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Kim Becking Speaker Profile
Kim Becking Biography
Kim Becking
Category :Authors, Business Growth, Business Leaders, Business Speakers, Change, Inspirational Speakers, Law, Leadership Speakers, Motivation, Personal Growth, Speakers by Industry, Success, Virtual Speakers
Live Event: $10,000 - $20,000
Virtual Event: $5,000 - $10,000
Travels From : Please Contact
More About Kim Becking
Kim Becking is an engaging, high-energy, fun and impactful motivational keynote speaker, change and leadership expert and award-winning author who helps others conquer change, boost resilience, accelerate success and achieve more in their business, life and relationships no matter what life throws at them.
Kim knows a thing or two about change and challenges through her own experiences in business and life. As an attorney, serial entrepreneur running two successful businesses for over two decades, communications strategist and "recovering" political consultant, Kim has conquered the ever-changing tough worlds of business, government, and politics. She's also conquered breast cancer.
Kim has boosted communication, consensus building, advocacy and legislative capabilities for Fortune 500 companies, associations, state and local governments and non-profit organizations, helping them accelerate their success. She's proud of her work coaching CEO's, top level leadership and elected officials on how to lead with more impact and influence. Kim provides practical tools and strategies to effectively manage change and deal with difficult people, tough conversations, and hard issues.
Using humor and vulnerability, Kim has the ability to connect with her audiences at a deeper level. Her authentic, engaging, humorous and empowering messages of extraordinary resilience, conquering change and creating success regardless of your circumstances have made her a favorite among her audiences.
Kim doesn't want you to just bounce back after change and adversity – she wants you to develop a "Momentum Mindset" where you push past limited thinking, get unstuck, and use the change and adversity in life as the fuel needed to propel you forward – faster, further, stronger and better than ever before.
Kim has been featured in national media such as People, SELF, The New York Times, USA Today, Good Morning America and Lifetime Television for her expertise on resilience and thriving in the midst of change.
Kim graduated with honors from Missouri State University with a Bachelor of Science degree in marketing and received her Juris Doctorate with honors from the University of Missouri-Kansas City School of Law.
She is a member of the National Speakers Association, the International Association of Business Communicators, the Association of Talent Development and holds a Certificate of Public Participation from the International Association of Public Participation. She is also on the board and serving as President of the Greater Missouri Leadership Challenge.
A best-selling, award-winning author, Kim recently launched her Momentum series of business success tip books with more than four books in development for 2018, focusing on change, resilience, leadership and communications.
Kim resides in Columbia, Missouri with her blended family of five and travels throughout the United States and internationally for conferences, conventions and events.
All American Speakers Bureau is a full-service talent booking agency providing information on booking Kim Becking for speaking engagements, personal appearances and corporate events. Contact an All American Speakers Bureau booking agent for more information on Kim Becking speaking fees, availability, speech topics and cost to hire for your next live or virtual event.
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Foxtail millet genome sequence completed
by BGI Shenzhen
BGI, in cooperation with Zhangjiakou Academy of Agricultural Science, has completed the genome sequence and analysis of foxtail millet (Setaria italica), the second-most widely planted species of millet. This study provides an invaluable resource for the study and genetic improvement of foxtail millet and millet crops at a genome-wide level. Results of the latest study were published online today in Nature Biotechnology.
Foxtail millet is an important cereal crop providing food and feed in semi-arid areas. It is the top-one crop in ancient China. It promises to serve as an important model for comparative genomics and functional gene studies, due to its small genome size (~490M), self-pollination, rich genetic diversity (~6000 varieties), complete collection of germplasm, and the availability of efficient transformation platforms. It is also evolutionarily close to several important biofuel grasses, such as switchgrass and napier grass.
"The lower yield of traditional cultivars has largely limited cultivation and utilization of foxtail millet." said Dr. Gengyun Zhang, Vice President of BGI. "Hybrid cultivars, recently developed by Professor Zhihai Zhao in Zhangjiakou Agricultural Academy of Science, doubled the yield of foxtail millet. I expect that the results of this study could set an example of applying the genome sequence to better understanding and quicker developing new varieties of a neglected crop with higher yield, better grain quality and stress tolerance."
In this study, researchers from BGI carried out next-generation sequencing and de novo assembly for "Zhang gu", one strain of foxtail millet from Northern China. The final genome assembly was 423 Mb, and 38,801 protein-coding genes have been predicted, of which ~81% were expressed. They also developed a high density genetic linkage map using a set of genetic markers identified by resequencing another strain named "A2" and an F2 population of "Zhang gu" crossing A2. A2 is the widely used female strain of hybrid foxtail millet.
Comparing the foxtail millet genome and rice genome, researchers found the rules and changing tendency of the foxtail millet chromosomes, which are important for understanding the millet genome evolution. "We found nine foxtail millet chromosomes were formed after three chromosomal reshuffling events." said Dr. Zhang, "Of the three events, two occurred after divergence of foxtail millet from rice, followed by a specific reshuffling after divergence of millet from sorghum."
C4 plants are better adapted than C3 plants in environments with higher daytime temperature, intense sunlight, drought, or nitrogen or CO2 limitation. Foxtail millet is a diploid C4 panicoid crop species. With its genome available, researchers comprehensively analyzed the evolution of several key genes in C4 photosynthesis pathway. Results indicated that all the genes involved in C4 carbon fixation pathway also existed in C3 plants. Thus, researchers predicted that the emergence of C4 pathway could result from expressional and/or functional modifications of these genes.
The genome sequence of foxtail millet could facilitate mapping of quantitative trait loci. In this study, researchers used the foxtail millet genome to aid identification of herbicide resistant genes, and they accurately identified the gene for sethoxydim resistance.
"The decoding of whole genome sequence is an essential and important step to reveal the secrets of genetic control of crops, which could serve as an important platform for biological studies and breeding. " added by Dr. Zhang.
Cover crop mulches tested for no-till organic onions
Provided by BGI Shenzhen
Citation: Foxtail millet genome sequence completed (2012, May 13) retrieved 17 July 2019 from https://phys.org/news/2012-05-foxtail-millet-genome-sequence.html
Early agriculture left traces in animal bones
How drought-tolerant grasses came to be
Genes may travel from plant to plant to fuel evolution: study
Whole genome fine map of rice completed
Dissecting the genomes of crop plants to improve breeding potential
Better genome editing for bioenergy

