text:
Adding product to your cart
DO MORE WITH RMOR, the original tool-less set up target system.
No nuts or bolts needed for attachement
We designed these connector links to be easy. No nuts, bolts or tools required. This enables the system to be easily changed on the fly. Set up an tear down is incredibly fast.
Links come unpainted.
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There was a time when there used to be clear demarcation between the covers of fashion and film magazines in India. Models were the focus for the former and Bollywood stars for the latter. But, over the years, the rules have altered. Like most other entertainment platforms, Bollywood has taken over the fashion domain as well. Today, a Bollywood actress on the cover of a primarily fashion magazine doesn't invite surprise. Hence, it is no surprise that the November editions of some of the most popular fashion magazines in India have celebrities from the film world on their covers.
However, there is no denying the fact that Bollywood's reach is immense and the glamour quotient unquestionable. As a result, the November editions of magazines like Vogue, Elle and Grazia, among others, have inspiring and oh-so glamorous shots of celebrities such as Sonam Kapoor, Shraddha Kapoor, Alia Bhatt, and more.
The variety is interesting too. From Lia Haydon's endearing cover with her son Zach to Raveer Singh's red hot avatar – there is all that and much more on offer.
If you missed catching a glimpse of these magazine covers with your favourite stars on them, we have them all here.
Clearly, the factor that has taken found deep roots in the Indian fashion industry is the star power of Bollywood.

domain: celebrity


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White w/Gold Ellipsoid Foil Lampwork Glass Beads 14mm (LW1081)
These glass lampwork beads were handcrafted in China. Because of the handmade nature of these beads, expect some slight imperfections in the size and shape.
Approximate Product Specifications:
Color: White with Sparkly Foil
Bead Count: 10
Bead Size: 14mm x 10mm
Hole Size: 1mm
Posted by Michelle on 15th Apr 2016
These inexpensive beads are really pretty.

domain: design


Metro Paving Inc.
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text:
Dementia is not a disease, but a term that covers a wide range of symptoms. It is caused by damage to brain cells. These changes in the brain can cause problems with thinking, memory and behavior. There is no cure for dementia. It is a terminal illness. The most well-known cause of dementia is Alzheimer’s disease. Dementia can also be caused by other diseases of the brain, like Parkinson’s Disease or Huntington’s Disease or in people who have experienced multiple strokes.
Early signs of dementia may seem like normal signs of aging. Some people showing signs of dementia may not seek help. They may be in denial or embarrassed about their symptoms. As a rule, a doctor should be called if symptoms disrupt daily life. Dementia affects each person in a different way. The timeline and symptoms will vary for everyone. Some people take years to reach late stage. Others decline quickly. Those who are getting worse may seem better at times. Those who have progressed slowly may suddenly get worse. Memory loss is the most common sign of dementia. Below are signs to look for at each stage. Not everyone with dementia will have all these symptoms.
Stages of the Illness
- Have trouble recalling names, words, or recent events.
- Be confused about time or place.
- Lose things often and for long spans of time; not be able to retrace steps to find lost items.
- Have trouble speaking or writing in a way that makes sense.
- Have trouble doing familiar tasks; show poor judgment.
This stage can last for many years. Symptoms are more obvious. The person needs help with daily tasks. Many cases of dementia are not caught until this stage or later. The person might:
- Forget family members or big life events.
- Be more confused about time or place and get lost easily.
- Not be able to talk or write clearly, or at all.
- Withdraw from activities.
- Not be able to drive.
- Not be able to cook, clean, or manage other household tasks.
- Need help eating, toileting, bathing, dressing, or walking.
- Have personality changes, have mood swings, become more aggressive, or lose self-control.
- Be more anxious at night.
Symptoms are at the worst at this stage. The person relies on others to do daily tasks and will need full-time care. The person might:
- Not know where they are, who they are, or who the people around them are.
- Have big changes in personality; be easily upset or angered.
- No longer be able to stand, walk, speak, or swallow.
- Use gestures, reactions, or facial expressions instead of talking.
- Be very weak and frail.
When is it time to contact Capital Caring?
Every dementia patient will need to shift to end-of-life care at some point. In order for a dementia patient to meet the hospice eligibility criteria, Medicare regulations require a physician to certify that a patient entering hospice is likely to die of his or her disease within six months.
Common signs that the disease has progressed to a point where all involved would likely benefit from hospice care for dementia is when:
- The patient can say only a few words.
- Can no longer walk and may be bed-bound.
- Is totally dependent on others for eating, dressing and grooming.
- Shows signs of severe anxiety.
Benefits of Hospice and Palliative Care at Capital Caring
The goal of hospice care for dementia patients is to treat symptoms and relieve the physical and emotional stress to help ensure the greatest level of comfort for patients and their families. Hospice services at Capital Caring can help dementia patients experience a more peaceful and natural death by:
- Providing services that include palliative care. Hospice will see to the person’s physical, emotional, social and spiritual needs.
- Managing the patient’s pain, anxiety, and other symptoms. The focus is on pain relief and comfort.
- Meeting the special needs of the patient and providing support for their caregivers.
Visit www.capitalcaring.org or call 800-869-2136 for more information or to make a referral.

domain: medical


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Learn Top Stitched Curves and Mark-Free Quilting with Mel Beach
(Show 2808) Mel Beach wants to show you how to jump start your creativity through 100-day quilting challenges. You’ll roll the dice to start a simple project for 100-days. It takes you out of your comfort zone and is a good portable project. After a show and tell of Mel’s quilts, she shows us how to do blocks with top-stitched curves. These blocks are user friendly and great for beginning quilters. In her last demo of the show, Mel demonstrates mark-free free motion quilting. It’s great for using on your 100-day challenge.
Quilt Design, Top Stitch Appliqué, Free Motion Quilting, Challenge Quilts

domain: artistic


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Thomas Cornwell, MD, Sr. Medical Director for Village Medical at Home spoke with Hospice News about home-based healthcare during the COVID-19 pandemic. Acknowledging the importance of pre-screening, equipping providers with proper gear, and staying attuned with patient preferences and concerns, Cornwell expressed confidence in the ability to continue treatment of patients in their homes. “Home care is actually safer as a one-on-one visitation rather than going into a hospital or doctor’s office with larger populations and increased risk factors,” said Cornwell.
Mar 26, 2020 1:31:30 PM |
Village Medical at Home Sr. Medical Director Thomas Cornwell, MD on Continuing Safe Home-based Care


