Kep. While the pristine white sand beaches and beautifully clear ocean have always been there, it's taken a while for some really good hotels to catch up. The wait, however, is over with the hotly anticipated Song Saa resort very much living up to (high) expectations, among other great properties too. One of the best things about Cambodia's coastline, though, is that it is dotted with beautiful, uninhabited islands so you can sunbathe on a different beach every day. There are some fabulous spas in these areas too so the happy couple can unwind after the whirlwind of chaos that is a wedding; a certain amount of relaxation is the key to any luxury honeymoon.
Honeymooners looking for a spot (or a bucket-load) of culture will have their socks firmly blown off by Cambodia's Angkor complex. Best seen at sunrise when the view is nothing short of life-changing and the crowds haven't arrived yet, Angkor is a truly spectacular collection of centuries-old temples spread over roughly 250 square miles.
For a taste of modern Cambodian life, Phnom Penh is the place to be with its French colonial influences, buzzy rooftop bars and bustling local markets. It's also a great base from which to step into Cambodia's turbulent and bloody history with a tour of the Killing Fields and S-21, the prison where many were tortured and killed under the Pol Pot regime.
So whether you simply want to spend your honeymoon lounging on the beach, or if you want to intersperse the relaxation with some culture and history, Cambodia is a truly exceptional destination.
Take advantage of our Honeymoon Gift List service! The service allows your loved ones to contribute to your Cambodia honeymoon by giving money towards the overall cost of your honeymoon.
The Coast of Cambodia is going to be the next big thing in Asia.
Frances, Holly and Rosie are our 'Honeymoon Cambodia' experts and as seasoned travellers they have the inside track on the most memorable adventures.


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Home Ballistic Magazine
Ballistic Magazine (Digital Version)
6 Digital Issues
Issue: December/January 2021 (Best Of)
BALLISTIC is a magazine devoted to the modern firearms enthusiast.
Ath-B
Athlon Media Group
The Ballistic Magazine in its British edition is an all round magazine for the urban woman. Get the most gripping features on relationships and careers, with expanded reporting on fashion and beauty, health and fitness, published with glamour and guts. With its gutsy, intimate and blatantly honest articles on women issues, the Cosmopolitan Magazine is the ultimate guide for all women. Expect the magazine to help you with advice on personal issues, given from the industry's most influential women. Combine that with high street fashion must-haves from the streets of UK, stunning make-up tips, career news and intimate interviews with some of your favourite celebrities and you get an epitome of everyday women guide. One of the best selling magazines in our store, the Cosmopolitan UK is a must-have for all women and is available on various subscription offers at our store online www.magazinecafestore.com or in our store located in New York called Magazine Cafe Store.
You're reviewing: Ballistic Magazine

redpajama_set_name: RedPajamaCommonCrawl


Chelsea boss Antonio Conte BLASTED by former Liverpool chief: "He took job for granted"
ANTONIO CONTE probably under-estimated how "financially responsible" Chelsea have been run as a club.
Those are the thoughts of former Liverpool managing director Christian Purslow.
Conte has been very vocal in voicing his frustrations over the club's transfer policy.
The Italian tactician was hoping to tie up a double deal for Roma duo Edin Dzeko and Emerson Palmieri, but personal terms with the forward broke down over the weekend.
Conte missed out on a handful of targets last summer, including Romelu Lukaku and he saw Nemanja Matic leave for Manchester United.
And Purslow thinks Conte took Chelsea's transfer policy for granted when he took over.
"The issue probably going on behind the scenes is that I suspect Conte came to Chelsea expecting and wanting to conquering the world," Purslow told Sky Sports' The Debate.
"He sees himself as one of the finest managers in the world.
"He went thinking 'Me and Roman Abramovich equals guaranteed success'.
"What he didn't realise is that Chelsea for at least the past three years, has been run in a financially responsible way and he was hired as part of that change of approach. The club has had to grow the revenues and make the club self sufficient.
"Roman for the 10 years before I arrived wrote huge cheques every year to balance the books.
Chelsea meanwhile, host Bournemouth tomorrow (7.45pm).


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Oh, What A Beautiful Mornin' (from Oklahoma!) sheet music for piano
By Rodgers & Hammerstein, Oscar II Hammerstein, Richard Rodgers
Home > Scores > Instruments > Piano Sheet Music > Beginner Piano Sheet Music > Oh, What A Beautiful Mornin' (from Oklahoma!)
Rodgers & Hammerstein: Oh, What A Beautiful Mornin' (from Oklahoma!) for piano solo, beginner piano sheet music. High-Quality and Interactive, transposable in any key, play along. Includes an High-Quality PDF file to download instantly. Licensed to Virtual Sheet Music® by Hal Leonard® publishing company.
Oh, What A Beautiful Mornin' (from Oklahoma!)
by Rodgers & Hammerstein for piano solo
About "Oh, What A Beautiful Mornin' (from Oklahoma!)"
Digital sheet music for piano, (beginner).
Oscar II Hammerstein (writer)
Richard Rodgers (writer)
musical/show, broadway, children
-Select Instrument/Ensemble- piano four hands voice & piano (version 4) guitar (chords) ukulele voice, piano or guitar voice & piano (version 1) piano solo (elementary) piano solo (big note book) (big note book (from Oklahoma!) ukulele (chords) piano solo (intermediate) voice & piano (version 2) piano solo (easy) piano solo (transcription) piano solo (big note book) (big note book) voice & piano (version 1) - version 2 voice & other instruments (in C) voice & other instruments flute solo alto saxophone solo clarinet solo horn solo viola solo trombone solo tenor saxophone solo violin solo trumpet solo cello solo piano or keyboard (E-Z Play) voice & other instruments (real book) voice & other instruments (fake book)
More Rodgers & Hammerstein sheet music
I'm Gonna Wash That Man Right Outa My Hair for piano solo
My Favorite Things for piano solo, (beginner)
If I Loved You for piano solo, (beginner)
My Favorite Things (from The Sound of Music) for piano solo
Do-Re-Mi for piano solo
I Whistle A Happy Tune for piano solo
The Surrey With The Fringe On Top (from Oklahoma!) for piano solo
Edelweiss (from The Sound of Music) for piano solo
This Nearly Was Mine for piano solo
Getting To Know You for piano solo
Goodnight, My Someone for piano solo (elementary)
by Meredith Willson
skill level: very easy
My Favorite Things for piano solo
by Rodgers & Hammerstein
Memory (from Cats), (beginner) (from Cats) for piano solo
by Andrew Lloyd Webber
Any Dream Will Do for piano solo (elementary)
A Whole New World (from Aladdin), (beginner) (from Aladdin) for piano solo (elementary)
by Alan Menken


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Q: i want to return a values from database in laravel using mysql where command i want to return a values from database in laravel using mysql where command but it gives empty result
this code gives result but i could not want this way
$data = admin::all();
            foreach ($data as $dat) {
                echo $dat->name;
                echo $dat->email;
            }

i want to do it like this but this give empty result
$data = admin::where('username', '=', $uname);
            foreach ($data as $dat) {
                echo $dat->name;
                echo $dat->email;
            }