redpajama_set_name: RedPajamaCommonCrawl


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To read or to watch, that is the question
Entertainment Books To read or to watch, that is the question
9:25am, Nov 19, 2013 Updated: 2:18pm, Nov 22
Anneli Knight
The silver screen is overflowing with stories that were originally created as blank text upon the page. The magic of written words and the stories they were borne into have created some of the best films in history. As we launch into the summer box-office season we will be inundated with big screen adaptations of some wonderful novels. The Hunger Games trilogy, the penultimate Hobbit film from director Peter Jackson, and the highly anticipated The Book Thief film, also a best selling book, are just some in a long list.
The Hobbit hits Australian theatres on December 26. Photo: New Line Cinema.
So what is it that makes a successful adaptation and how do you answer that nagging question: should I read the book or see the movie first?
Novelist, script-writer and theorist, Linda Aronson, who has written and consulted on adaptations of her own and others' work for film and television, says there is a completely different contract between a novelist and reader to the one that exists between a film-maker and audience, and this must be addressed for a successful adaptation.
"People reading fiction are much more tolerant," Ms Aronson says.
"It's very common when someone recommends a novel to you for them to say, 'The first 50 pages are slow, but stay with it'. But 50 pages is about half a film script. People will get angry if they are kept waiting more than 30 seconds [in a film]."
Ms Aronson says the best adaptations are from books that make their most powerful points through action, rather than via emotion or description.
"Harry Potter was very suitable because it's all action: character through action," Ms Aronson says.
The Harry Potter films expertly brought the books to life and threw the young stars into the limelight. Photo: Warner Brothers
However, the film The Shipping News, adapted from E. Annie Proulx Pulitzer-prize winning novel, didn't hit the mark, she continues.
"The novel is about the mental journey of an emotionally-wounded man healed gradually by living near the ocean. It features marvellous descriptions of the ocean's subtle changes. But all the camera can do here is: 'ocean calm', 'ocean stormy', 'man gloomy', 'man a bit more cheerful'. The result is boring," Aronson concludes.
In order to avoid disappointment, it can often be better to watch the film before reading the book it was based on, says literary agent Selwa Anthony.
"With something like Gone With the Wind, it's better to see the movie and then read the book, because you've fallen in love with so much in the movie then you find out so much more when you read the book – it fills in a lot of the gaps because it's a big story," Ms Anthony says.
The reason book-lovers are often disappointed with a film adaptation is because it is not possible for a film to portray the many sub-plots and complexities of a novel, Ms Anthony says.
"The worst film adaptation I've ever seen was Isabelle Allende's wonderful novel called The House of Spirits. It was one of the most beautiful novels I've ever read, there were stories within stories, and the film just took one part of it, which made no sense. It was dreadful."
Author, academic and literary critic, Alice Robinson, says the necessary simplification of a story when it is condensed for film means short stories can often be translated most successfully to film. She cites the Australian film Jindabyne, which was created from an eight-page Raymond Carver story So Much Water So Close to Home.
"It's quite a natural transition from short story to film, because a short story is really situated around one moment – usually one moment of crisis or one moment of insight – over a very short period of time. So that can more easily be condensed into two hours."
Dr Robinson says the rare examples where a film is judged to be better than the book are when the film artistically transcends the original story. She says Ridley Scott's film Blade Runner is universally recognised to be better than the book it was adapted from: Do Androids Dream of Electric Sheep? by Philip K Dick.
Harrison Ford in Blade Runner. Photo: Warner Brothers
"A literary book is an abstract thing translating life into text, and the film is a translation of a translation, if you like, and something gets lost that way," Dr Robinson says.
"Maybe the reason films like Blade Runner work is because the film is also a work of art in its own right, because the director has taken that text and recreated it with their own vision."
Anneli Knight is a freelance writer who is currently completing her first novel.
15 great films based on books (in no particular order)
One Flew Over the Cuckoo' Nest
Trainspotting
Doris Lessing dies


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package com.github.alexanderwe.bananaj.exceptions;

/**
 * Created by alexanderweiss on 02.01.17.
 */

public class CampaignSettingsException extends Exception {

    public CampaignSettingsException()  {
        super("Invalid email address.");
    }

    public CampaignSettingsException(String message) {
        super(message);
    }

    public CampaignSettingsException(Throwable cause) {
        super(cause);
    }

    public CampaignSettingsException(String message, Throwable cause) {
        super(message, cause);
    }

    public CampaignSettingsException(String message, Throwable cause, boolean enableSuppression, boolean writableStackTrace) {
        super(message, cause, enableSuppression, writableStackTrace);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Published June 13, 2011 12:50 AM
The Legend Of Zelda: Link's Awakening DX
A timeless classic arrives on 3DS in all its 2D glory.
Confession time: I'm one of those terribly snarky unbelievers who thinks Zelda wasn't really worth bothering with until Link To The Past. Burn the witch! But even if you violently disagree and wish to replace my eyes with hot toffee apples, you can't deny Link's Awakening is among the finest games ever to grace the humble Game Boy.
Of all the games unleashed to the public in the 3DS eStore last week, Link's Awakening is probably the only one you'd be willing to pay money for. Presumably Nintendo realizes this, and has elected to double the price just to make sure you're really committed to the cause.
But enough about boring pricing shenanigans. Rejoice in the fact that we're getting the 'remastered' Game Boy Color 'DX' version, rather than the 1993 original.
Its hallowed status as the 'quintessential isometric Zelda game' isn't just blethering hyperbole. Whatever your preconceptions of Game Boy titles may be, this is the game to challenge them. It's epic without being tiresome. The quests are challenging without being frustrating. If you're a particular fan of the Link To The Past formula, this is mana from heaven.
You know the drill. Explore that dungeon. Kill those baddies. Get that new ability. Go back to all those areas you couldn't previously access. Get a new quest. And so on.
The refined simplicity and near-perfect design of it all means the game hasn't dated a jot, and its wry humour still comes through almost two decades down the line.
With games like this in the canon it's possible to forgive Nintendo for some of its complacency, but only a little.
What's Hot: Classic Zelda adventuring, humorous dialogue, enjoyable music.
What's Not: A bit pricey at $5.99.
2 For 2 Review - Additional Entertainment
Tile matching and math meet together in an addictive puzzle game for all ages.
Galaxy of Pen & Paper Review: Moonage Daydream
Need some help getting started in Galaxy of Pen & Paper? We've got you covered.
Published August 9, 2017 11:00 AM , by
Brittany Vincent
The Elder Scrolls: Legends Heroes Of Skyrim Expansion Review - Stolen Sweetrolls
Heroes of Skyrim provides loads of new strategies for CCG fans, but the added depth may turn away newcomers.
Published August 3, 2017 1:00 PM , by


Sure, the letters and numbers smushed all together like that just look like some kind of code. And in a way, it is a code. You see, CoQ10 stands for Coenzyme Q10 – the enzyme also known as 1,4-benzoquinone.
The "Q" in CoQ10 refers to a chemical group of aromatic compounds known as the quinone group. The "10" refers to the 10 isoprenyl subunits in the tail of the CoQ10 molecule. Together, they form an important compound that your body actually produces naturally.
Now, you can find it in every cell in your body, and it is very important for cell growth and cell maintenance.
But first, how exactly does CoQ10 work?
Simply put, CoQ10 helps generate adenosine triphosphate – otherwise known as ATP – which is necessary for aerobic respiration. That's the process in which cells use oxygen to help them break down food to produce cellular energy.
Turns out, about 95 percent of the chemical energy generated by your body is derived from ATP. So, you've got the most CoQ10 in organs like your kidney, liver, and heart. This makes sense, since those particular organs need to produce – and use – the most energy.
What are the Benefits of Coenzyme Q10?
Fight the visual effects of aging – You've likely read about free radical damage before. Simply put, free radicals are ions that can destroy certain cells when they come into contact with oxygen. But compounds such as CoQ10 can attach themselves to free radicals, helping to safely eliminate them from your body.
Recent data shows that CoQ10 might actually help support your body's ability to regulate your metabolism.4 That's a very good thing, as your metabolism slows as you age. Why not do everything you can to keep it healthy?
With all of these potential benefits, don't you want to make sure you're getting enough CoQ10?
If you're looking to increase your CoQ10 intake, you'll find that grass-fed or pastured animal proteins are the richest sources of CoQ10. That's right … meat. And if you really want to get the max CoQ10 from your pastured chicken, don't forget to prepare the liver and heart.
You can also get CoQ10 from certain dairy products, though you won't get as much as you will from meat. Just make sure to purchase dairy without Casein A1. Instead, look for southern European cheeses, A2 Milk, or dairy from goats or sheep.
– If you're vegetarian or vegan, go for more parsley. Or, try perilla or perilla oil. They both happen to be great sources of CoQ10. Have you ever had perilla? It's a leafy green in the mint family. You can add it to many dishes to give them a tasty licorice or anise flavor.
In the end, you should make sure you're getting enough CoQ10. Whether you choose to take a supplement, or up your CoQ10 intake by eating the right amounts of protein, Gundry-approved dairy, parsley, or perilla … rest assured you're doing something great for your heart, your metabolism, and even your youthful visage.