As Bitcoin price stabilizes above the $25K demand belt, the XRP price makes a comeback above the broken $0.50. With a 1.48% jump on the weekends and an intraday growth of 0.79% today, the XRP price trades at $0.50867.
Meanwhile, the market sentiments may soon recover with the overall stronger position of Ripple labs and the SEC losing battles on multiple fronts. However, the 1-day Ripple price chart displays multiple bearish obstacles in the recovery pathway. Will XRP price manage a bounce back to $1 in 2023?
Will XRP Buyers Prevent The Seemingly Inevitable Death Cross?
As the entirety of the partial victory gains against the SEC seems like a distant past, the XRP price is back under $0.50 within two months. Breaking multiple support levels and creating lower highs, the crypto price action gives rise to a solid resistance trendline.
Trading below the 200-day EMA, the XRP coin price makes a comeback from $0.48 to challenge the overhead resistances with a triple white soldier pattern. Meanwhile, the morning star pattern at $0.48 adds brownie points to the recovery rally.
However, the declining 50-day EMA approaching the flatlined 200-day EMA warns of a death cross. With a death cross, the Ripple price trend will be under certified downtrend.
A deeper look into the Potential XRP Price Moonshot?
Within the 4-hour chart, the bounce-back rally in Ripple price faces opposition from the 50-day EMA. If the buyers manage to overcome the exponential moving average, the breakout rally will finally challenge the resistance trendline.
Optimistically, if Ripple overcomes the bears’ dominant trendline, the XRP Price is set to skyrocket to the moon. The breakout rally will reach the $0.60 mark.
On the other hand, if the price continues to drop below $0.50, it could mean a much bigger drop is coming. The next support levels are at $0.45 and $0.41.


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Man calls 999 after Google search showed 'heart attack' symptoms
- Credit: GEOFF SODEN
A Huntingdon man has given thanks to the 'amazing' Royal Papworth Hospital after he received emergency treatment for a heart condition.
Geoff Soden, aged 70, is an aerial photographer and paramotor instructor who says he felt fit and healthy until he woke up in pain one morning in April this year.
"I woke up with a pain between my shoulder blades and just thought I had slept awkwardly," he said.
"So, I took a hot shower on the shoulders for 10 minutes and the pain didn’t ease and seem to be moving," he explained.
Geoff says within a short space of time he was experiencing pain around his arm pits and then finally, across his chest and at this point he was sweating a lot.
He was now worried and decided to put his symptoms into a Google search. Realising from his search results he was probably having a heart attacked, he called 999 immediately.
Paramedics arrived in eight minutes and after assessing him, confirmed he was having a heart attack.
- 1 Obsessive stalker jailed for posting explicit photographs of his former partner
- 2 Dry weather continues to impact district as pond drys up in Ramsey
- 3 Product sold at Tesco recalled due to risk of disease-causing bacteria
- 4 Number of bird flu cases have been confirmed in Huntingdonshire
- 5 Rocks thrown at St Neots school building in vandal attack
- 6 Recap: Thameslink passengers urged to delay travel due to 'incidents'
- 7 Fun in the sun at Huntingdon Carnival 2022
- 8 Riverside Miniature Railway raises flag in record breaking year
- 9 Recap: Wire damage disrupts Hitchin and Peterborough trains
- 10 Pub regulars celebrate life of former landlord who died during pandemic
"They were both amazing and put me at ease and I was taken to Royal Papworth under blue light and within 35 minutes from the 999 call, I was being received into Papworth."
Geoff underwent a heart procedure which required a stent and he stayed in hospital for three days to recover.
"The paramedics and the team at the Royal Papworth were absolutely amazing," he said.
"With so much negativity on ambulance times etc recently, I really could not fault them."
Geoff then underwent a second stent procedure on July 1 and says although he has felt tired, he is now working again.
He decided he wanted to thank the staff at the hospital and heard that a pilot had created a smoke heart in the sky over the hospital a year before and wanted to do the same thing.
So he spoke to his friend and pilot, Mark Jeffries, the owner of Little Gransden Airfield and leader of the Global Stars Aerobatic team, and asked him to thank Dr Sarah Clarke and her team and the Papworth hospital teams who do such amazing work for thousands of people like himself.
On July 29, the Papworth team with Dr Clarke assembled outside the hospital at 11.30am to see hearts drawn in the sky above the hospital.