A: The where() only builds the query for you. You still need to retrieve the results somehow. The way to do that is the get() method. Like this:
$data = admin::where('username', '=', $uname)->get();

redpajama_set_name: RedPajamaStackExchange


Starting at 10am on Sunday 2nd July and finishing at 5pm on Saturday the 8th of July in Holmfirth Civic Hall, the main exhibition, Holmfirth Artweek is one of the UK's largest open art exhibitions. This year was my third year taking part, you can read about the preparation for it and my first and second years there in previous blog posts here, here and here.
This year I had two of my 3D acrylic paintings in the main exhibition and it was the first year that I put some of my cards and framed prints in the market too.
On the Thursday and Friday, 6th and 7th July 2017, I took part in the artist demonstrations. I'd done these in previous years too, the first year was just an afternoon and last year was for one day, so I had some idea of what to expect and was looking forward to them. I was looking forward to seeing the other artists demonstrations as much as I was looking forward to doing my own.
I'd decided that on the first day I would do the cardboard and modroc stages then leave them to dry overnight and paint them on the second day.
I'll show more in depth work in progress shots of each of them and explain more about them too in seperate blog posts. This is just a brief overview so you can get an idea of what I got up to.
On the second day I had to have a bit of a shuffle about to make room for the artist who was going next to me.
I was also able to have some of my cards and framed prints on another table in the demo area too, just across from where I was so I could keep an eye on it.
Both the days passed really quickly and it wasn't long until I was back on Saturday afternoon to collect anything that hadn't sold. Sadly that was everything, but I'd still enjoyed it and have already been told that I can demo there on the Friday and Saturday next year so I'll see you there!
Holmfirth Artweek is run by volunteers so I'd like to say a big thank you to them all for all their hard work in making it run as smoothly as it did.
Holmfirth Artweek is one of the UK's largest open art exhibitions and is a fundraising event for Macmillan Cancer Support, 20% of all sales goes towards the charity.
This year is my 3rd year taking part, you can read about my first year here and second year here.
This year the two 3D acrylic paintings I've chosen to submit are my 'Medium Daffodil' and 'Tulips'.
Additionally this year I'm going to have some things in the marketplace too, my 3D print greetings cards and some framed versions.
Taking in day was last Sunday, 25th June, so I needed to get everything ready by labelling it up with all the necessary information that they needed. They provide guidelines that let you know exactly what they want to help make this easy to do.
The main event takes place at Holmfirth Civic Hall, the market is on the second floor and the demonstrations are on the stage in the main room on the first floor. This is where I will be on Thursday and Friday showing how I make my 3D acrylic paintings, I'll also have more of my work with me for sale plus kits so you can try my 3D technique for yourself.
This year as well as having a new online application process there is also a catalogue featuring infomation about all the artists and work in the exhibition, I'm on page 60, there is also information about the fringe events taking place in Holmfirth during artweek too.
The main exhibition takes place at Holmfirth Civic Hall, with additional Fringe venues dotted around the Holmfirth Area. There is plenty of parking in the Co-op car park directly across the road from the hall.


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Remich City
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During the use of our website, we only process the personal data that your browser automatically transmits to our server. In addition, your IP address is processed for technical and necessary reasons for viewing and viewing our website.
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Most of the time, people get their dance music knowledge via a well-researched DJ and a two-to-three hour set of classic material. Other times, you get a stack of YouTube links throw out during an interesting Twitter spree. Skream chose the latter... and we learned a lot from him. What's presented in these tweets could be best summed up as a solid guide to the last decade of UK dance music, particularly the ways that UK garage, grime, dubstep, and other styles evolved. You get a number of jams that were influential to Skream, as well as tunes that are pretty damn undeniable when you look at how the UK dance music scene has shifted. And we even learned a few things (like, did you know that Twisted Individual was making grime-y tracks as Bogeyman?). Even producers like Scuba and Joker stopped by to share their favorite tunes that Skream produced!
There's no real rhyme or solid reason for all of this, but if you look at the different tangents and lanes Skream ended up in on this Twitter run, you'll see why we had to compile these and share them with you. Do your education!


R.I.P. to the old Fort Frog, shown here.
Built and designed in 1991 by ski instructors Jerry Berg and Jerry Begly, the original Fort Frog, in the trees alongside Buttermilk's No Problem run, was a favorite kids' play destination for a quarter-century. The Old West–style structure, with its two-story lookout towers, false-front buildings, and rustic log fence, took its name from longtime ski school supervisor Greg "Frog" Fortin, one among a group of colorful ski pros at Buttermilk in the '80s and '90s.
Tragically, Fort Frog burned to the ground in May 2016, when careless campers failed to fully extinguish a campfire. Nothing in the all-wood structure could be saved from the conflagration, but this winter, thanks to the efforts of Aspen Skiing Company Project Manager Dana Dalla Betta, Z Group Architects Project Manager Melanie Noonan, and others, a completely rebuilt Fort Frog is back and better than ever. Here's what it took.
The ashes of the old fort were still warm—literally—when the decision was made to build a new one. Two days after the fire, Buttermilk kids' ski school coordinator Alex Kendrick wrote a letter to the Aspen Times remembering Fortin, who passed away in 1998. Before sending it, she asked SkiCo if she could state in the letter that the fort would be rebuilt. "They said yes," she relates.
All of the structures have now been elevated to accommodate four feet of annual snow buildup. This allows a snowcat to groom the central area and also means that doorways don't have to be shoveled out. Plus, the fort's three towers, now topped with more-durable corrugated metal roofs, are taller for better views. "You really feel like you're in the trees when you're up in them," says Noonan—an element that will appeal to adults, too, she adds.
Construction began last June with crews from Carbondale-based Crystal Springs Builders. The fort was erected using spruce and Douglas fir logs, most of them with bark on and sourced primarily from Kremmling, Colorado. The warming hut includes cedar siding to re-create the rustic feel of the old fort.
Though the new Fort Frog looks much like the old one, a few added features increase the fun factor. The "post office" tower includes a spiral slide; kids can access it by walking across a swinging rope bridge from the "jail" tower. Large net hammocks next to the ski school warming hut (a.k.a. the saloon and mercantile) provide another place to climb and balance.
While anyone is welcome to explore the rest of the fort, the warming hut exclusively serves kids' ski school classes as a gathering place and snack stop; it also houses a mini ski school museum.