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Bob De Moor Info
The Bob de Moor E-store
Who is behind this page?
Dirk Stallaert interview : "I do remember a roaring laugh" (By Bernard Van Isacker )
March 29, 2014 bernard	2 Comments
As promised, here's a first interview in a series which will handle artists that have been influenced by Bob de Moor. The first is flemish artist Dirk Stallaert.
In the past Le Lombard often could rely on Bob de Moor whenever there was a need for drawings holding most if not all of the heroes in the editor's portfolio. Bob de Moor was able to adopt every possible style, from realistic to cartoonesque. After Bob de Moor passed away Le Lombard looked for a new talent that could fill that void. With the flemish artist Dirk Stallaert (Brussel, 28 December 1955) they already knew what he was worth thanks to his excellent work on 'Nino' (in a scenario of Hec Leemans), which was drawn in a pure Hergé/Bob de Moor tandem style. Stallaert had used various other styles before when for example working for Jean-Pol (whose 'Kramikse' he mastered in no time) or releasing 'Dionies d' Oldenboom' which shows the more absurd side of Stallaert.
Since 'Nino' (which unfortunately never got the success it deserved despite being some of the best work ever released by Le Lombard), Stallaert started to work for Merho ('De Kiekeboes'), Marc Sleen ('Nero') and Studio Vandersteen where he currently resides. Flemish readers will surely have noticed his time spent on the different comics he worked on not in the least thanks to the wonderful female creatures he included, especially in 'Nero'. Besides his work for the Vandersteen Studio he also has his own series with 'Plankgas en Plastronneke', 'Mieleke Melleke Mol' and 'Pakkeman en Poulet' of which a first album was (finally) released a few weeks ago. And if you can't get enough, make sure to get hold of the 'Kitty' series too.
When we contact Dirk Stallaert he says that the interview request comes right on time as he is totally back into the clear line (ligne claire) mood.
BDM: What was the reason for this sudden new clear line rage?
DS: It didn't really come fall out of the sky, but it was a gradually returning belief that the best style to pull your readers into a story is that one of Hergé, and also that one of Vandersteen during the 50s plus a few others. In short: the characters remain caricatures, but all the rest clearly isn't, contralily to Franquin, who – in a masterful way indeed – also deforms requisites and sceneries. Although Franquin belongs for sure to the top when it comes to comic artists, worldwide and from all times, I didn't think it was a good idea to use the through and through caricatural style which became his trademark for the last Spirou albums.
I'm easily distracted by the graphical mannerism. It remains masterly drawn work but when it comes to Tintin the drawings have – although also excellent – more of a serving purpose and I thus get very easily pulled into the story.
I already was convinced of that almost 30 years ago, after having used all kind of styles, but I wasn't mature enough to handle that extremely difficult clear line. 'Nino' was a meritorious attempt, but, due to my lack of formation, by the fact that I had learned to draw in a wrong, backward way (first the deformation, the caricature, and then only much later the basis, the reality), I lost heaps of time and energy that I soon left the clear line for what it was. Now, much later, I feel way more capable to approach the Hergé style and I try to get back on the clear line path, with lots of drawing pleasure.
My problem is that I often have difficulties to choose. Despite my conviction that the Hergé style is the best to tell a story, I like it very much to let all the breaks loose and use a very loose line, with more panache, ough caricature and grotesque deformations. But I always return to the through doctrine (smiles).
BDM: Is there new work coming up that will correspond to the clean line? Or can we expect a new 'Nino' after all?
DS: Hec Leemans has been working on a new 'Nino' for quite some time, so it's excluded I will do that. But the clear line is entering my work more and more recently in the other things I do. In 'Mieleke Melleke Mol' for instance; and in the more recent 'Pakkeman en Poulet' episodes, that was already clearly noticeable. If I would start with something new at this moment, it would clearly go into that direction.
BDM: Can you exploit that clear line urge at the Studio Vandersteen?
DS: In the Spike and Suzy album "Suske de Rat", for which I worked on the pencil work – with exception of the scenery – it was already very noticeable to my feeling. Maybe it didn't show all that much to the reader because the inking by Eric De Rop is more flexible and less 'dry', but the basis there clearly was the clear line.
BDM: What memories do you have from Bob de Moor?
DS: I first got acquainted with the work of Bob de Moor with his work for the weekly Tintin, which I bought every now and then back in the early 60s. Apart from that there were also the first "Nonkel Zigomar, Snoe en Snolleke" albums which were published in a very attractive big format and which – typically for the Flemish comics from that era – were printed on newspaper paper, alternately with a red and blue line.
I first met him in 1989, when Hec and I went presenting the 'Nino' comic to Le Lombard, where Bob de Moor was then the artistic director. I remember him just like everyone else who knew him, as an amiable, affable person, with absolutely no airs and graces. I met him only 3 or 4 times, and since I'm not really all that sociable and since there were always other people around doing the talking, I don't really recall having had a very interesting chat. I do remember a roaring laugh. I once called him when I was young at the Studios Hergé. I was – and still am – a real material fetishist and I asked him with what kind of brand of East-Indian ink he worked. I probably though that once I had the same ink, that I could draw as good as he did. "It's Pelikan" he answered gently without telling me to go to hell.
BDM: A lot of your current work leans towards the more grotesque nonsense way of working that was typical for Bob. 'Pakkeman en Poulet' for instance have a lot in common with for instance the "Barelli' series where style changes throughout the stories were also typical. Or am I wrong?
DS: I suspect that Bob had the same 'problem' like I had: not being able to really choose between all those styles and then just regularly do digressions. But I'm not sure, I only met him a few times. The nonsens in my comics are more inspired by Marc Sleen I think. His work has been very influential, more than that of any other artist.
BDM: For the celebration of the 50th album for Tibet's 'Ric Hochet' you sketched a 2-plate cartoon together with Bob de Moor. Can you remember how that collaboration started? (Editor's note: the drawings can be seen right here)
DS: I can't remember really well how that collaboration started. Nowadays it would be simple, Bob would draw his part and then mail it to me, after which I would add my drawings digitally. But back then that wasn't possible. I do remember that he was the first one to draw his part of the cartoon – on the foreground – after which I added the rest on a separate sheet probably.
BDM: Have you never been asked to collaborate for other projects?
DS: We have never talked about a possible further collaboration, no. You have to realize that this took place shortly before he got ill and passed away if I remember well. I think he also had an assistant by then (editor's note: Geert De Sutter).
BDM: It's quite remarkable that artists who have know him, often tell how Bob never got the recognition he deserved. What's your take on that?
DS: At a certain moment, in 1950 I think, he made a choice that influenced the rest of his life. It resulted in the fact that he never would have an own 'big' career. 'Big' as in the careers that people like Marc Sleen, Hergé and Willy Vandersteen had. He more or less chose to live in the shadow by choosing to work for the Hergé Studios. Combining that job with an own oeuvre as massive as that of Sleen, Vandersteen or Nys was just impossible. I guess he knew that really well back then.
We can only guess what could have happened otherwise. Maybe there would have been a Studio de Moor with a huge output of 'Nonkel Zigomar, Snoe en Snolleke', 'Barelli', 'Cori', 'Balthazar' albums, who knows. I don't think he was the kind of person to put himself in the picture. That doesn't prevent me from thinking that there should indeed be way more attention for his work than what is the case now. Without any doubt.
BDM: Bob phoned you once to say that there was something wrong with a 'Nino' drawing of the Brooklyn Bridge in New York in part 2 "De prinses van Manhattan", page 11 (plate 9), the second strip? What had happened?
DS: I drew the Brooklyn Bridge and it was quite difficult and complicated, and in the abundance of crossing lines I had forgotten a part of the bridge. But it clearly was an error that had to be corrected. Bob, being the artistic director, called me and asked me indeed in a very humble tone, if perhaps pretty please, potentially, if I would want and if it wasn't too much asked, to add that missing part. And I stood there on the phone, almost saluting (laughs)!
BDM: As you probably know, there is a chance that the uncompleted Tintin album "Thermozéro" will be released after all, albeit in an Alph-Art-esque way. Doesn't it itch a bit to complete one page? Since Moulinsart wants to release a new Tintin album before 2052, you might just want to take the bait?
DS: 2052 ? I better get started right now, because I work rather slowly these days. I don't know. I once declined the offer to draw the new Blake and Mortimer. It's actually one of the reasons why I am so 'famous'. The man who didn't draw Blake and Mortimer! I declined the offer, because of what I would call a cowardly fear of failure. The whole world is then watching what you do, ready to slaughter you with every line you draw. With Tintin I guess it would be even worse. Maybe I have to look up my 'Sikje' again, the character that I once drew in the background of a 'Plankgas en Plastronneke' episode. I'd be more at ease doing that!
Dirk StallaertNino
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Latest news on Bob De Moor
Bob De Moor made several versions for the reedition of 'Les Boucs Emissaires' January 14, 2018
Holes instead of socks – Bob De Moor post World War 2 December 24, 2017
'Oorlog in het Heelal'/'Guerre dans le Cosmos' cover artwork refurbished for Sony advert July 23, 2017
2 more 'Help Sinterklaas' cartoons by Bob De Moor surface July 22, 2017
'De Leeuw van Vlaanderen' in a reworked version by Johan De Moor July 11, 2017
Ersatz stockings and socks with Bob De Moor April 17, 2017
Info wanted on these 2 Bob De Moor 'Explorers on the Moon' advert sketches February 27, 2017
1947's King Pi-Po-Pen in 1976 February 19, 2017
Bob De Moor's drawing of his baby nephew Ludo Van Looveren February 17, 2017
A test artwork version for the 80s version of 'Barelli à Nusa-Penida (Volume 1)' December 7, 2016
Sinterklaas with Bob De Moor in 1960 December 5, 2016
Noël Slangen and Bob De Moor, an interview: "Politics are a lot more boring then comics" December 3, 2016
Bob De Moor, 15 years old, draws Vivien Leigh from 'Gone with the Wind' + class picture! October 10, 2016
A previously unpublished cartoon drawing by Bob De Moor from 1943 October 8, 2016
Swinging with Barelli, Anne Nannah and Bob De Moor in Clichy in 1981 September 26, 2016
Walt Disney influences in this 1946 illustration by Bob De Moor August 5, 2016
Janneke en Stanneke, a 1948 series by Bob De Moor never published in album format (except for one story) July 15, 2016
The lost 2nd part of the 'De witte maw-maw' album cover July 12, 2016
Johan De Moor pays tribute to Bob De Moor's Balthazar for the upcoming Comic Strip Festival in Brussels (02-04/09) July 11, 2016
The alternative version of Barelli's 'Bonne mine à la mer' cover July 10, 2016
'T Kapoentje
Artec Studios
Bakelandt
Barelli
Belvision
Brabantia Nostra
Brabant Strip
Bédéscope
Cori Le Moussaillon
Danny De Laet
Dirk Stallaert
Edgar P Jacobs
Gaston Durnez
Geert de Sutter
Hec Leemans
Jef Nys
Johan de Moor
Johannes Stawowy
John Van Looveren
Karel Driesen
Ludo Van Looveren
Marc Sleen
Olivier Marin
Publiart
Raymond Leblanc
Ronald Grossey
Régric
Snoe en Snolleke
Standaard Uitgeverij
Studios Hergé
Willy Vandersteen
Yves Rodier