Skip to comments.Nolte: Woke Salvation Army Struggles for Donations, Volunteers
Posted on 12/15/2021 7:26:41 PM PST by E. Pluribus Unum
The Salvation Army went woke, and now, at least in certain parts of the country, it’s going broke.
Naturally, no one dares to admit that the Salvation Army’s outrageous decision to ask its white donors to apologize for being racists might be the cause of its troubles. Instead, the Christian group’s problems are blamed on the pandemic—which makes no sense.
As you’ll see below, some of the Salvation Army’s donation and volunteer problems are down compared to last year. Some of you might recall that there was not only a pandemic last year, but that last year there was no vaccine.
I should point out that the Salvation Army removed its smear of America and white Americans, but only under the excuse that it was all a misunderstanding. So apparently, on top of being racist, we are also stupid.
And so, the sour taste almost certainly remains in people’s mouths. I know it’s in mine. Every kettle I passed once received a donation. No more. I wouldn’t want to taint this pristine outfit with my racist dollars.
The Red Kettle Campaign which has a goal of $79,600 reached 24.29 percent on Dec. 4. The campaign which runs through Dec. 24 is used to help The Salvation Army fund programs in Marshalltown, such as rent and utility assistance, food pantry and youth programming, throughout the year.
The overall holiday goal of $217,700 has reached 24.77 percent. The Red Kettle Campaign serves as The Salvation Army’s largest fundraising effort each year. As of Dec. 4, the campaign has fallen $14,707 behind the same time in 2020. The campaign is struggling to find enough bell ringers to help meet the goal which ends at 2 p.m. on Dec. 24.
(Excerpt) Read more at breitbart.com ...
This is what happens when you go woke. American people don’t like woke!
Go woke and go broke!
Salvation Army lady was at my grocer for less than a week, weeks ago, then disappeared. She’s normally there from late November till about Christmas...
have not seen them at all
I had an automatic donation coming out of my bank account to them every month for years.
Turned it off when I read this:
It’s a bit depressing that old stalwarts like this are dying from wokeness.
This years+’s bell ringers around here seem to include a number of homeless people, some strange looking women., skank seems to be the common description by passers by.
They could at least have fired the knucklehead who wrote the document up. At very least a ceremonial head to roll. They couldn’t even do that.
Saw one at the Walmart - wife wanted to drop some money in on the way out, until I told her about their woke stance about how white people are bad.
Sad, because they once were one of the few charitable organizations I would donate heartily to.
You cannot serve two masters.
You decided serving the woke was more important than serving God.
You make yourself comfortable with your consequences.
They had already gone woke with their LGBTQ initiative. They are going the way of the many organizations, churches, schools even health care facilities that lost their First Love, Jesus.
For more commentary:
“All organizations that are not actually right-wing will over time become left-wing.” --O’Sullivan’s First Law
Too late kids you cant walk it back
What was said cant be unsaid ..
“As of Dec. 4, the campaign has fallen $14,707 behind the same time in 2020.”
$100 of that has been withheld by me, personally.
SA had been a favorite charity of both my Dad and me for many, MANY years. I did the bell-ringing thing with my kids when they were young. We all enjoyed it.
I’ve thrown away every piece of mail from SA since this BS started before Thanksgiving.
If you can give, GIVE LOCALLY! Your local Food Pantry or your Humane Society or any other LOCAL CHARITY of your choice need you more than these ‘woke’ b@stards. Sorry! Not sorry!
“Salvation Army lady was at my grocer for less than a week, weeks ago, then disappeared. She’s normally there from late November till about Christmas...”
That’s too bad. I’d bet she’s a good lady and is disgusted with all the Woke crap and how it has hurt the needy..
In years past I would always drop some cash into the kettle. Not this year.
You want me to apologize before you’ll take my charity? Eff you AND your little red bucket!! Plus, if you’re that stupid and that ungrateful, I have no confidence you’d use my money in a way I’d approve of.
First Christmas in decades that I passed them by...
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


EASTWARD BOUND? Getting Golden State Warriors forward Chris Mullin to take a $300,000 salary cut over 3 years is one of the major stumbling blocks in arranging a trade that would bring the former St. John's All-American to the New York Knicks, the New York Daily News reported. Mullin, who has 3 years remaining on his contract with the Warriors worth an estimated $2.1 million, would not fit under the Knicks' salary cap, tha paper reported. The Knicks refuse to confirm any deal that reportedly would send Darrell Walker and a No. 1 pick to the Warriors for Mullin. "There has been rumors ever since he was drafted by Golden State that we were trying to get him," Knicks spokesman John Cirillo said. "And we have a team policy not to discuss trades that are in the papers."
Compiled by Alan WhittTHE ORLANDO SENTINEL
Copyright © 2019, Orlando Sentinel


Noah Lolesio returned from two months out with a torn hamstring to inspire the Brumbies to glory over the Reds in the Super Rugby... Read more
A 1,000-strong crowd were allowed to watch Gloucester's Premiership defeat to Harlequins on Monday.
Saracens and Exeter Chiefs will go their separate ways at the end of the season, but a second-string battle was a reminder of their... Read more
An extended Australia squad has given a host of the country's brightest young talent a chance to make an international breakthrough.
Leinster cruised to a record seventh Pro14 title as they defeated fellow Irish side Ulster 27-5 in Dublin in Saturday's final.
The Brumbies will host the Reds in the Super Rugby AU final next weekend after Brad Thorn's team overcame the Rebels on Saturday.
Leicester Tigers were thrashed by Wasps while Sale Sharks held off Saracens in Wednesday's Premiership matches.
Two dominant spells saw Bristol Bears past Northampton Saints with ease in the Premiership on Tuesday.
It remains to be seen when, where or indeed if the Rugby Championship will take place, but New Zealand have named their squad for... Read more
There will be an all-Irish final in Pro14 after Ulster came from behind to defeat Edinburgh and book a date with Leinster.
Just under 3,000 fans returned to see Harlequins lose to Bath, while Owen Farrell saw red for a high tackle as Saracens lost against... Read more
Cabous Eloff's late try helped the Rebels edge the Force and reach the Super Rugby AU finals.
Exeter Chiefs and Bristol Bears are the top two in the Premiership after victories on Friday.
Israel Folau was sacked by Rugby Australia last year, leading to threats towards ex-chief executive Raelene Castle.
Aaron Mauger conceded results have not been good enough during his Highlanders tenure after being informed he will not keep his job.
Due to the exceptional circumstances of the COVID-19 crisis, EPCR has changed the formats for the Champions Cup and Challenge Cup.