text:
Jonaitiene v. Holder-7th Circuit
In 2000 husband and wife, citizens of Lithuania, entered the U.S. with illegally-obtained visas. They have two children born in Lithuania and a third born in the U.S. When the visa fraud was discovered, they cooperated and were sentenced to one year of probation. The government charged them with removability for being inadmissible at the time of entry and for having been convicted of a crime involving moral turpitude. 8 U.S.C. 1227(a)(1)(A), 1182(a)(7)(B)(i)(II), and 1227(a)(2)(A)(i). Petitioners applied for asylum and withholding of removal. The Immigration Judge denied the request for asylum; the Board of Immigration Appeals affirmed. The Seventh Circuit affirmed. The affidavits established, at best, that the government of Lithuania is unstable and does little to protect its citizens. Fear of retribution from co-defendants for an alien's cooperation with the U.S. government, in exchange for a reduced sentence, is not a well-founded fear based on a protected ground.
For the Seventh Circuit
Nos. 10-1100 & 10-1101
RASA JONAITIENE AND MARIUS BUBENAS,
Petitioners,
ERIC H. HOLDER, JR., Attorney General of the United States,
On Petition for Review of the Orders of the Board of Immigration Appeals. Nos. A077-651-529, A077-495-492
ARGUED OCTOBER 28, 2010—DECIDED SEPTEMBER 26, 2011
Before MANION, ROVNER, and SYKES, Circuit Judges.
ROVNER, Circuit Judge. Rasa Jonaitiene and Marius Bubenas were citizens of Lithuania in 2000, when each gained entry into the United States through the use of illegally-obtained visas. They do not dispute that Bubenas, along with Jonaitiene's brother Daruas Daugela, arranged to obtain a United States visa from a man named Darius Reika. Bubenas used that visa to come to the United States in March 2000, and Jonaitiene followed in July of that year. Bubenas and Jonaitiene have three children together, two born in Lithuania and the third born in the United States.
Eventually, the United States government became aware of the visa fraud scheme that included bribery of a United States Foreign Officer in Lithuania to obtain the visas, and the petitioners were both arrested and charged in three counts of a nineteen-count indictment in federal court. The petitioners agreed to cooperate in the investigation and prosecution of other members of the scheme. Based on that cooperation, the government dismissed two counts of the superceding indictment and filed a substantial assistance motion. Petitioners pled guilty to the remaining count and were sentenced to one year of probation. On June 17, 2008, the Department of Homeland Security initiated removal proceedings against petitioners, charging them with removability for being inadmissible at the time of entry and for having been convicted of a crime involving moral turpitude. 8 U.S.C. § 1227(a)(1)(A), 1182(a)(7)(B)(i)(II), and 1227(a)(2)(A)(i). The petitioners conceded their removability, but sought relief from removal through applications for asylum and withholding of removal.
Petitioners contend that they are fearful of returning to Lithuania because of threats from Darius Reika, who resides there, and because the Lithuanian government is either unwilling or unable to protect them. In their written statements as well as their testimony at the hearing, the petitioners detailed threatening phone calls made to them by Reika after their arrest.
Jonaitiene's brother, who had arranged for the payments to Reika for the visas and who also resides in the United States, received threats from Reika as well, and ultimately committed suicide. The petitioners also introduced evidence that the Lithuanian newspapers had published articles detailing their cooperation in the government investigation into the visa fraud scheme. They asserted that because of that cooperation, they would be in danger from Reika if returned to Lithuania. They also asserted that they would be considered traitors in their country, but could not explain upon questioning why a cooperating witness in a criminal case would be considered a traitor, nor how such cooperation in identifying fraud in the American embassy would be considered a traitorous act against Lithuania.
In addition to the threats from Reika, the petitioners provided evidence that after Jonaitiene's threatening calls, the door to Jonaitiene's mother's apartment was set on fire in Lithuania. The petitioner's children were staying with Jonaitiene's mother at that time. In response to that fire, the United States government brought the children and Jonaitiene's mother to the United States temporarily under Significant Public Benefit Parole. The fire department investigated the blaze, but according to the petitioners the police did not do so.
The only evidence presented relating to the Lithuanian government was their inadequate response with respect to Reika and the fire. When the visa fraud scheme was first revealed, Reika was detained by the Lithuanian police for two weeks but then released. No charges were filed against Reika. Moreover, as was noted, the petitioners argue that the police failed to investigate the fire at the apartment.
The Immigration Judge (IJ) denied the request for asylum, and the Board of Immigration Appeals (BIA) affirmed in a separate opinion. The IJ held that the harm that the petitioners feared in Lithuania was not on account of a protected ground, and that no competent evidence was presented to support the contention that the government was complicit in the visa fraud or would be supportive of the persons such as Reika that the petitioners feared. The BIA echoed those holdings in its separate opinion. It agreed that the petitioners had failed to provide evidence of government complicity, and noted that a personal dispute cannot support a claim of asylum. Relying on our decision in Jun Ying Wang v. Gonzales, 445 F.3d 993, 999 (7th Cir. 2006), the BIA noted that the fear of retribution from co-defendants for an alien's cooperation with the United States government, in exchange for a reduced sentence, is not a well-founded fear based on a protected ground. Accordingly, the BIA held that the petitioners failed to establish a nexus between the feared persecution and a protected ground.
Where the BIA adopts the decision of the IJ and supplements that decision with its own reasoning, we review the IJ's decision as supplemented. Kaharudin v. Gonzales, 500 F.3d 619, 622 (7th Cir. 2007). Under the substantial evidence test, we affirm the denial of asylum and of withholding of removal by the IJ and BIA if it is "'supported by reasonable, substantial and probative evidence on the record considered as a whole.' " Wang, 445 F.3d at 997, quoting INS v. Elias-Zacarias, 502 U.S. 478, 481 (1992); Gjerazi v. Gonzales, 435 F.3d 800, 807 (7th Cir. 2006).
In order to obtain asylum, the petitioners must establish that they are refugees, which is defined as persons unable or unwilling to return to their country "because of persecution or a well-founded fear of persecution on account of race, religion, nationality, membership in a particular social group, or political opinion." 8 USC § 1101(a)(42)(A); Wang, 445 F.3d at 997; Hernandez-Baena v. Gonzales, 417 F.3d 720, 722-23 (7th Cir. 2005). The first part of that definition may be problematic for the petitioners but we need not tarry long there because the latter part is insurmountable.
The first obstacle that petitioners face is that persecution under that definition does not encompass purely private actions. In order to demonstrate persecution or a well-founded fear of persecution, the petitioners must demonstrate that the threatening conduct is by the government, or that it is by private persons whom the government is unwilling or unable to control. Tapiero de Orejuela v. Gonzales, 423 F.3d 666, 672 (7th Cir. 2005); Galina v. I.N.S., 213 F.3d 955, 958 (7th Cir. 2000). The petitioners have presented very little evidence of such government complicity or inability. We have only allegations that Reika was not prosecuted by the Lithuanian government for the visa fraud scheme, and that the police did not investigate the fire at the apartment. Missing is any indicator as to why those decisions were made, and whether they constituted a deviation from standard operating procedures. We do not know, for instance, whether the investigation of fires is normally left to the fire department, which did investigate the incident, nor do we know whether the Lithuanian government was presented with sufficient evidence to prosecute Reika but chose not to do so. Nevertheless, even if the allegations here were sufficient to demonstrate persecution, petitioners do not even allege that it is on account of one of the protected grounds.
The petitioners assert in a conclusory manner that they were members of a particular social group, but provide no identification of that alleged group other than to identify themselves as informants whose cooperation was induced by the government through promises of protection. Rather than explain how that constitutes a "social group" under the refugee definition, they argue that the United States government created a dangerous condition by inducing their cooperation, and therefore had an affirmative duty to protect them from that danger.
We have rejected a similar argument in Wang v. Gonzales, 445 F.3d 993 (7th Cir. 2006). Jun Ying Wang, a native of China, was present in the United States unlawfully having overstayed her visitor's visa, when she was arrested for her part in a scheme to obtain Social Security cards using fraudulent documents. Id. at 994. Wang cooperated with the government's investigation and in turn received a more lenient sentence. Id. She applied for asylum based on her fear that she would be attacked by her codefendants, who were in China and sought retribution for her cooperation against them. Id. We rejected the asylum claim, holding that Wang had failed to demonstrate that the persecution she feared was on account of one of the five statutorily-protected grounds. Wang did not explain how her claim fit within one of the protected grounds, choosing instead to argue that the term "refugee" should not be interpreted too rigidly and that she should be eligible because her persecution stemmed from her assistance to the United States government. Id. at 997. The petitioners mirror those arguments in their briefs to this court. We rejected that argument in Wang, holding that we are bound by the language of the statute, and that fear of persecution as a result of a personal dispute rather than on account of a person's membership in a protected group fails to satisfy the definition of refugee. Id. at 998; Marquez v. I.N.S., 105 F.3d 374, 380 (7th Cir. 1997).
A "social group" under the Act is one 'whose members share "common characteristics that members of the group either cannot change, or should not be required to change because such characteristics are fundamental to their individual identities.'" Ramos v. Holder, 589 F.3d 426, 428 (7th Cir. 2009), quoting In re Kasinga, 21 I. & N. Dec. 357, 366 (BIA 1996); see also Poroj-Mejia v. Holder, 397 Fed.Appx. 234, 237, 2010 WL 4102295, 2 (7th Cir. 2010). The social group, however, cannot be defined merely by the fact of persecution. See Castillo-Arias v. U.S. Atty. Gen., 446 F.3d 1190, 1198 (11th Cir. 2006) ("The risk of persecution alone does not create a particular social group within the meaning of the INA . . .") Nor may a social group be defined solely by the shared characteristic of facing dangers in retaliation for actions they took against alleged persecutors. Wang v. Gonzales, 445 F.3d 993, 998 (7th Cir. 2006); Pavlyk v. Gonzales, 469 F.3d 1082, 1088-89 (7th Cir. 2006); Poroj-Mejia, 397 Fed.Appx. at 237, 2010 WL 4102295 at 2. The petitioners have not attempted to distinguish their claim from those precedents, and in fact have made no argument as to how they constitute a protected group under the Act. They rely instead on their generalized assertion that the government must grant asylum because it placed them in danger by inducing their cooperation in the criminal case. That argument suffers from the glaring problem that they chose to cooperate in return for the benefit of a lesser sentence, and that the choice to place themselves in that danger was theirs not that of the government. More fundamentally, petitioners fail to identify any legal authority for granting asylum on that basis. As we noted in Wang, "there are legal alternatives for an alien placed in danger by virtue of her cooperation with the government. . . . [T]he government may seek an 'S-visa' on behalf of an alien cooperating in a criminal investigation." Wang, 445 F.3d at 999 n.2, citing 8 U.S.C. § 1101(a)(15)(S)(I) and United States v. Zendeli, 180 F.3d 879, 881 (7th Cir. 1999). In this case as in Wang, the government has chosen not to pursue that option for reasons not clear on the record. The S-visa, not asylum, is the avenue by which the petitioners could lawfully remain in the United States, but that is not a hand that this court can force. Because the petitioners have failed to demonstrate a well-founded fear of persecution on account of a protected ground for purposes of asylum, they cannot meet the more stringent standards of withholding of removal which require a showing of a clear probability of persecution. Toure v. Holder, 624 F.3d 422, 428 (7th Cir. 2010); Kaharudin v. Gonzales, 500 F.3d 619, 623 (7th Cir. 2007).
The remaining arguments are similarly unavailing. The petitioners contest the denial of their request for a continuance of the hearing, asserting that it denied them due process because their counsel was not able to adequately develop their case. An immigration court's denial of an alien's request for a continuance is reviewable for abuse of discretion, but the petitioners have failed to demonstrate any abuse of discretion here. Vahora v. Holder, 626 F.3d 907, 915, 919 (7th Cir. 2010); Kucana v. Holder, 130 S. Ct. 827, 839-40 (2010). To the extent that they are claiming a due process violation, they fail for the additional reason that they have not adequately alleged prejudice from the denial of the continuance. Even before this court, they still have not identified what evidence they hoped to obtain by that continuance. A due process claim cannot succeed absent concrete evidence that the due process violation had the potential to affect the outcome of the hearing. Ambati v. Reno, 233 F.3d 1054, 1061 (7th Cir. 2000). Where a petitioner does not "set forth any evidence that would have been presented or arguments that would have been made had his counsel been given additional time to prepare his case," the petitioner has failed to demonstrate that the alleged violation potentially impacted the outcome of the hearing, and therefore the due process claim must be rejected. Id. at 1062; Kuciemba v. INS, 92 F.3d 496, 501 (7th Cir.1996.)
Moreover, the petitioners complain of the denial of their motion to remand, but again fail to allege with any specificity what evidence could have been obtained on that remand. The affidavits in support of that motion appear to establish at best that the government of Lithuania is unstable and does little to protect its citizens, but that helps the petitioners only if the actions against them by the private actor—Reika—were on account of one of the five protected grounds. They have failed to even argue that. The potential for private violence based on personal grudges, and the inability of a country to protect its citizens from such unlawfulness, is not a basis for asylum. As we noted, the government could have avoided this result by seeking an "S-visa" on behalf of the petitioners, but it did not do so. The asylum and withholding of removal limitations handcuff our ability to provide any relief here. The decision of the IJ and BIA is AFFIRMED.
Labels: 7th Circuit, 7th Circuit Cases- Aliens, Asylum, withholding of removal
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MTA (NYC) Subway Cars In N/Z Scale?
Is there a gauge that will fit here?
Selling on the forum? Sacramento, CA clubs?
Modeling a ALP-45DP,with model should I use?
How to disassemble Walthers Mainline coach?
Very Realistic HO Railroad Run Like A Real One: Video.