Dio Candle Company is based in Denver, Co and sources their candles with the highest quality components. They pride themselves on creating affordable, locally harvested soy candles and they mix their candles by hand, in a unique way that ensures their candles have maximum scent throw.
Putting the science aside, I've loved working with Dio, specifically with co-owner, Natasha Silvero. Her enthusiasm is contagious and she really loves what she does. I'm so proud of the selection of candles you'll find here. You won't believe the complexity and general deliciousness of the scents.
Treat yourself to the Author's Flight—four candles for my four best-selling books!


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There's something foul in the states of South America: after decades, the subcontinent is at peace, and yet it is currently experiencing the largest movement of displaced persons in its history. The nations of Latin America simply don't know how to handle the surge of refugees fleeing the economic collapse of Venezuela: as countries around it declare a humanitarian state of emergency, Venezuela's president, Nicolás Maduro, rambles on about a conspiracy against his country, accusing those leaving of being venal economic migrants playing parts in a 'Hollywood sham'.
At the same time, his administration is, due to a shortage of passport paper, unable to issue travel documents to all those who have applied to emigrate: all of the suitable paper available has been allocated for printing the 'Fatherland Passes', a sort of ration booklet for food and petrol that will force those left behind further into dependency on a state manifestly incapable of caring for them. Those who are serious about getting a passport fast have no option but to bribe the corrupt administration, with prices reportedly running at around $1,000.
Further up, in Central America, Costa Rica is busy trying to accommodate the Nicaraguans who, having taken part in protests against the socialist regime of Daniel Ortega, are now facing state retaliation – and have learned to fear it even when abroad, given that Ortega recently asked Costa Rica for a list of names of registered refugees (it refused). Yet the surge comes at a price for Nicaragua's stable, democratic neighbour: in August, hundreds of demonstrators set Nicaraguan flags on fire and chased anyone they thought to be from across the border through the streets.
With both Maduro and Ortega styling themselves as 'the Bolivarian socialists of the 21st century', The Economist has called the upheaval the Bolivarian Wave: according to various official estimates, between two and three million Venezuelans have already left their homeland; newspaper reports put the number of Nicaraguans who have left at 24,000.
It's not just the crisis of authoritarian socialist regimes between the equator and the Tropic of Cancer that is driving migration, however. Central America has a range of failed states whose citizens have been fleeing corruption, drug-related conflict and economic mismanagement for years. In many places, organised crime has erected parallel state structures marked by authoritarianism and brutal violence, pushing migration above all in the direction of the US.
Indeed, this movement north was a convenient way for many Central American governments to release the pressure on them to reform their countries as the remittances sent back home by migrants to their families replaced the social services they should have been providing; instead of concentrating on implementing the rule of law, they could sit back as new shopping malls were erected and remittances piled up in the pocket of a wealthy elite.
For months, xenophobic pamphlets have been doing the rounds in Panama and there have even been anti-Venezuelan protests.
As far as US president Donald Trump is concerned, this has to stop. Yet his solution is highly counter-productive. While his predecessor, Barack Obama, worked on strengthening the rule of law in the region, supporting international anti-corruption commissions in Guatemala, Honduras, and El Salvador, Trump has set about 'building that wall', placing the emphasis on military cooperation and attempting crude blackmail by using the Nafta renegotiation to force Mexico to act as a new bulwark against the unwelcome immigrants from further south.
At the same time, out of fear of further socialist experiments in the region, in countries like Honduras and Guatemala, the conservative elite around secretary of state Mike Pompeo and chief-of-staff John Kelly is propping up the self-same authoritarian regimes that will continue to impel the surge of refugees.
In view of the long-smouldering political crisis in Latin America, this huge displacement might be unexpected, but it was by no means impossible to predict; it has now been pushed to the top of all government agendas and will put diplomatic ties in the region to the test. Thus far, borders have generally been open to refugees; nevertheless, the host countries are themselves often economically and politically unstable.
As such, there was a hastily organised summit on the issue in Quito in early September, which, however, failed to produce much more than a helpless-sounding statement of intention with the obligatory 'call to the international community for more coordination and more resources'. Even this minimal consensus was only subscribed to by 11 of the countries represented: Argentina, Brazil, Ecuador, Costa Rica, Colombia, Chile, Mexico, Panama, Paraguay, Peru and Uruguay. Bolivia, also governed by socialists (and largely unaffected by the crisis), dismissed the conference as 'foreign meddling'; the Dominican Republic called in sick; Venezuela didn't even sign up.
The issue is that, beyond emergency humanitarian action organised by international aid agencies, there are, thus far, no tried-and-tested mechanisms for dealing with the challenge of large-scale refugee movements; any attempts at joint solutions are harried by ideological trench warfare. The danger is very real that national-level solutions will carry the day, fanning the flames of racism and populism in the process.
Panama is a case in point: the canal-side state has traditionally attracted immigration from the rest of the continent, with its finance and banking sector, large port and current property boom driving demand for qualified labour; foreign workers often have better chances in this environment than Panamanian natives who have passed through the country's own (deficient) education system.
In economically prosperous Chile, the number of immigrants has gone up by a factor of five in a decade.
Since 2014, Venezuelans have been the most numerous of the immigrants into this small bi-coastal nation, with 80,000 now registered in the country according to the migration authority. For months, xenophobic pamphlets have been doing the rounds in Panama and there have even been anti-Venezuelan protests. The fact that the two countries share a language, a religion and the same Caribbean cultural heritage has, in view of the competition for jobs and affordable housing, been pushed out of the public perception.
Despite its size, Brazil is doing little better. The border region of Roraima in the Amazon Basin, generally neglected by the country's politicians, has had to deal with the inflow of refugees by itself. In the space of a few months, 25,000 Venezuelans have settled there, with around 800 coming across the border every day in August. Many arrive penniless, sleeping on park benches and desperately searching for work, yet work is what this economically underdeveloped region cannot offer.
There are simply not enough jobs, and the fact that Venezuelans are now competing with locals has led to xenophobic outbreaks: in August, a mob burned a refugee camp in the border town of Paracaraima to the ground. Central government, currently headed by conservative caretaker president Michel Temer and occupied with the electoral campaign, ordered the border to be shut, only for the Brazilian high court to declare this unconstitutional. The government responded by sending in more troops to take care of the immigration issue, a measure that plays right into the hands of the favourite for October's presidential election, the right-wing populist Jair Bolsonaro, who promises to close the borders.
In economically prosperous Chile, the number of immigrants has gone up by a factor of five in a decade. It isn't just Venezuelans, but also Haitians fleeing the Caribbean's longstanding poorhouse, who are driving numbers up. According to one survey, two thirds of Chileans support more restrictive legislation on migration, and conservative president Sebastián Piñera has responded by tightening visa regulations for Haitians; Venezuelans, however, continue to benefit from what is termed a 'democratic exception'.
Meanwhile, the left-wing government of Ecuador, one of the most important transit countries for Venezuelans, has set up a humanitarian corridor for refugees in order to unblock the border crossing at Tulcan, where a large number of migrants had become stuck in precarious, unhygienic conditions as officials tried in vain to distinguish between those passing through, those claiming asylum and various other categories. New arrivals now receive a pass and can continue on their journey, relieving some of the pressure.
The continent has little other recourse than to treat the symptom – the refugee crisis – in as humanitarian, rational and well-ordered way as possible.
The largest group of Venezuelan refugees are the roughly one million in Colombia – who represent a remarkable reversal. During the civil war that marred the country, around 720,000 Colombians fled to Venezuela, then a stable, democratic and prospering neighbour; now, Venezuelans are coming back the other way at the worst moment imaginable. Colombia is, after all, trying to switch from a war to a peacetime economy, but the dividend the government was hoping for has yet to materialise. This makes the refugees easy prey for criminal groups involved in human trafficking; many are forced into prostitution or slavery in all but name. The result is a dangerous situation that could undermine the fragile Colombian peace accord.
As a result, the newly elected conservative leader, president Iván Duque, is one of the most outspoken advocates of a regional humanitarian solution. Yet he will not be able to solve the fundamental dilemma at the heart of the issue: everyone knows the problem can only be solved by political action in the crisis countries. In the meantime, the diplomatic mills of multilateral organisations such as the Organisation of American States (OAS) grind slowly and need qualified majorities that have, thus far, been impossible to achieve due to the oil diplomacy Venezuela employs to get Caribbean island states dependent on its oil to support it.
In the potential sanctions the OAS can mete out, the 'democracy clause' is the most drastic and leads to the suspension of the country concerned, which then loses access to loans from the International Monetary Fund and World Bank and which is unlikely to be able to secure finance on the international markets. While this is a credible threat to developing countries such as Nicaragua, it is unlikely to sway an oil-rich state such as Venezuela.
What's more, geopolitical manoeuvring on the parts of Russia and China put a large question mark over these potential sanctions: how much money might the two powers be willing to spend for potential bridgeheads into Latin America? For as long as these fundamental questions remain unanswered, the continent has little other recourse than to treat the symptom – the refugee crisis – in as humanitarian, rational and well-ordered way as possible.


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With so many open job opportunities at your fingertips, it might be tempting to try to apply to them all at once with a generic resume and cover letter. Don't fall in that mindset! The same rules apply for job boards; only send customized resumes and cover letters. Having all kinds of open jobs in one spot is a huge perk of job boards, but that does not mean you need to apply to them all at once. Take your time and put thought into each application.
Applying for jobs you're unqualified for just because they're in front of you is really easy to do when using job boards. You might be thinking, 'it can't hurt,' but in fact, you're wasting the hiring manager's and your own time, so use a discerning eye when clicking through the open jobs.
Job boards level the playing field for job seekers, and it is important to recognize this fact. Many other job seekers saw that posting you just clicked on and sent in their resume, too. With that in mind, it's important you really consider how you can stand out to the hiring manager when he/she is sifting through hundreds of applications.
Job boards are a great tool in the job search, but they should never become your only tool. While job seeking, continue to grow your network and think outside of the box. Think of job boards as a way to supplement your search. You will find that having several different strategies up your sleeve is a more efficient use of your time and efforts.
There are many good things about job boards, but there are also opportunities to fall in some major job board traps. So stay aware of these potential mistakes and start looking for your dream job!
This entry was posted in Job Seekers and tagged Job Board Mistakes, Mistakes to Avoid on Job Boards, Mistakes to Avoid while Applying for Jobs Online, Mistakes while Job Searching. Bookmark the permalink.
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When you are looking for a job i dont think applying for a Job that you are not Qualified for is a mistake, i have heard many times that people where taken becouse of their background and previous jobs and slowly being taught for the position they got hired. So yes it can be a mistake but also you could do a research on that is there a posibility to learn or get the skills needed to be qualified for that position.