Standing Seam Roofing
Metal roofs are an effective solution for many roofing projects and have many benefits including:
Longevity: Metal roofs can last 40 to 70 years, depending on material. Traditional asphalt roofing materials ave an estimated life expectancy of roughly 12 to 20 years.
Durability: Some metal roofs can sustain wind gusts up to 140 miles per hour, will not corrode or crack, and may be impact-resistant (depending on which metal you choose). Metal roofs also don't require the periodic maintenance, which can be costly.
Energy-efficiency: Metal roofs reflect solar radiant heat, which can reduce coolant costs by 10-20%.
Metal roofs can be done with:
- Pre-finished Metal
- Pre-finished Aluminum
- Stainless Steel
Interstate Roofing Stainless Steel Roof examples from our commercial projects in Wisconsin and Minnesota:
Kwik Trip - Standing Seam Roofing
Interstate Roofing prefers the following manufacturers for high-quality products:


In an op-ed piece in Financial Times 10 April, Paul Collier and Michael Spence write:
Any international standards for resource extraction must be voluntary. Fortunately, in this area voluntary standards have a good record. The Extractive Industries Transparency Initiative, launched in 2002 as a standard for revenue reporting, has a wide take-up. Standards provide rallying points for reformers and a benchmark for performance and promote competition between governments.
The full article is available on FT.com (subscribtion needed).


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We know she didn't mean any harm and it was totally unintentional but My God.
Lorde posted an image to her Instagram, which has since been deleted - and for good reason.
The singer took a pic of her bath and uploaded it to her Instagram account with the caption ''And I will always love you''.
Come on now Lorde, did you not think this one through?
Houston, aged 48, was found face-down in a bathtub with cocaine in her system in 2012.
Her only child, Bobbi Kristina Brown, was also found unresponsive in a bathtub in 2015.
Lorde has since apologised for the ''poorly chosen quote''. She said:
''Extremely extremely poor chosen quote.
''I'm so sorry for offending anyone - I hadn't even put this together I was just excited to take a bath.
''I'm an idiot. Love Whitney forever and ever. Sorry again''.
In a second post, she said ''It is not my fkn day today''.
Lorde is currently in the midst of her Melodrama World Tour and is expected to perform at the Prudential Center in Newark, New Jersey, tomorrow night.
She has since deleted the photo from her Instagram following the statement via Instagram Stories.
Tut tut Lorde!


A few years ago I was asked by the powers that be if I would play in the opening show for the BBC Proms in London. One of the pieces was to be Schubert’s ‘Shepherd on the Rock’ with soprano Ailish Tynan and Ian Burnside on piano. It was a very quick conversation as I said ‘yes’ without hesitation. To make it even better, this opening concert was to go out live on BBC Radio 3 presented by Sean Rafferty and Petroc Trelawny.
I remember being downstairs in the Royal College of Music the afternoon of the concert, dutifully going over some passages in the music, when the door swings open and Ailish walked in. Before I could say hello, she had come over and given me a hug and asked why I was practicing and not relaxing! Instantly, I knew that she would be very easy to work with and quite laid back, my sort of person! We played through the piece from beginning to end, discussed one or two tempo things and that was it, leave it until the performance. I think that rehearsing too much can ruin a performance. Good musicians like Ailish have the instinct to hear every small detail and adapt. The fun part is that you don’t quite know what musical ideas might take a musician in the moment and how they might play or sing the very next note. This is what music is all about and the audience definitely notice as well. During our performance, I remember thinking to myself how well we seemed to work together on stage. One of the most challenging things when working with other musicians is to match your sounds. You really have to have your ears on stalks. This all seemed to happen naturally. After a small interview, the concert was over as quickly as it had started. Approximately a year later I had an idea.
In the summer of 2014 I decided that I wanted to record a CD of music that could be considered to be suited to a 19th Century Salon evening. Repertoire such as Schubert, Strauss, Brahms, Schumann, Chopin. I thought it would be great to have ‘Shepherd on the Rock’ and a few other pieces with soprano on this album. It was without hesitation that I called Ailish. We then decided to partner with pianist and good friend Christopher Glynn. After many emails backwards and forwards, we settled on an interesting programme. There are a few pieces on this album that are not written for clarinet originally, however we decided to do something slightly different from the normal disc that would feature ‘Shepherd on the Rock’. For this recording, I couldn’t have picked anyone better than my dream team of Producer Nick Parker and Engineer Mike Hatch at Signum Classics. We had 3 days set aside in the coastal town of Aldeburgh (Suffolk). Day 1 was set aside for Ailish to do her solo pieces, day 2 for the trios, and day 3 for the remaining trios and then my duo pieces with Chris. Every couple of hours we’d go into the control room for a break (compulsory cup of tea and chocolate biscuits) and then back to work. The whole time was a pleasure. Being able to work with people that are easy going, fun and also amazing at what they do is a real pleasure.
The next time I worked with Ailish was the Summer of 2014 at the West Cork Music Festival in Ireland – a performance that would include ‘Shepherd on the Rock’. The morning of the concert, Ailish arrived and got ready but didn’t have the music out. Now normally, the singer would have the score in front of them, and as a result so would I. Ailish said with a cheeky grin on her face that she’d finished learning it all that afternoon and that she was going to sing without music and why didn’t I join her. Slightly surprised, and with the smallest hint of trepidation, I thought about it for a couple of seconds. ‘What’s the worst that can happen?’ quipped Ailish…with a wry smile on my face I said, ‘You’re on’.
Shepherd on the Rock will be released in October 2015. Catch the trio at Cowbridge Music Festival on 20 September 2015 for your chance to hear some of this repertoire live in concert.