The Snooze Button Generation released its top 10 films of the 2000s today with Christopher Nolan's "Memento" edging "Eternal Sunshine of the Spotless Mind" and "Lost in Translation" for the top spot.
Seriously, "Memento" (2000) is a tour de force that flips over conventional storytelling and brings up various critical philosophical ideas. It is the Snooze Button Generation's favorite film of the past decade and is part of an answer to the numerous newspapers, magazines and websites that are coming up with their lesser lists of the decade's best films.
Paste Magazine http://www.pastemagazine.com/blogs/lists/2009/11/50-best-movies-of-the-decade-2000-2009.html did a solid job with a top 50 of the 2000s, and the SBG agrees with many choices. But the following, with "Memento" in the top spot, are the real top 10.
The idea of compartmentalizing good and bad memories might seem like a smart idea. But aren't they all connected? What a concept, and, man, this movie made me cry. ... Obviously, on this list, I lean heavily toward originality and strong writing over action, adventure and Hollywood conventions.
Ever have a friendship, or acquaintance, that means so much to both parties, but is unconventional and hard to explain? Hell, I do.
What a killer final scene! I loved the acting by Laura Linney and Mark Ruffalo because I never once thought they were acting.
Hey, I'm kind of a writer guy, and I relate to this film. Michael Chabon is among my favorite authors, and I think I should probably crank out something like this when I have a free weekend.
As an unfortunate rule, movies about teachers are fake. But not this one. Ryan Gosling is probably the top male lead under 30 out there, and he also deserves a shout-out for his role "Lars and the Real Girl," which also is a pretty darn good film.
David Lynch is da bomb, and weirdness and suspense fill this film. Toss in a lesbian scene, and forget about it. This one's a winner.
This pick also is a shout-out to my homeland of Cleveland, where it was filmed. There's a little bit of Harvey Pekar in all of us. Isn't there?
It's hard to find "Superbad" on any top 10, or even top 50, list like this, but its dialogue is way more realistic than other teen movies, including "Juno." Both hilarious and real, "Superbad" edges "No Country for Old Men" and "City of God" on the Snooze Button Generation's best of the 2000s list, though those are excellent films, too.
Hey, although I haven't published it yet, your #2 is my #2, also...no, I'm not referring to poop.


On Monday, it was announced that Steve Smith and David Warner have been selected in Australia's squad for World Cup 2019. They have been chosen in the 15-member squad for World Cup which is scheduled to start from 30th May in England and Wales.
Last year, both the cricketers were involved in the ball-tampering controversy during last Test series against South Africa and served their 12-moths ban for the same which ended last month. Currently, Smith is playing for Rajasthan Royals and Warner is playing for Sunrisers Hyderabad. By the end of the month, they are likely to leave their respective IPL teams to attend their national training camp from 2nd May.
Chairman of Selectors Trevos Honhs said that there had been some tough calls to make given the depth of talent available, but was happy to see Smith and Warner return to the international fold. "Both are world class players and it has been pleasing to see them produce some good form in the IPL" he said.
Australia will start their Cricket World Cup 2019 campaign against Afghanistan in Bristol on 1 June.
How is Team India for World Cup 2019 when compared to World Cup 2011?