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license plate room
License plates for education and enjoyment
The Story of License Plates
Unusual Sticker Situations
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When I was a boy I became enthralled with study of the states – their nicknames, flags, statistics, etc. Along with that came an interest in license plates. I do not recall the moment I decided to collect, or even the first plate…but I do remember riding in a car on my hometown's main street, and trying to see different plates on cars.
At age 8 or 9, I acquired my first license plate and hung it up on my wall above the large window. Soon I added other plates to the wall.
One of my earliest plates, and possibly the first, is the rusted beauty on the left. The plates I most often saw on the road as my collecting began are the yellow-on-blue general base and the "Sun" optional.
In the summer of 1985, my family took a road trip to Denver to visit my aunt and uncle. We visited junkyards in both Colorado and Nevada. They were magical experiences for me, to run through tall weeds with giant grasshoppers with growling junkyard dogs behind chain link fences, plate-spotting and calling the finds out to my mom and older brother (both of whom did all the dirty work!).
Junkyard visits during a summer vacation in 1985 jumpstarted my collection.
Then my mom heard about ALPCA, the largest license plate collecting club in the world. We could request a complimentary copy of the latest newsletter and more information. In 1986, at age 11, I became member #4647.
In those early years, my plates came primarily from basically two sources: family and other ALPCANs. Family members gave them as gifts, and had friends or acquaintances with plates. I bought additional plates from the classifieds of the newsletter, which was published every two months. Some collectors contacted me simply because I was a new member, and sent me a free plate or two when they found out my age. Kid collectors were a rarity.
ALPCA helped me launch into a lifelong love of collecting license plates. Several members contacted me as a new member to ask what I had, and I ordered plates through the classifieds. The kindness shown to me by these older collectors no doubt made a difference in my view of the hobby.
ALPCA has multiple regions, each of which has several local meets every year. The one for my area is the Gold Rush Region. But in those days there was no Gold Rush Region. I did attend a couple of independent meets and got more plates there, but I hoped to attend a international convention, which occurs once per year in a U.S. city. I had "license plate dreams," such as going to an international convention, finding a treasure chest-full of license plates underwater, and discovering a truckload of plates.
It wasn't long before license plates covered my entire room. There were jokes about all the nail holes I was putting in my walls. For a time, I designed my own license plates, rotating through all the states and displaying the products on my door.
My neighbor and childhood friend started collecting as well. His father often went on business trips, and bring back plates for his son. But he'd always give a few to me. I have a wonderful memory of him carrying a large black trash bag, and my friend and I eagerly awaiting to see which plates he'd pull out.
For my 10th birthday, my mother made a license plate cake in the design of my favorite plate at the time. A pamphlet shows plates from that year. I put as many plates on my wall as I could. On a vacation to Australia in 1990, we met a store owner who gave me a great souvenir.
I did not renew my membership for 1993. I still enjoyed collecting license plates, but other concerns, I guess, put it on the back burner. Over the next dozen years I occasionally would pick up a plate at an antique store or receive one from a relative, but for the most part my collection was dormant. I had other collections, such as a Peanuts one and a circus one, which I kept active.
In 2006 I returned to my first collecting love and re-joined ALPCA. All those years of holding back finally built up enough! By that time, I had missed out on a lot of cool graphic plates.
In September of that year I attended a meet in Paso Robles, California. There were so many base plates to get to bring my collection up to date, and now there were a lot of specialty plates.
This set of nine was part of a larger set purchased from one collector at the 2006 Paso Robles meet.
I was so enamored by the experience of that meet, there was no looking back. Since then I've attended at least two meets every year. In 2008 a longtime dream came true when I arrived at my first ALPCA international convention. It took place in Salt Lake City; I stayed with nearby relatives and drove into the city each of the four days of the meet. It was a truly amazing sight to see so many license plates in one room. Indeed, it was just like I had dreamed!
A couple of years later I ate at a diner in which plates covered the wall. After chatting with the owner, I wrote an article which was subsequently published in PLATES, the official magazine of ALPCA. Since then I have written more than a dozen articles for the magazine.
My first article published in PLATES detailed a visit to a coffee shop whose walls were plastered with license plates; in later issues I was put on the cover (!) and wrote about the California "Snoopy plate."
The international conventions have afforded me some awesome travels. Memories include:
Driving by buffalo in Utah
Having perhaps the best barbecue of my life in Texas
Visiting an old prison and meeting my favorite baseball player from my childhood in West Virginia
Meeting Danielle from the TV American Pickers in Iowa
Going to the Negro Leagues Baseball Museum and combing an abandoned junkyard for plates in Missouri
Visiting the hometown of my childhood basketball hero Larry Bird and attending the Peru Amateur Circus in Indiana
Visiting Valley Forge National Historic Park, Philadelphia, and the Nemours Mansion & Gardens in Delaware, all with my dad
Going to the Laurel & Hardy Museum in Georgia
That is just a very small sample of all the places and experiences I might never have enjoyed if not for ALPCA and collecting license plates.
I am so excited to watch my collection grow, meet and talk with other collectors, and plan trips around conventions. This hobby continues to enthrall me and it continues to thrive.
Holding PLATES magazine featuring my article on the "Snoopy plate" holding a Snoopy plush doll in front of my car with the California "Snoopy plate" parked in the Charles M. Schulz Museum!
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Content (including written material and images of license plates) is intended strictly for personal or educational use. Any use outside of these limitations (including any kind of commercial purpose) requires permission. All license plates pictured belong to the collection of the author. Please exercise the Contact option for questions about usage of any material on the site.


See the modern Wikipedia entry at Offering.
Offering: an oblation, dedicated to God. Thus Cain consecrated to God of the first-fruits of the earth, and Abel of the firstlings of the flock (Genesis 4:3,4). Under the Levitical system different kinds of offerings are specified, and laws laid down as to their presentation. These are described under their distinctive names.
This page was last edited on 13 September 2009, at 06:06.


text:
L'effusivité thermique d'un matériau caractérise sa capacité à échanger de l'énergie thermique avec son environnement. Elle est donnée par :

où :

 est la conductivité thermique du matériau (en )
 la masse volumique du matériau (en )
 la capacité thermique massique du matériau (en )

Elle s'exprime donc en : . Alternativement, elle peut être exprimée en

(L'utilisation de la capacité thermique volumique exprimée en joules par mètre cube-kelvin, produit de la masse volumique ρ et de la capacité thermique massique c, permet éventuellement de simplifier cette équation).

Effusivité thermique et diffusivité thermique sont les grandeurs essentielles pour quantifier l'inertie thermique.

Sens physique

En se basant sur la réponse thermique d'un milieu semi-infini à un changement de température en surface, il est possible de montrer que lors d'un contact entre deux milieu de températures différentes :

Soit un matériau 1, d'effusivité E1 à la température T1, mis en contact avec un matériau 2 d'effusivité E2 et de température T2. On suppose que la mise en contact se fait par une surface plane parfaitement lisse. On néglige donc la résistance de contact. Quelle est, immédiatement après le contact, la température de surface des deux matériaux ?

La réponse n'est évidemment ni  ni , mais assez vraisemblablement entre les deux. Ce n'est pas non plus  car on conçoit que la diffusivité importe, ainsi que la capacité thermique des matériaux. La réponse est :

avec  dans la même unité de température qui peut être le kelvin ou le degré Celsius. Autrement dit, la température de contact est la moyenne des températures des deux corps pondérées par leur effusivité respective.

Par exemple, si l'on pose la main sur du bois et de l'acier de même température (disons ), l'acier paraîtra plus froid car son effusivité est de  et celle de la peau  . La température alors ressentie par les capteurs de la peau est :

.

Par contre, pour le bois d'effusivité de l'ordre de  , la température ressentie est :

Le bois est ressenti comme une matière « chaude », alors que sa température est la même que celle de la pièce, .

Lien et différence avec la diffusivité thermique

Ne pas confondre l'effusivité thermique avec la diffusivité thermique  en m/s. Les deux valeurs sont évidemment liées : .

Toutes deux sont les grandeurs essentielles pour quantifier l'inertie thermique.

À la différence de la diffusivité thermique qui décrit la rapidité d'un déplacement des calories à travers la masse d'un matériau, l'effusivité décrit la rapidité avec laquelle un matériau absorbe les calories. Plus l'effusivité est élevée, plus le matériau absorbe l'énergie rapidement. Au contraire, plus elle est faible, moins le matériau est sensible aux variations de température.