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In this Gardener's HQ guide, we'll explore cultivating Momordica plants in your garden, indoor spaces, and other settings.
The Momordica plant genus contains half hardy perennial vines that may reach 2.4 to 3 m (8 to 10 feet) in height.
They are often grown as half hardy annuals in the garden.
They have lobed leaves and bloom with white or yellow flowers in the summer; this is followed by fruits in the autumn.
Some common names include Balsam Pear and Balsam Apple. Latin names include Momordica charantia, Momordica cochinchinensis and Momordica dioica.
Unless you live in a warm area it is best to start growing Balsam Pear, Bitter Melon, and other Momordica Plants from seed indoors.
They should be started about six weeks before the last frost is expected.
The seeds should be sown at about 3 mm (1/8 inch) deep, into a moist and rich soil.
It should take around two or three weeks for the seeds of Balsam pear to germinate at 18 to 24 degrees (64 to 75°F).
Once ready, transplant the Momordica into a sunny part of the garden. Space the plants at about 25 cm (10 inches; small) to 60 cm (2 feet; large species) apart.
It is fairly easy to maintain Balsam pear. They are vines, so will require a trellis or similar for support.
When the weather is very dry, provide frequent watering. They should be fed every now and then. It is best to propagate Momordica plant species from seed.
The Momordica genus contains about 60 species, the most well-known of which is the Bitter melon.
Momordica plants are generally grown for their edible fruits rather than for ornamental purposes, but their distinctive fruits and vigorous vines can add interest to a garden.
Momordica charantia (Bitter Melon) is often grown for its edible, albeit bitter, fruit. It's popular in Asian and African cuisines.
Momordica plants are not typically grown for their fragrance. The focus is usually on their unusual fruits.
Momordica prefers full sun and well-drained, fertile soil. It requires a warm climate and is often grown as an annual in cooler regions.
Momordica charantia can become invasive in some tropical and subtropical areas, such as parts of Florida.
Momordica can be removed by uprooting the plant. Be careful to remove all seeds, as they can germinate and establish new plants.
Momordica is a genus in the Cucurbitaceae family. Known for their ornamental and edible qualities, the most well-known species is Momordica charantia, or bitter melon. The plant produces distinctive fruits that are used in various cuisines around the world.
For best growth, plant Momordica in a location with full sun and well-drained soil. They should be grown in the warmer months and require regular watering. With their striking foliage and unusual fruits, they can add an exotic touch to the garden.