text:
Spinditty
72 Songs About Home and Hometowns
Updated on March 4, 2019
FlourishAnyway believes there is a playlist for just about any situation and is on a mission to unite and entertain the world through song.
There's Nothing Like the Comfort of Home
There's no place like home and your hometown, whether it's a small town or a big city. Celebrate that familiar place that always welcomes you back. Create a custom playlist of rock, pop, country, and R&B songs. | Source
A Home Is More Than A House
My husband's parents owned the same house for 35 years. Their family home was the refuge for three children who toddled, rode bikes, and eventually went on first dates. The house seemed to grow smaller as the kids grew up and graduated, married, then brought back spouses and grandkids for visits.
As the years passed, more gifts were placed around the tree at Christmas, more tokens of memories packed away in the garage and attic, and more special events added to the calendar. It was a life of simple abundance.
Both of my husband's parents are long gone now, his siblings have scattered, and the family house has been sold. However, when we visit my husband's hometown of Cincinnati, it's only natural to want to drive slowly past the old house, looking for changes. He replays the memories in his head like an old movie projector.
A home is so much more than a house. It's more than drywall and bricks, a floor and a roof. It's the impermeable bonds of family and friends, traditions and customs, noise and peace. It's a place where you can seek refuge from a busy world and hash it out, when needed. It's a place that celebrates your triumphs and embraces you after defeat. It's the place of holiday dinners and family movie nights, late night homework sessions and mom's homemade chocolate cake.
A home provides us with grounding in an uncertain world — a foundation in self-image, values, and an outlook on what is personally possible in life if we try hard enough. Eventually, we leave the security of the family nest to create our own homes. May yours be a solid and happy one.
Celebrate the comfort that home provides with a custom playlist. We've got a long list of pop, rock, and country songs about home and hometowns to get you started.
1. "Home" by Phillip Phillips
This 2012 song by American Idol winner Philip Phillips reminds us that we are not alone as we travel life's unfamiliar, winding road. The song's narrator promises that he will create a home for his partner that is a safe harbor from the trouble, fear and demons that may exist in the world.
2. "My House" by Flo Rida
This 2015 song celebrates the "mi casa es su casa" spirit. The song invites friends into his home and urges them to enjoy festivities of loud music, champagne, and good times.
What's the best thing about home?
Being able to set my own rules
Sharing time with family
Being welcomed and appreciated
It's a safe and comfortable place
It's all good!
Something else (I'll tell you in the Comments Section below.)
"Decorate your home. It gives the illusion that your life is more interesting than it really is." - Charles M. Schulz, American cartoonist | Source
3. "Our House" by Madness
When you were growing up, was your family's house the one where all the neighborhood kids congregated? This 1982 song will help you reminesce:
Our house, it has a crowd
And it's usually quite loud.
Our mum she's so house-proud
Nothing ever slows her down
And a mess is not allowed ... .
"There is nothing like staying at home for real comfort." - Jane Austen, English novelist | Source
Where Is Your Hometown?
What makes it special? How far away from it do you live now? Tell us in the Comments Section below.
4. "My Town" by Montgomery Gentry
The narrator in this upbeat 2002 country song celebrates all the things that make his small town uniquely his. Born and raised there, he felt the need to run off and sow his wild oats as a young man, but later he returned to settle down and raise a family. Happily, he'll stay there until they put him in the ground.
5. "Home" by Michael Buble
This touching 2005 song is about a man who has ventured far from home and those he loves in order to chase his dreams. He tells his sweetheart that even though he's in Paris and Rome surrounded by a million people, he feels so lonely that he'll be returning home tonight.
6. "Small Town Kid" by Eli Young Band
In this 2005 song, the protagonist is a guy from a small town who has ventured to the city. Although he has left his hometown, he proclaims it won't change who he is. That's because inside, he carries his hometown with him. He's a simple guy in shirt and jeans "driven by rock music and some honky-tonk." He likes his liquor and a good-looking lady who can drive a truck (who doesn't?).
7. "Small Town" by John Cougar Mellencamp
This classic 1985 song depicts the small town as the best place to settle down. Even though small towns don't typically offer much opportunity or excitement, the sense of community more than compensates for that.
The narrator was born and raised in a small town. He met an L.A. girl and brought her back home to raise a family, and happily they plans to live and work there until they die.
"The home should be the treasure chest of living." Le Corbusier, Swiss-French architect | Source
8. "I'm Already There" by Lonestar
This touching 2001 country song is about a husband who is traveling on business. He calls his wife from a lonely hotel room 1,000 miles away. When asked by his child when he's returning home, he issues this reassurance:
I'm the sunshine in your hair
I'm the shadow on the ground
I'm the whisper in the wind
I'm your imaginary friend
And I know I'm in your prayers
Oh, I'm already there.
9. "Who Says You Can't Go Home" by Bon Jovi and Jennifer Nettles
In this 2005 crossover hit, the protagonist says he spent 20 years trying to escape his hometown. And even though he made it big traveling the world, there's only one place where they truly know him and accept him as one of their own. As he says, "You take the home from the boy, but not the boy from his home."
10. "Mama I'm Coming Home" by Ozzy Osbourne
Usually Ozzy Osbourne is known for much darker stuff, but this 1991 song shows off his softer side. It's an ode to his longtime wife, Sharon. His wife is both his friend and sparring partner and creates a refuge from the world.
"My home is in Heaven. I'm just traveling through this world." - Billy Graham | Source
11. "The House That Built Me" by Miranda Lambert
A woman returns to her childhood home in this 2009 country song, and the memories come pouring forth. Her father built the house for her mother, and in the home there are traces of so many memories. She is returning, trying to recapture the past one last time:
I thought if I could touch this place or feel it
This brokenness inside me might start healing.
Out here it's like I'm someone else.
I thought that maybe I could find myself
If I could just come in, I swear I'll leave
Won't take nothing but a memory from the house that built me.
12. "Back Where I Come From" by Kenny Chesney
The protagonist in this 1996 country hit reminesces about his small hometown. Back where he comes from
people are genuine and connected
time passes slowly and
you can make your own mischief out of nothing at all.
Minds may be narrow and wages low, but the small town values are true.
13. "Little Talks" by Of Monsters and Men
A home is more than walls, a roof and a floor. This point is emphasized by this 2011 song. Sung by an Icelandic Indie rock group, it depicts a conversation between the ghost of a deceased person and his or her lover who has been left to live in the house they once shared.
The surviving partner finds the house hollow. He or she is suffering deep depression, and the ghost offers comfort that they will someday reunite.
"A house is not a home unless it contains food and fire for the mind as well as the body." - Benjamin Franklin, American Founding Father | Source
14. "We Rode In Trucks" by Luke Bryan
This 2007 country song describes his Georgia hometown as "heaven on earth." It was a place where "you either lived on a farm or wish you did."
Riding in trucks was a way of life back then, useful for dating, hunting and fishing, baling hay, tailgating at the football games, and four-wheeling. The song is a tribute to growing up in rural America, where life is slower, simpler, and a little more pleasant. Seriously, just how many trucks do you see in the city (especially up north)?
15. "Turning Home" by David Nail
On his way out of town, the narrator in this 2010 song stops to take a picture in his mind's eye. He's in his hometown, and all the memories resonate with him. No matter how far he has traveled, he hasn't matched the intensity of the friendship, first love, and fun times offered by his hometown. He keeps returning, hoping to recapture some of the memories. Some things, however, were meant to remain memories.
16. "My Hometown" by Bruce Springsteen
This 1984 song by "The Boss" describes a 35-year-old man reminisicing about his hometown's history. The town has fallen on hard times but he proudly clings to it as his own.
17. "Home" by Daughtry
Although he didn't win the American Idol contest, Chris Daughtry did okay for himself. This 2007 song reflects his mixed feelings about success:
'Cause you just might get it all
You just might get it all
And then some you don't want.
He happily returns home in this song, a place where he can feel like he belongs:
I'm going to the place where love
And feeling good don't ever cost a thing.
"Never make your home in a place. Make a home for yourself inside your own head. You'll find what you need to furnish it -- memory, friends you can trust, love of learning. That way it will go with you wherever you journey." - Tad Williams | Source
18. "Home" by Dierks Bentley
From the window of a plane high above the western U.S. landscape, the narrator in this 2011 country song sees America as his home. He marvels at the beauty and the scars of the landscape and the struggles that we have been through as a people (much like any family). He also considers our home worth both fighting for and pulling together for, regardless of our differences:
It's been a long hard ride
Got a ways to go
But this is still the place
That we all call home.
19. "Home" by Dan Croll
In this 2014 song, the narrator recalls the feeling of the polyesther carpet on his feet. To him, it's the texture of home, and if you're in his house, you'd better take your shoes off. He now lives only a stone's throw away from his parents and wishes that everyone could enjoy that luxury.