Effusivités thermiques de quelques matériaux
Ordres de grandeur des effusivités thermiques de quelques matériaux :

Notes et références

Liens internes

 Diffusivité thermique
 Déphasage thermique
 Conduction thermique
 Nombre de Fourier

Liens externes
 L'inertie thermique dans le bâtiment - Principe de superposition, présentation didactique sur l'inertie thermique apportée par diffusivité et effusivité, par Jean Louis IZARD, École Nationale Supérieure d'Architecture de Marseille

Grandeur thermodynamique

redpajama_set_name: RedPajamaWikipedia


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The modernized qipao was first created and developed in Shanghai in the 1920s. Some have said it's under the influence of Beijing styles.
Qipao's modernized self was form fitting and more, in fact, much more revealing.
Comparing to its all-cover-up traditional style, it introduced sleeveless high-necked dresses and the slit on the side became higher, the length of qipao and its sleeves have also become much more flexible.
With the liking from Shanghai's movie stars; high society; celebrities and high class courtesans, the modern version of qipao had become the ultimate party gown.
In 1949, the communist revolution took over China. Many Shanghai qipao tailors (shi-fu) fled to Hong Kong and Taiwan. They and the mainland emigrants brought the trend with them and the modernized qipao continues to be popular to this day.
Because of its figure hugging; often tight fitting shape, a well-fitted qipao requires to be tailor made to suit the individual.
By the 1940s, the modern version qipao was already being made in a wide variety of fabrics. Women often chose their material and discussed their preferred length of qipao and sleeves, also where to slit with their tailors.
An experienced qipao shi-fu hand sewing all the fastening buttons as Chinese call these buttons 'pan kou' (盤扣) and the patterned button-base. The button-base are like beautiful woven and knotted flowers. They are the main feature of a qipao.
These days, a good qipao shi-fu is hard to find, and their work is often expensive. Therefore, young women tend to buy their modern qipao from retailers.
In 1989, my mother made a trip to Taiwan from Australia. During her limited stay in Taipei, she had chosen a black velvet fabric to tailor-made an ankle length qipao.
That qipao had red silk lining framing the edge of the black velvet, and of course, all hand sewn red silk fastening buttons and patterned button-base.
She later on wore it in Perth as an evening gown and I thought she looked superb in it!
Personally, I prefer a floral qipao, with the length sitting just above knees and cap-sleeved style.
Funny enough! The longer I live in a western country, the more I love to wear a qipao in public – which I certainly wouldn't do when I was younger!


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by hothiphopdetroit | Jan 26, 2020 | National | 0 comments
Basketball Legend Kobe Bryant has been confirmed dead at the age of 41.
His helicopter caught fire and crashed in Calabasas, California just after 10am today. It is reported that Bryant and all other passengers on board were killed in the crash. Bryant leaves to cherish his memory his wife, Vanessa. Together they had 4 children- Gianna, Natalia and Bianca and their newborn daughter Capri. The four other victims of this tragedy are unnamed at this time but we will continuously keep the Bryant family in our prayers.
Kobe "The Black Mamba" Bryant was considered by many basketball fans to be one of the greatest to ever play the game. His 20-year run with the Lakers included 18 All Star team appearances, 5 NBA Championships and 2 NBA Finals MVPs. He was also award league MVP in 2008. Bryant was the only player to retire two jerseys with the LA Lakers, numbers 8 and 24. He even won and Oscar in 2018 for his short film "Dear Basketball". His legacy will forever be etched in history and shall live on through players to come and sports fans alike.
An investigation into the crash is underway. We will keep you updated as details are forthcoming.
UPDATE (3:57p) : It has now been confirmed that Kobe and Vanessa Bryant's daughter, Gianna, was among the victims of the crash. A budding basketball star herself, Gianna and her father were typically spotted court-side at Lakers home games. She was 13.
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Some PKD patients compliant that they suffer from the itch skin after the dialysis, which impact their normal life seriously. They can't work well and even sleep well, so as a result, they are eager to know the reasons for itch skin and the treatments which can deal with the itch skin.
The main factor to cause the itch skin for the PKD patients is the phosphorus in the skin. And why there are phosphorus in the skin? When the kidney is damaged, the ability of discharging the waste of the kidney will decline a lot than before. So a lot of the waste, including of the extra phosphorus will retained in the internal body. And with the blood circulation, the phosphorus will attached in the surface of the skin. And the dialysis will accelerate the blood circulation, so the PKD patients still can suffer from the itch skin.
The traditional Chinese medial bath in our hospital not only can treat the itch skin superficially, it also can treat it essentially. The traditional Chinese medial bath is made by various kinds of the natural Chinese medial herbs. And the Chinese medicine can contact with the skin directly, so the itch skin will be relieved effectively. And how the Chinese medical bath treat the itch skin fundamentally? Through soaking the Chinese medicine can penetrate into the focus of the kidney parts, and some impaired organs and tissues will be treated naturally, and they will become more and more healthier and healthier. And the ability of excreting the waste for the kidney will improve a lot. And after the soaking in the hot medical bath, the phosphorus will flow away with the sweat. So the itch skin for the PKD patients with dialysis will be relieved.
Beside relieve the itch skin, the traditional Chinese medial bath also can help the PKD patients stop the dialysis. If you also want to try it, you can add my whatsapp +86 13383015760 or send emails to kidneyhospitalabroad@hotmail.com.


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Noble & Cooley Center for Historic Preservation (NCCHP)
NCCHP was created to preserve and present the rich history of Granville (Massachusetts) and the Pioneer Valley area. The museum is housed within the historic buildings of the Noble & Cooley drum factory. The buildings, collections and original manufacturing equipment offer a unique opportunity to experience "Yankee Ingenuity" as it impacted the Granville community and manufacturing from the mid-1800's forward. For more information on the NCCHP museum visit www.ncchp.org
About NCCHP
Reference Room
How To Support NCCHP
"DOES THE NCCHP ARCHIVES HAVE USEFUL GENEALOGY RECORDS?"