domain: agronomy


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The first comprehensive ethnohistory of the Native groups that inhabited the Texas Edwards Plateau and surrounding areas during most of the Spanish colonial era.
The region that now encompasses Central Texas and northern Coahuila, Mexico, was once inhabited by numerous Native hunter-gather groups whose identities and lifeways we are only now learning through archaeological discoveries and painstaking research into Spanish and French colonial records. From these key sources, Maria F. Wade has compiled this first comprehensive ethnohistory of the Native groups that inhabited the Texas Edwards Plateau and surrounding areas during most of the Spanish colonial era.
Much of the book deals with events that took place late in the seventeenth century, when Native groups and Europeans began to have their first sustained contact in the region. Wade identifies twenty-one Native groups, including the Jumano, who inhabited the Edwards Plateau at that time. She offers evidence that the groups had sophisticated social and cultural mechanisms, including extensive information networks, ladino cultural brokers, broad-based coalitions, and individuals with dual-ethnic status. She also tracks the eastern movement of Spanish colonizers into the Edwards Plateau region, explores the relationships among Native groups and between those groups and European colonizers, and develops a timeline that places isolated events and singular individuals within broad historical processes.
2003 Texas Old Missions and Forts Restoration Association Book Award
Texas Catholic Historical Society
2004 Finalist: Friends of the Dallas Public Library Award for Book Making the Most Significant Contribution to Knowledge
Texas Institute of Letters
- Foreword by Thomas R. Hester
- Note to the Reader
- Chapter 1. A Move to Settle
- Chapter 2. The Bosque-Larios Expedition
- Chapter 3. A Move to Revolt
- Chapter 4. The Mendoza-Lopez Expedition, 1683-1684
- Chapter 5. A New Frontier: Tierra adentro, tierra afuera
- Chapter 6. Hard Choices: The Apache, the Spaniard, and the Local Native Groups, 1700-1755
- Chapter 7. The Price of Peace: Friends, Foes, and Frontiers
- Chapter 8. Ethnohistory and Archaeology
- Chapter 9. Conclusions: Weaving the Threads
- Appendix. Translation of Documents
- References Cited
Ethnohistory, as a field of study, has the singular position of being at the intersection of the disciplines of anthropology, history, and archaeology, taken in their broadest sense. Ethnohistory came of age because of a blind spot in the practices of anthropology and history. It emerged to fill the void that existed between anthropological and historical studies because of their failure to document the changes in Native life that occurred during the colonial encounter.
The archival text is the material base of ethnohistoric studies, but these texts were produced by the colonizing nations and present a biased view of historical events. Because ethnohistorians have to base their interpretations of history on the colonizer's documents, it is easy to slide into a perspective that subsumes Native history to European history.
The guiding objective of this work was to study the Native American groups that, between 1582 and 1799, lived in and utilized the physiographic region called the Edwards Plateau and related geographic areas. The evidence was obtained mainly from primary archival documents mostly generated by colonial Spain, but a few French documents were also used. Although the work is based on European recorded history, it attempts to reverse the usual perspective: it uses the role the Spanish and French played in Native history as a catalyst to analyze events in the history of Native Americans in Texas and Coahuila.
In disentangling the threads of Native American history from the fabric of colonial history, a great deal of primary archival research was necessary. In the process many documents were found that fill lacunae and clear misunderstandings about the early Franciscan work south and north of the Rio Grande. The letters of Fr. Larios and his companions are unique and invaluable sources on the Native groups and the environment. Among the documents found are a few pages of a diary of the Bosque-Larios expedition that appear to have been written not by Fernando del Bosque, but by Fr. Juan Larios.
But probably the biggest archival surprise was the material uncovered while researching the Mendoza-Lopez expedition. Apart from the confirmation, by a Native American, of contacts in Texas (1650) among the Spanish, the Jumano, and the Tejas, a new and very different version of the diary of the Mendoza-Lopez expedition was found. When compared with the other known versions of the diary, this version, which I assume to have been penned by Mendoza, raises fundamental questions about all other previous interpretations and introduces a great deal of historical uncertainty about the events surrounding the expedition. The archival material that relates to this expedition should impress upon the reader the ephemeral quality of historical interpretation and the absolute need for continued research.
As a result of the methodology practiced, this work reveals information about the ethnic identities of the Native groups that lived in and used the Edwards Plateau and related areas, their physical environment, and their sociocultural behavior.
The history of the Spanish colonization of Texas in the seventeenth century is intimately connected with the events that took place in other areas of northern New Spain, particularly in Coahuila and even in New Mexico. After Cabeza de Vaca, Coronado, and the De Soto-Moscoso penetrations in the sixteenth century, no concrete effort to conquer or contact Native populations was undertaken within the territory that would become modern Texas.
In the seventeenth century, the first Spanish entradas into west-central Texas resulted primarily from the efforts of Native groups on both sides of the Rio Grande to establish autonomous settlements and evade Spanish control over their lives. The early Christianizing endeavors of the Franciscan friars from Coahuila stemmed from those Native moves to settle, which began in Saltillo in 1658. Likewise, the first contacts (1630-1654) between New Mexico Franciscans and the Jumano groups in central Texas were the consequence of invitations by the Jumano to the Spanish to visit their lands and were grafted onto long-term trade relationships between Natives and Spanish.
The entradas from Coahuila and from New Mexico eventually resulted in conquest expeditions, respectively the 1675 Bosque-Larios expedition and the 1683-1684 Mendoza-Lopez expedition. These Spanish expeditions proved inconsequential to later full-fledged Spanish conquest endeavors in Texas, but they caused misgivings and disappointments among the Native populations contacted, and they soured future relations between Natives and Spanish.
The Franciscan mission-settlements established during the last two decades of the seventeenth century for Native groups that lived south and north of the Rio Grande were worthy religious efforts that produced a very mixed record. In times of conflict or economic stress, most Native groups accepted the refuge and help those enclaves provided, but few remained long enough to satisfy the Church and justify the Crown's investment. The conflicts among the various Franciscan provinces, the civilians, the military, and the Native groups, particularly over the control of the Native labor force and the usufruct of lands, did little to improve the mission record.
This book provides a timeline that spans the period between 1686 and 1750. The timeline has two functions: (1) it establishes historical context and highlights events that affected the Native groups studied, and (2) it is designed to reflect the importance of the actions of singular individuals within the long-term perspective of the sequence of events.
The arrival of the Apache in the seventeenth century preceded the actual establishment of Spanish settlements in Texas and proved to be the essential element in changing the Native human landscape in the territory. The two newcomers, Apache and Spaniard, wrestled for the bodies and souls of local Native groups, forcing them into submission or mission life: either way, the Native groups made alliances that compromised their ethnic and cultural identities.
We are far from deciphering the history of the Apache groups in Texas, and this book makes only a minor incision into a problem festering with assumptions. The Spanish political and military decisions made during the last four decades of the eighteenth century make the colonial history of the Apache east of the Medina River (Texas) and west of the Medina River (Coahuila) considerably different. The policy of Native mutual destruction advocated and practiced by Spanish officials, together with the private economic interests of individuals who supplied weaponry and gifts that fueled the wars among Apache, Comanche, and Norteños, created a collusion of interests that strangled the Apache. But the die had been cast: it would be up to the Comanche and the Norteños to impress upon the Spanish the dangers of unholy alliances.
The completed research permits the identification of twenty-one Native groups that occupied the Edwards Plateau region between 1673 and 1700. It is beyond the scope of this work to identify all the groups that lived in the Edwards Plateau after the onset of the eighteenth century.