"The strength of a nation derives from the integrity of the home." - Confucius, Chinese philosopher | Source
20. "Give Me Back My Hometown" by Eric Church
When a couple divorces, they can't split the intangibles. The narrator in this 2014 song is sad about the break-up of his marriage but even more heartbroken that his ex has decided to stay in his hometown, a place she once said she didn't enjoy. He wants his memories back. It's his hometown.
"When I go home, its an easy way to be grounded. You learn to realize what truly matters." - Tony Stewart, American professional stock car racer | Source
Even More Songs About Home and Hometowns
21. Hicktown
22. Small Towns and Big Dreams
Paul Brandt
23. Home
24. House Every Weekend
David Zowie
25. Temporary Home
26. Small Town USA
27. Sweet Home Alabama
28. Feels Like Home
Chantal Kreviazuk
29. Famous in a Small Town
30. Welcome Home
31. Two of a Kind, Working on a Full House
32. Take Me Home, Country Roads
33. Our House
34. Hurry Home
35. Home Again
37. Small Town Southern Man
38. Small Town Jericho
39. Burning Down the House
40. Backwoods
41. These Are My People
42. Silent House
43. People Know You By Your First Name
44. Mayberry
45. One Horse Town
46. I'm A Small Town
48. Thank God for Hometowns
51. Hometown
52. Hometown Glory
53. Lego House
54. Green, Green Grass of Home
55. May We All
Florida Georgia Line (featuring Tim McGraw)
56. Church Pew or Barstool
57. Lights
58. Franklin
59. Hometown Girl
60. Small Town Boy
61.Coming Home
62. Our Town
63. Breakup in a Small Town
64. We're Going Home
65. Tailgate Town
66. I Feel Home
67. The Long Way
68. Homeward Bound
69. Tattoos on This Town
70. Small Town Throwdown
Brantley Gilbert (featuring Justin Moore and Thomas Rhett)
71. Hometown Honeymoon
Morgxn & Walk the Moon
Got a suggestion for our Home and Hometowns Playlist? Leave us a comment below in the Comment Section!
"Where we love is home -- home that our feet may leave, but not our hearts." - Oliver Wendell Holmes, Sr., American poet | Source
This content is accurate and true to the best of the author's knowledge and is not meant to substitute for formal and individualized advice from a qualified professional.
© 2016 FlourishAnyway
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10 months ago from USA
Aaron Chen - Great addition! Thank you for this suggestion!
Aaron Chen
Home - Morgxn feat. Walk the Moon
Pat Mills - Thank you for that song suggestion; it is now #68.
Pat Mills
17 months ago from East Chicago, Indiana
Homeward Bound by Simon & Garfunkel would definitely be a home song.
Joe - Thank you for the song suggestion. Two years is a long time to be away from home, so I'm glad you were able to make it back. I've added this song at #66.
Would recommend to all home song seekers "I Feel Home" by OAR
Visited home after 2 years and heard it at a local show. Really cut me to my core, ot was exactly how i feel when i go home.
Darren - Thank you for the suggestion. I've included it as #62. Have a great day.
I would also include Iris DeMent's "Our Town".
Noel - That's a very kind thing that you are doing. Although I don't know a specific homecoming song, there are a number of positive vibe songs that could fit your need: https://hubpages.com/playlists/Feel-Great-Playlist...
I need a "Going home" or a "I am home" song for a video montage I am making. This is for a girl who is returning home to Ethiopia, who was adopted at 12 years old and had not been back in over 9 years. I have tons of pictures of her reunion with her family and friends.
I have been looking forever for the perfect song, but I have yet to find the perfect one.
Kitty - Thanks for the suggestions and for stopping by! I've added the first two.
Lights by journey, franklin by paramore, and straight outta Compton by NWA
Sha - Thank you for stopping by and for your kind kudos. I appreciate you!
Shauna L Bowling
3 years ago from Central Florida
I really enjoyed this playlist, Flourish. The homes you splashed throughout were a nice touch. I just love architecture!
teaches12345 - Glad you enjoyed this. I hope you can visit your hometown soon and make new memories while reliving old ones.
teaches12345
You have me missing my small midwest hometown. I enjoyed these tunes, especially Mellankamp's -- I'm still singing it.
Shyron - Thank you for your suggestion. I have added it! Have a wonderful week!
Dora - Feeling appreciated for who you are is irreplaceable, and home gives you that! Thanks for the encouragement. Have a great week.
Devika - Thank you for reading. Have a great week!
Shyron E Shenko
3 years ago from Texas
Flourish, my dear friend, if wishing could make it so! I love, love taking your musical trips. Wish you would add the Green, Green Grass of Home. By Elvis, Tom Jones and any of those guys. I did enjoy all the others.
Blessings and hugs dear friend.
Devika Primić
3 years ago from Dubrovnik, Croatia
Beautiful songs!
Dora Weithers
3 years ago from The Caribbean
I like this theme and all the anecdotes in the songs. Home, "where love
and feeling good don't ever cost a thing" appeals to me. The expression of feeling is often underrated, but in a home where it happens, one feels truly loved. Enjoyable series!
Linda - Sorry I couldn't get at least one you knew! Maybe you can find a new favorite. I love the Bov Jovi and Jennifer Nettles song, "Who Says You Can't Go Home?" It's just so upbeat and catchy. Have a great week and thank you for stopping by!
Linda Crampton
3 years ago from British Columbia, Canada
I don't know any of the songs but I appreciate all of your descriptions. I love the theme of this article. A happy home in the past is a wonderful memory in the present.
JYOTI - Thank you for stopping by. I hope your home is a happy and peaceful one.
Jyoti Kothari
3 years ago from Jaipur
Good collection. Congrats!
Venkatachari M - That's a long way from home! I'm glad that you eventually moved closer and settled in a location that lends itself to more frequent visits. Thank you for reading. Have a wonderful week!
Larry - Good luck on your song list. On Youtube, I try to use the artist's official version but some artists don't have them available. Thanks for taking a look.
Kyriaki - Thank you for stopping by. I'm glad you at least knew some of the songs. Hope you found some new ones to enjoy as well. Have a great week!
Faith Reaper - With a one hour commute, I'm sure you're really glad to be home every night. I used to commute about as long and it was exhausting, especially at night when there was still dinner to make. Sweet Home Alamaba is on the list at #27, I think. It's one of my country favorites. Have a lovely week!
Bill - Thanks for reading. I'm glad the song you like best was on the list! Have a great week!
Bill - It's great that you live close enough to home to still be able to go back. My daughter spent 2 weeks in Rhode Island (at Brown) and was so impressed with the state. Have a great week!
Catherine - Thanks for stopping by. I'm like you -- a real homebody, too. There's no place I'd rather be. Have a great week!
Venkatachari M
3 years ago from Hyderabad, India
Very interesting hub with a list of songs that are good and remind your home. My home and my wife's home were 2000km away when I was working in a far off place. We used to visit our homes yearly once for some years, then at a gap of 2 or 3 years, like that. After retirement, we came back and settled in Hyderabad which is now 300 km from our home.
Larry Rankin
Another wonderful song list. I always enjoy these so much.
My wife and I are doing a collaborative effort and putting together a themed song list to put on Hubpages.
I've not ever messed with links to video before, and I was just wondering if there are any rules regarding what you can link to. For example, does it have to be an official release of the song, or just any post?
Kyriaki Chatzi
I'll be honest, I don't know most of these songs being I'm a bit young. However, this Hub was a great opportunity to remember the ones I do know and listen to them again!!
Faith Reaper
3 years ago from southern USA
Hi Flourish,
Love your song list of "home" and home town ...and your commentary about what home means. Your choice of pics of homes is homey too!
In my new small home town, there are so many of those types of homes as you have pictured here, some historic, as were in my original home town growing up. They are all so welcoming.
That old saying, "Home is where the heart is," is so true. And from the movie, "There's no place like home." Some week nights after working so late in the city and having to make that hour commute home, I so do look forward to arriving to my home and getting into my own bed, because my sweet sister-in-law sometimes offers me to stop and spend the night at her home (which is lovely and only a short distance from my work), but I just want to get home to my own bed and home.
I think of the song, "Sweet Home Alabama" too.
I hope you are enjoying a peaceful weekend at home!
Bill Holland
3 years ago from Olympia, WA
As soon as I see the title of your hub, I make note of the first song that comes to my mind, and then I see where it is on your list. My first thought on this topic was "My Town" and sure enough, it was there at #4.
Very fun series you've got here, Flourish!
Bill De Giulio
3 years ago from Massachusetts
Another wonderful list Flourish. My hometown is Johnston, RI, about an hour and a half away. My mom and sister still live there and we visit as often as we can. It's great at this point in my life to still be able to go back to the home that I grew up in. As always, great hub. Have a great Sunday.
Thanks for these songs about home. I'm a real homebody--jut love staying home. I'm always doing things to make my home nicer. A new couch pillow, a new vase and things like that.
Frank - Thank you for stopping by and for being the first to comment! Have a wonderful week!
Frank Atanacio
3 years ago from Shelton
The list did bring back memories.. or at least the older songs.. thank you for sharing your list.. bless you Flourish :) Frank
songs about homes.. yeah the list is good.. again you never fail to take me back to those good ole days... love these types of hubs Flourish.. awesome
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Finally, another thing I'm real happy about is that the roast of Ron Jeremy I took part in some six months ago if FINALLY BEING RELEASED! Yes sir! You're gonna be able to stream it and buy downloads of that real soon over at Toofar.tv check it out, bookmark and follow me on Twitter and the like for more info when I have it.