One of the great misperceptions about NCCHP, and the Archives Project in general, is that the focus is on the Noble & Cooley company history. In fact, manufacturing history is only part of NCCHP's collection and focus. Community history, national events, and cultural trends all factor into the museum's mission to "keep the drumbeat of history" alive. The museum uses Noble & Cooley's company history and manufacturing equipment as a starting point for telling the much bigger story of Yankee Ingenuity, the Pioneer Valley, America, and "how we became who we are."
The Archives Project places a heavy emphasis on telling this same story through the massive amount of "non-Noble & Cooley" material consisting of over 150 years of saved books and documents. That includes manufacturing manuals and catalogs from hundreds of American companies from the 1880's to the present. In many cases we probably have the only copies in existence.
To the question raised in the title of this post (finally), the answer is a resounding, "Yes!" There are many hundreds of company letterheads that provide the names of company officers, which can help researchers identify where an ancestor works and what his or her function was at the place of employment. There are many books including original Dun reference books from the late 1800's and early 1900's. The Cooley journals from 1860 into the late 1800's provide a fascinating, daily window into farming and manufacturing life in Western Massachusetts. There are also group photos of company employees. These may have the only known photographic image of some of the people depicted. That's only the tip of the iceberg.
Closer to home, there are time and payroll books from Noble & Cooley dating from about 1889 into the 20th century. These have detailed, daily information for every employee, in many cases including pay rates. These documents have a remarkable way of almost bringing people to life; certainly their stories becomes much richer, and their lives more clear.
As an example.... Did your ancestor work at Noble & Cooley in 1914? We can tell you with reasonable certainty one way or the other. Here's an employee list from that year. And we tell you how many hours a day they worked; in many cases we can tell you what they made and how many, on a given day or week.
Click on the image below for a larger version:
JULY 19, 2017 at 6:30 PM: THE ONE ROOM SCHOOL HOUSE LIVING HISTORY PRESENTATION
"All To The Tune Of A Hickory Stick:
A Look At Education In The One Room Schoolhouse"
Join us on Wednesday, July 19th at 6:30 PM at the NCCHP Museum at 42 Water Street in Granville, MA when Dennis Picard, in period attire and with accompanying artifacts, will share the history, legends and myths about what was called "district" school education. One room schoolhouses were the norm in New England before the adoption of the graded elementary system in the latter half of the 19th century. Don't miss this fun presentation about what it was like to attend school in one room with students of all ages!
Can you identify anyone in this photo of local school children? It comes from a Granville family collection.
Who, when and where? (NCCHP Archives image from the Gilbert collection)
Dennis Picard, former Director of the Storrowton Village Museum in West Springfield has been a museum professional in the "Living History" field for over 35 years. NCCHP is pleased to host Dennis and his program which ties into the museum's revolving exhibit on old toys and games.
Dennis Picard ("The Republican" file photo)
Light refreshments will be served following the program. The presentation is free to NCCHP members, and donations from non-members are always welcome and appreciated. For more information visit the NCCHP website or call 413-357-6321.
The free Living History programs at the NCCHP museum are made possible in part thanks to a grant from the Granville Cultural Council and by donations from members and friends of the museum. Thank you for your continued support in 2017.
The museum is open for tours from noon – 3:00 on the 2nd and 4th Sundays of the month from May – October. Tours are available at other times by appointment.
FLASHBACK TO 1942: CUTBACKS IN CRITICAL MATERIALS
After entering World War II at the end of 1941 America immediately swung into war production mode. Materials and manufacturing capabilities were shifted to the war effort. Industries that did not have workers, skills and manufacturing capacity that could adapt to contribute to the cause faced the possibility of severe production cutbacks at best, and potential closure at worst. In fact many such businesses did not survive. But as 1942 began the stakes for the free world could not have been higher. By February the War Production Board (WPB) mandated sharply reduced use of critical materials for non-critical manufacturing, effective March 1st:
Boston News Bureau, February 19, 1942 (from the NCCHP archives collection)
Among non-critical industries were music instruments and toy manufacturers. Noble & Cooley sat squarely in the center of both industries but once again "Yankee ingenuity" prevailed and ways were found to apply drum-making skills and equipment in ways that would support the war effort, using locally sourced material.
Working with Ensign Bickford, located in nearby Simsbury, Connecticut Noble & Cooley shifted to the manufacture of spools and reels for Ensign Bickford's primer cord product (commonly referred to today as primacord). Typically used in mining operations, the explosives detonating cord was suddenly vital to the war effort:
Primer cord reels and World War II sign on display at the NCCHP museum (NCCHP photo)
At the same time work went into finding ways to continue toy drum production using material that would not detract from the war effort. This would also provide much-needed jobs to the many Granville area families who depended on the income. Noble & Cooley came up with an ingenious use of cardboard to create drum shells and drum hoops, replacing the use of metal for these parts. Unfortunately this method did not create the most durable drums thus they are very rare today, but they brought some much needed happiness to the birthdays and holidays of many children during some very dark days for the country and the world.
HAPPY INDEPENDENCE DAY FROM NCCHP!
It's a perfect day to celebrate independence as the annual 4th of July parade kicks off in Granville with bright blue sky and comfortable Berkshire summer temperatures.
To mark the day on line, let's recall some of Noble & Cooley's "patriotic theme" drums, including two 100-year anniversary flashbacks to 1917. First some suitable music with great drum content:
Noble & Cooley "Continental" drum, from 1917 catalog
Noble & Cooley "Flag" drum design, flat drum shell, embossed
Noble & Cooley "Uncle Sam" drum, from 1917 catalog.
Noble & Cooley "Flag" design, flat drum shell, unembossed
We also take a moment on this holiday to express appreciation for all the patriots who fought for independence, including Silas Noble (great-grandfather of Noble & Cooley co-founder and namesake Silas Noble) who marched to Boston with other western Massachusetts Minutemen on April 20, 1775 immediately after the Battles of Lexington and Concord, and died on July 11th during the Siege of Boston.
"DOES THE NCCHP ARCHIVES HAVE USEFUL GENEALOGY REC...
JULY 19, 2017 at 6:30 PM: THE ONE ROOM SCHOOL HOUS...