Statements by the Jumano captain, Juan Sabeata, confirm that Jumano groups occupied the lands east of the Pecos and immediately west of the Colorado River, certainly from 1650 through 1684, and very probably from 1630 through the end of the 1690s. The evidence from the ethnohistorical record places Jumano groups within the geographic area normally considered as the heart of the archaeological Toyah culture during some of the time when the Toyah cultural manifestations are thought to have flourished. This fact does not necessarily mean that Jumano groups were associated with the Toyah archaeological manifestations, but their presence in the area raises the question of their association with the Toyah culture.
The Geographic Area of Study
All recorded contacts between Native populations and the Spanish within Texas between 1630 and 1684 took place in the general area of the Edwards Plateau. The physiographic region of the Edwards Plateau is a section of the Great Plains Physiographic Province as defined by Carr (1967). The definition of the physiographic area follows closely the geologic definition of the Edwards Plateau by Sellards, Adkins, and Plummer (1954).
Despite the fact that the Spanish entradas and expeditions traveled through a large portion of the Edwards Plateau, the historical conjunctures that connect those events were rooted in other areas of New Spain. Thus, in cultural terms the Edwards Plateau links Texas to territories closely connected with its history, such as New Mexico and the Mexican territories of Coahuila, Nueva Vizcaya, and Nuevo León. The historical connections between the Plateau and the regions to the north and southwest are clearly confirmed by the fact that those were the entry points of the early Spanish colonial expeditions.
For most of the time span covered in this work, Texas did not exist as a political entity. The events that took place within the modern Texas territory have to be addressed by freeing the landscape from its modern political boundaries.
Methodology and Conventions
Methods and Archives
The history of Native Americans in Texas usually has been treated as incidental to the history of the European colonial powers that occupied the Native lands. Such an approach, facilitated by the very nature of the historical records, has primarily produced a broad-stroke picture of the groups that occupied Texas and easternmost Coahuila in the early historic period. The production of a seamless history is appealing, but detrimental to research. Researchers and students alike often assume that the history of Texas and its people has already been unraveled and thus desist from further inquiry. That perception could not be further from the truth, particularly as it regards Texas Native groups.
The Native groups discussed in this work fall under the cultural assignation of hunters and gatherers, and their social structures and cultural achievements were (and often still are) viewed as simplistic. The archival information about these groups is fragmentary, disjointed, and reflective of the lack of value attributed by Europeans to the social and cultural practices of these groups. It is therefore argued that in order to study, analyze, and understand the behavior of the Native populations, the focus of research has to be the micro- or subtle event that is often taken for granted. The micro-event is often no more than an isolated document, a sentence, a word, or even the absence of a word. Once these singular and subtle pieces of evidence are considered for their potential importance, the researcher attempts to locate corroborating evidence to build and support an ethnohistoric interpretation.
The majority of historical documents that include information about Native American groups do not deal with Native issues. The documents only mention Native groups in passing, and the information transmitted is framed by the contextual knowledge possessed and assumed by the historical recorder and his contemporaries. Each document is a deliberate link in a chain of continuous events, experiences, and discussions that the modern ethnohistorian often cannot reconstruct. It is by piecing together information scattered throughout the documentary record, and placing it in context, that a mosaic can be constructed and a pattern discerned. Often there is not enough evidence to anchor a pattern, and the best that can be achieved is a delineation of possibilities with assumptions grafted onto the slim evidence.
The archival text should be treated by the researcher as a historical fact in itself. The life history of a document should be considered in the assessment of the historical evidence it contains. Letters between individuals produce a series of historical moments and relationships. The interpretation of these moments is made not only out of the various interrelated texts, but also out of the ambiguities created in the texts by marginal notations, corrections, and opinions.
The Spain that colonized the Americas was an empire composed of many countries, which later became independent nations. The presence in New Spain of Castilians, Catalans, Basques, and Galicians as well as Italians, Portuguese, French, and Greeks—just to name a few—introduced many languages and dialects in the colonies under the linguistic umbrella of Spanish.
Language differences in the European countries that provided most of the documents considered in this study were, and continue to be, marked, politicized, and culturally very important. These language differences, and the particular cultural and environmental backgrounds that went along with them, affected what people heard and recorded, how they perceived the landscape, and what comparative models and cognitive maps they brought to bear on their descriptions of peoples and landscapes in the New World.
Regional differences within continental Spain were, and are, considerable. Vowels and consonants had, and have, different values; words present different spellings; and nouns and verbs for daily objects and activities are often quite dissimilar. Recorders and official scribes inscribed their social and linguistic background on the text. Most important, the mother language of the recorder affected the way he heard and recorded the names of Native groups.
Language differences are important when translating and interpreting archival documents, but they are probably easier to detect than differences in background. When and where individuals grew up could have considerable repercussions for their perception of the physical landscape. This becomes a serious problem when trying to relate the observer's descriptions to the environment of today, especially when dealing with such features as hills, creeks, rivers, and springs. The change in the environment, coupled with personal perceptions and cultural reference terms, leads to many conditional statements.
Documents were copied several times for different reasons and by different scribes, often with very different backgrounds. In some cases, when a document bearing the signature of the writer of the document is not available, it is difficult to tell which copy was the first one to be made from the original. Whatever errors appear in the first copy will persist. It is easy for a scribe to skip words, lines, or paragraphs, or change spellings, because the script was hard to read or because the spellings were considered incorrect at a later time. In this case, the corrected copies are said to be "castigated," from the Latin root meaning "to cut" (Jed 1989: 8, 12). Often these copies are certified to have been corrected and to be like the original. This, however, does not guarantee that the information in the document is pristine, and the certified copy may actually have been "castigated" and therefore not a faithful rendition of its original.
Some of the documents consulted were originals written on paper, while others were in microfilm form, photocopies of the original documents, or typed transcripts. All these types of documents, except typed transcripts, pose similar problems in terms of textual treatment. Typed transcripts are one step farther removed from the original, especially because it is often quite clear the transcriber was not familiar with the historical material and was thus prone to making errors.
It seems premature and unwise to place the Native groups that dwelled in northeasternmost Coahuila and modern Texas under the umbrella of "bands" or "tribes." Individually, these anthropological concepts carry specific sociocultural implications that may be inadequate to describe the social organization of the groups dealt with in this study (e.g., Firth 1958; Service 1958). The concept of group—two or more individuals who view themselves as constituting an aggregate—has the conceptual and anthropologic plasticity to allow researchers to designate such socially related aggregates as groups, and thus facilitate research for additional information about the nature of their social structure. The concept of group is both sufficient for the purpose of research and necessary in order to avoid misconceptions (e.g., Lee 1985: 54-57).