Somewhere between Clarke Quay and Boat Quay lies the charming Hong Kong Street. It's one of the oldest streets in Singapore, having been the bustling spice trading hub in the earlier years. Today, it's home to several highly acclaimed restaurants and speakeasies, such as Amo by Beppe De Vito's ilLido Group and 28 Hong Kong Street, one of the top bars in Singapore and Asia.
Over at Club Street, apart from F&B establishments, a slew of new lifestyle concepts including gyms, yoga studios and co-working spaces have also popped up. And in Chinatown on Keong Saik Road, what used to enjoy a colourful past as a red-light district has now been gentrified and is home to numerous cafes and restaurants, quenching Singapore's never ending thirst for hipster joints with 'character'.
What's the big deal on shophouses then? With just a handful left in Singapore, how can prospective owners get their hands on them?
Recently, a restored five-storey shophouse at 19 Hong Kong Street was put up for sale by marketing agent JLL. Aside from its proximity to the Clarke Quay and Raffles Place MRT stations, the interior of the shophouse comes with high ceilings and column-free layouts which create more space.
This unit joins a growing number of conservation shophouses that have been launched for sale this year to capitalise on strong capital appreciation potential and an upbeat rental market.
Interestingly, freehold and 999-year shophouses report lower rental yields than 99-year leasehold units as they are more expensive on a per square foot basis but are rented out at the same amount as tenants are indifferent to the tenure, notes Lee.
Lee reveals that there are fewer than 7,000 shophouses in Singapore and only around 1,500 units in the Central Business District.
Unsurprisingly, shophouses come with a hefty price tag. "An investor would be able to purchase a unit starting from US$5 million (S$6.8 million)," says Lee.
Earlier this month, a 999-year leasehold shophouse at 21 Boon Tat Street with an estimated built-up area of 3,874sqft was sold for a record $4,259psf. James Heng, CEO and founder of local amphibious vehicle tour operator Duck & Hippo Group, is reportedly the buyer.
The property houses Cheek by Jowl, an Australian restaurant that secured a Michelin star in 2017 just a year after opening.
Meanwhile, a corner shophouse at 64 Club Street with an estimated built-up area of 5,618sqft changed hands for $3,880psf in August this year. Another corner shophouse block at the intersection of Stanley Street and McCallum Street is currently being marketed by CBRE at $48 million, which works out to $4,442 psf on an estimated built-up area of 10,805sqft.
"The prices of shophouses vary and are determined by several factors, such as location, tenure (leasehold or freehold) and property attributes – whether the property is refurbished or in original condition, number of storeys and present tenancy," says Sammi Lim, director of capital markets at CBRE.
Aside from price, current shophouse owners are very particular about who their properties will be sold to. For them, selling it off isn't just about dollars and cents, but about how the next owner will safeguard the rich heritage and architecture of the property.
According to Lim, shophouses tend to attract different groups of buyers including ultra-high net worth individuals who take medium to long-term views on preserving their capital, boutique real estate funds and family offices looking for immediate rental income, as well as companies that purchase units to operate their businesses for long-term stability and to avoid being subject to rental fluctuations.
While shophouses in prime city centre locations like Tanjong Pagar and Chinatown are favoured by investors, city fringe areas like Jalan Besar, Kampong Glam, Little India and Joo Chiat have become more popular in recent years.
"Savvy investors will consider other factors such as the interest rate environment and macroeconomic conditions. We foresee demand for shophouses to remain consistent in the next two to three years against the backdrop of tight office supply and rising rents," says Lim.