Light to moderate winds and seas will continue across Cayman area over the next 24 hours as the weak pressure gradient across the Northwest Caribbean lingers. Radar images show no showers over the Cayman area.
Partly cloudy skies with a 20% chance of showers.
East to southeast 5 to 10 knots today, north to northeast 5 knots or less tonight.
North to northeast 5 to 10 knots.
Partly cloudy skies with a 20% chance of morning showers.
Partly cloudy skies with a 30% chance of morning showers.


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Clay County Courthouse
Clay County was first organized in 1857 from Cooke County, and later abandoned because of Indian raids. It was reorganized in 1873. First taxes; .05 cents per $1000 on real & personal property for roads and bridges; .10 cents per thousand to build the courthouse and an annual $100.00 retail tax on liquor by the drink.
First District Court was held in a frame building south of the current courthouse (corner of Bridge and Omega) in 1874 to try Chief White Horse for killing a Mr. Koozier in 1870. The Chief was absent from trial and was never apprehended.
In 1884 the Courthouse was completed at a cost of $30,000. The cornerstone shows architects Wilson and Tozer; Contractors, Strain, Risley, Swinburn. County Judge was J.T. Craig. Commissioners: W.S. Ikard, J.R. Newcomb, Alex Metzger and A.R. London.
The courthouse originally had a tall cupola or spire with a clock. It was said to be tall enough to be seen from the Red River. The tower and the clock were removed in the early 1900's for fear it was too heavy for the buildings foundation. The building was made of red brick with sandstone columns. The brick was fired locally from clay from the northwest side of town. The interior was completely paneled with pecan wood. At one time there was an iron fence with a chain outside for hitching horses. Until television, the courtroom was the town's primary entertainment. Everybody, even school classes on field trips, sat in on trials. Until a few years ago there was still a domino room in use on the third floor.
At one time it housed all county offices except the County Extension Office and the Sheriff. It is Courtroom 1 of 3 in the 97th Judicial District.
The courthouse and especially the lawns, have the greatest use during the three days in September for Pioneer Reunion. Local vendors sell sodas, hot dogs, ice cream and chances on everything from quilts to cookers. The Clay County Historical Society, and many artists and craftsmen will set up displays to advertise their facility or sell their wares.
This is followed daily by a parade and rodeo. Many of the Queens dresses have been donated to the Museum, and are on display on a rotating basis, with the hundreds of other items that have been received by the museum.


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Home News HM Government of Gibraltar Highly Commends Clubhouse Gibraltar
HM Government of Gibraltar Highly Commends Clubhouse Gibraltar
Clubhouse Gibraltar is a well-known charity, which support members of the community, and their loved ones, who live with mental health conditions. The non-profit organisation was first registered in Gibraltar in 2011. Their philosophy is that everyone can recover sufficiently from serious mental illness to lead satisfying lives.
The charity offers individuals who live with, or have suffered from, mental health difficulties with wide-ranging support, from assisting them in every day needs to offering one-to-one support from one of their qualified mental health professionals. Support in employment, health, education and housing matters is also offered, as well as a wide range of programmes to encourage a work-ordered day and social integration. Clubhouse's aim is for people who live with a mental health illness to participate in their own recovery process by working and socialising together in a safe and nurturing environment. Clubhouse is a non-profit organisation and relies on grants, donations and fund raising.
To coincide with Mental Health Week 2019, Clubhouse hosted their Annual General Meeting on Tuesday 14th May at the John Mackintosh Hall. The Minister for Health, Care and Justice, the Honourable Neil F. Costa MP attended and addressed those gathered. Minister Costa highly commended Clubhouse's invaluable contribution towards mental health services in the community. Further, the allocation of new premises, at the Gladys Perez Centre in Main Street, signifies an important milestone for Clubhouse Gibraltar. It is expected that the new premises will provide an excellent therapeutic environment. The ongoing works at the Gladys Perez Centre are expected to be completed by 30th September of 2019.
Emily Adamberry Olivero, CEO for Clubhouse Gibraltar, said: "I am really pleased and appreciative that the Government has not only recognised the invaluable work that we do, but that they are also providing invaluable support as we approach a gigantic milestone in our developmental journey. This means a lot to us and to many others who are struggling in the Community who will benefit greatly from this. THANK YOU."
Minister Costa added: "The work Clubhouse Gibraltar carry out is truly admirable. They provide persons in our community with mental health conditions, and their loved ones, with professional and compassionate care when they need it most. I cannot thank enough Emily Adamberry Olivero, and her excellent team, for their excellent work. I think Clubhouse Gibraltar represents the spirit of our community, offering compassionate care and support to those who need it. The extra tier of support which Clubhouse provides, to complement the services provided by our excellent mental health teams at the GHA, is truly invaluable. It is, therefore, my pleasure to reaffirm this Government's unwavering commitment to Clubhouse. I very much look forward to continue working with them."
clubhouse gibraltar
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