I need Peepso configured and layout changes done. Only people with experience with peepso as i need this done quickly and effectively.
Hi. I read the project and am interested in it. I would like to discuss the details of project with you. Regards.


text:
Harassment Standards
Design/Tech
Openings & Internships
Concern Resolution Pathway and Process
Introduction Harassment Policy Concern Resolution Pathway and Process High Risk Productions: Nudity, Violence and Sexual Content First Rehearsal Language and Ouch/Oops
Adopting the OST Standards is a process that engages every level of our producing organization from season-selection through strike. This process requires a balance wherein the Standards are present without stifling creativity or causing participants to feel hesitant or distracted. One extreme would be filing the document away in a drawer and forgetting about it until a problem comes up. The other extreme would be a policed environment in which this document became a tool for punishment or judgment.
The Standards should be discussed at every level of the company, including company and board meetings. Everyone from the Board Chair to administrative staff to ensemble members to visiting participants should be encouraged to read the document, understand the company's commitment to its adoption, and any responsibilities each participant may have.
The Standards should be discussed as early as season selection meetings and pre-production meetings. Many problems can be avoided when safety issues are a regular part of pre-production discussions. For example, if a company cannot afford safe rigging, it should avoid plays that require aerial work. If a company cannot afford a fight choreographer, then a play with onstage violence might not be in the cards.
Prospective Stage Managers/Assistant Directors should be informed that this document is being used with enough time for them to review the document and discuss the additional procedures and responsibilities.
The casting authority has an important role to play, and should be well versed in the document, particularly the audition section.
The Standards requires a thorough presentation on the first day of rehearsal. This is when participants with no exposure to the Standards will first encounter it. Taking the time to discuss the Standards in the first rehearsal will increase the chances of success with the Standards. Getting off on the right foot is essential to this process and the First Day Implementation Notes are designed to help.
Standards protocols throughout the rehearsal process, particularly for high-risk content, ie. Violence, Sexual Content, or Nudity (SC/N).
Many elements of the Standards come into play during tech. Taking the time to visit safety, privacy, and other Standards elements helps to prevent problems before they happen.
The Standards offers suggestions for preventions and responses to issues throughout the run.
This document seeks to prevent some issues, but given that the document encourages those with concerns to come forward, it's recommended that theatres avail themselves of conflict resolution techniques.
First Day Implementation Notes
Creating a script for first rehearsals can make sure that all of the important points are covered. This script should be delivered by one or more representatives of the producing theatre (the Stage Manager, the Director, and/or the Concern Resolution Facilitator)
See the appendix section of this document for a First Rehearsal Script example, a sample Concern Resolution Path (CRP) document, including an Oops/Ouch approach for handling issues when they arise.
Here are some of the most important things to present at the First Rehearsal:
Tell the company why you've chosen to adapt Chicago Theatre Standards for Harassment, High Risk Productions: Nudity, Violence and Sexual Content and The Concern Resolution Path (CRP)
Distribute the Concern Resolution Path (CRP). The CRP documents communication pathways for resolving concerns before they get out of hand, to inform participants who to talk to if issues arise, to avoid repeated unsafe practices, and to mentor those who violate boundaries. The CRP and Concern Resolution Facilitator (CRF) are designed to provide confidential reporting channels that support and protect everyone, including the person/s that create concern. Gossiping with those outside the reporting channels, or creating an atmosphere of "heroes and villains" can result in an inability to use the document to mentor and resolve issues peacefully. There are gray areas on stage. People can get hurt physically and/or emotionally without there being a "bad guy." In every possible situation, the CRP should be used to mentor participants, and nurture a positive and safe environment.
Discuss the Concern Resolution Facilitator (CRF). The CRF is a confidential liaison (reporting channel) between participants, the stage manager, and others on the Concern Resolution Path. The CRF does not decide who's right and wrong, or even necessarily solve problems, but helps to ensure that communication paths are open. The CRF cannot hold any other OST Company Office or otherwise be in a perceived position of power. The CRF for the 2018-2019 Season will be appointed by elected Company Managers.
Point out areas of the Standards that are particularly pertinent to the production. If there are high-risk elements in the production (sexual content, fights, nudity) suggest that the participants read those sections of the document in the interest of letting them know that safety protocols have been a part of the planning process for the production.
Producers are not asked to distribute hard-copies of the entire document, but please tell the company that they can read the document online at www.openstage.com.
Concern Resolution Path (CRP)
The goal of the CRP is to provide a documented communication pathway to address issues in a production or within an organization. The CRP seeks to inform participants what to do and who to address with serious issues, and dispel the fear of reprisal for reporting issues of safety, harassment, or other serious concerns.
This Concern Resolution Path should be printed and distributed to all participants and discussed on the first day of rehearsal. It should be clearly communicated that the producer seeks to resolve concerns early, before participants or the production are put at risk and before the concern escalates.
What is a concern resolution path?
The CRP provides names and contact information for members of the organization and production who have agreed to be responsive to reported issues and work to resolve them. It consists of:
A written, clear, and transparently shared list of procedures for addressing a concern;
A written, clear, and transparently shared list of persons with whom the concern should be addressed;
A commitment to give reported concerns priority and a reasonable timeline for resolution.
Level One (Dialogue) We recognize that many concerns can be resolved through conversation with the parties involved. Whenever possible, participants should be encouraged to discuss challenges and concerns with one another. Sharing and hearing concerns with openness and respect can prevent situations from escalating further.
Level Two (Assistance) If participants are not comfortable directly addressing the individual(s) involved OR if no resolution can be agreed upon, any of the following individuals can be contacted for assistance in addressing the concern.
Concern Resolution Facilitator (CRF)
Stage Manager/Assistant Manager
Production Manager (for the specific production)
These participants should be granted a certain level of authority and trust to determine whether a concern can be resolved at this level or if it needs to be sent to the next level. All concerns should be reported to Level three, even if no action is required.
Level Three (Consultation & Review) These participants should be considered the final level of the path, capable of resolving issues that have not been resolved prior to reaching this stage. They are strongly advised to consult with each other and review legal or other implications of any decision.
Designated Board Member
The CRP should be verbally explained and provided in writing at the first rehearsal (digitally and/or in print). It should include the name, title, and contact information for every individual on the CRP.
A copy of the CRP should be posted or otherwise available in the rehearsal, performance and production spaces.
Participants should be encouraged to report their concerns in writing for recordkeeping purposes.
The company should maintain personnel files, which should include reported concerns. Such files are to be kept confidential and accessible only to the Managing Director and the Designated Board Member.
In the event of civil or criminal misconduct or liability, the Standards is not a replacement for legal advice or action, nor does it stand instead of any local, state or federal law.
A violation of civil rights can be reported to the Colorado Attorney General: https://www.colorado.gov/pacific/dora/civil-rights
Implementation Notes
Producers should complete a CRP with the names and contact information of all individuals who will serve on the path for each production.
The CRP is a tool to help create communication pathways to prevent and resolve issues, not create divisions. To that end, nothing in the Standards encourages firing or marginalizing participants for mistakes, a momentary loss of temper, an argument (whether artistic or personal), a single unintentional injury, etc. The CRP is designed to provide pathways to respond to events, behavior, and conditions that create reasonably understood unsafe conditions, not uncomfortable situations. The function and goal of the CRP should be discussed at the first rehearsal.
Some of the individuals on the CRP will change with each production, and it should be updated for each production.
All individuals listed on the CRP should understand their role in resolving concerns, the process for recording concerns, and the process for reporting those concerns to others on the path.
Creating and using a Concern Resolution Path can assist with recordkeeping.
The individuals listed on the CRP should be provided with resources and/or training in conflict resolution and how to respond consistently to concerns that are shared.
The Role of the Stage Manager/Assistant Director Regarding the Standards
The Stage Manager (SM)/Assistant Director (AD) is traditionally the primary communication conduit between participants and producers as well as between actors and directors; and so plays a crucial role in executing the Standards. The goal of this standard is to respect that the additional responsibilities of the SM/AD in theatres that use the Standards compliment the expertise and authority of the SM as a leader and advocate throughout the production.
The Stage Manager/Assistant Director responsibilities with regards to the Standards are:
Read and be familiar with the Standards.
Know and follow the theatre's published CRP.
Ensure that consent is discussed before scenes of sexual content and nudity and document applicable specifics.
Document all choreography, including sexual content. The Stage Manager must be present for all rehearsals when choreography is rehearsed.
Work with and communicate with the Concern Resolution Facilitator, particularly regarding any raised concern.
Requires Disclosure
SM/AD's should be told if an organization has adopted the Standards before they commit to a production.
SM/ADs should have access to the script, or known scope of a production, before they agree to participate.
The goal of the Concern Resolution Facilitator (CRF) is to create a confidential and peer-level liaison reporting channel between participants and the producer. Communicating concerns can be challenging. Participants often have long-standing relationships, aspirations for future collaboration, or a fear of being labeled "difficult." Any of these might dissuade a participant from voicing a concern. The CRF can help to alleviate this tension.
The Concern Resolution Facilitator (CRF) does not report to any outside regulatory body, since the Standards are a tool for self-regulation. The Facilitator navigates the Standards for participants over the course of a season and can serve as a reporting channel for an individual participant or an acting company when confidentiality is required or requested, and may also serve (alongside the Stage Manager/Assistant Director) as a first contact when a concern cannot be resolved by an individual.
Role and Responsibilities of the Concern Resolution Facilitator
Become familiar with the Standards, CRP, and any related policies and procedures provided (see: talking points script)
Help familiarize others with the Standards, the CRP and talking points script.
Provide contact information and availability for consultation outside of rehearsal/performance space/hours.
Serve as a liaison between the cast, crew, stage manager, and producer for issues brought to attention by participants.
Protect confidentiality
Report concerns, both their own and those reported by fellow participants, using the CRP, and communicate the resolution of such concerns to fellow participants as appropriate.
Respond to concerns as quickly as possible (within 24 hours whenever possible).
Commit with integrity and empathy to prioritize the safety and wellbeing of participants and discourage efforts (intentional or otherwise) to use the Standards to divide or create an atmosphere of "heroes and villains."
Engage the CRP if the SM is unable, unwilling, or is the individual of concern.
Understand that their role is not to solve problems or act in a judiciary role, but serve as a confidential reporting channel and liaison.
Understand that their role is one of service, and not a position of power or status.
Outside of the Facilitator's Scope
The Facilitator should not override traditional roles of the SM/AD, director, or any other member of the organization.
The Facilitator should never create divisions or marginalize participants.
Implementation Notes (how to select a CRF)
OST Staff and Company Officers will select a CRF for the season. This person should not have other company management roles or be in a position of power.
For theatres with acting ensembles, the Facilitator should not be a member of that ensemble.
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