The concept of group encompasses two other dimensions that are particularly relevant for ethnohistorians, anthropologists, and archaeologists. There is a crucial conceptual difference between the group that is felt (the aggregate of individuals who see themselves as members of the group) and the group that is observed (the entity perceived by the observer, be it in the historic document, the ethnographic field setting, or the archaeological site). For this reason, among others, information obtained from Native American sources is always privileged over information provided by Europeans whose sources are not identified.
The concept of ethnicity has both singular and plural dimensions. At these two levels it articulates the individual to the community, and the community to the individual, through a sense of belonging expressed socially, culturally, and spiritually. The ethnic name is a synthetic and communal expression of real and perceived social ties, as well as accepted rights and duties. In reality, ethnicity is a cognitive map of belonging.
The word Native appears capitalized throughout the text because it is used with the same grammatical and lexical value as Portuguese or English. It denotes citizenship not in a country, but in a continent—the Americas. The word Indian is shunned because it results from a historical and geographic error committed by Columbus.
Group names that appear in the body of the text are transcribed as they appear in the original documents. Variation in the spelling of Native names is not a mistake, but reflects the variation that appears in the historical documents. All Native group names are shown in the singular, except for a few Native groups that have been consistently known by their Spanish appellatives (for example, the Manos Prietas). The word Tejas (with a j) refers to the Caddo groups of east Texas; all references to the Texas territory use the word Texas (with an x). Exceptions to this rule are found in translations and quotations. Whenever possible, the word nation has been replaced by the word group.
Many Spanish proper names and nouns vary widely in spelling and in the use of diacritic marks. Because modern linguistic conventions did not apply to the documents consulted, this work reproduces the variation that exists in the archival documentation.
Maps and Routes
The maps (figures) that accompany the text include most of the places mentioned, except for those that could not be located or could not be accommodated due to limitations of space. To maintain clarity and legibility, places mentioned and included in maps in earlier chapters often are excluded from the maps of later chapters.
The translation, tracing, plotting, and mapping of the routes of the Spanish expeditions researched for this work (Espejo, Castaño de Sosa, Fr. Manuel, Bosque-Larios, and Mendoza-Lopez) followed specific guidelines and assumptions. The first guideline considers that distance and direction of travel constitute objective information, while description is subjective and generally depends on the perceptions and cultural background of the recorder. An exception to this is the presence of major, perennial landmarks or unique landscape features. Unique landmarks or features were used as anchor points in plotting the routes; otherwise, distance and direction of travel overrode physical features. Routes were adjusted if recorded landmarks had a high probability of being recognized; routes were not adjusted for environmental information that was not unique or perennial.
The second guideline considers that when the recorder used cardinal points (north, east, west, and south), the route taken could be within 45 degrees on either side of that cardinal point. If the recorder provided intermediate cardinal points (northeast, etc.), the direction of travel could vary 22.5 degrees on either side of the direction recorded. If the recorder discriminated further on the direction of travel (north-northeast, etc.), the actual direction could be 11.25 degrees on either side of that provided.
It has been assumed that prior to the widespread availability of horses, the primary constraint on the best and shortest routes for foot travelers was the availability of water sources. Most expeditions, if not all, used Native guides. These guides would be familiar with the location of water sources, but their water requirements for travel would be far less stringent than those of Spanish expeditions traveling on horseback. Horseback travel would require not only a different type of water source, but also the availability of adequate pasture. Native guides adjusted their routes to these constraints, as Sabeata made clear (Appendix). The routes used by travelers riding horses would be somewhat different from those used by foot travelers. In general, shorter, flatter, and less forested routes would be preferred. Once these routes were established, they would tend to be followed in later times by other expeditions and as stagecoach and railroad routes.
The problem of the determination of the value of the Spanish league through time is a thorny one (e.g., Anderson 1925; Chardon 1980; Haggard 1941: 78-79). However, after the seventeenth century the legal league (legua legal) was generally used throughout colonial Spain (Chardon 1980: 138, 144 Table 1). The "old" Spanish league is equivalent to 2.63 English statute miles, while the later Spanish league is equivalent to 2.59 English statute miles. Thus, like most authors, I have used the value of 2.6 miles to the Spanish league. For clarity and consistency, miles and leagues are expressed in numerals throughout.
To translate archival documents is to translate between cultures and across time, and the danger of misreading or misinterpretation is ever present. This danger increases exponentially when the documents report Native statements that are already the result of multilingual translations. Awareness of the danger does not diminish the potential pitfalls, nor should it preclude translation. Except when noted, all translations are my responsibility. It is not a responsibility that I took lightly nor one that I could evade: that's the nature of a commitment. It is my hope that this book serves the community of researchers on Native American history and aids in their work. Also, it is my sincere wish that the facts uncovered during this project will make Native Americans—and all Americans—proud.
Note to the Reader
The documents translated, paraphrased, and summarized in this book span almost 150 years. The Spanish (and French) texts produced during this period reflect deep changes in colonial paradigms, personal worldviews, and cultural and linguistic backgrounds as well as phonetic and lexical variations exhibited by a language searching for uniformity and standards. Add to these difficulties the physical condition of the documents, particularly the faded and almost illegible copies, and it becomes easy to understand why most scholars and translators choose to file away textual edges and produce a cohesive and seamless text, leading the reader to assume a textual clarity and transparency of meaning that are frequently illusory.These problems are most evident in the translations of source material published during the late nineteenth and early twentieth centuries, because that was a period of frenetic efforts to make known a history hereto unknown or disregarded. Scholars (and their translators) such as Bancroft, Bolton, and Castañeda (not to single out anyone but to name just the most prominent) provided historians, anthropologists, and ethonohistorians not just with translated texts but also with intellectual leadership. Later, few scholars revisited or questioned the original translations and so reproduced, indefinitely, whatever errors, omissions, and misconceptions were present in the earlier works. Also, the clarity of the original texts, their immediacy, and the correctness of interpretation made by earlier scholars were (and are) taken for granted. Eugene Bolton would certainly be the first to question such research practices.
Unlike other scholars I chose to treat the archival documents in this book by keeping as close to the actual text as possible, and to maintain the language "flavor" and textual idiosyncrasies of each writer. This effort extends to phonetic, lexical, and grammatical choices. This practice results in texts whose structure feels awkward and foreign (as it should). Texts that I have paraphrased or summarized will, as far as possible, keep close to the word choice of the original writer, particularly if the words relate to cultural information (i.e., tejado dwellings versus zacate huts) or controversial issues (such as Fr. Manuel's trip to Texas).
As for the documents that I translated for the first time, or that I re-translated (specifically the travel diaries), I elected to translate the text by retelling it as an outside observer (participant-observer). This device allowed me to reorder the sentences and contextualize the subject being discussed without changing the information provided. This strategy also let me interject the travel diaries and hopefully produced a more fluid narrative without smoothing the incongruencies of the original text. To give the reader a concise idea of problems and the strategies I adopted, below is an example of the Mendoza-Lopez diary transcribed from the transcription available in the Center for American History:
== En veinte dias del dho mes y hano llegamos a heste paraxe que por nombre se le puso nra. Sra del transito ques en el rio del norte q [corrected in ink and replaced with the word que] con su lomeria hase un potrero y las hegas [corrected in ink and replaced with the words sus begas] habundantes de pasto y leña dista del paraxe de nra. Sra de la soledad hocho leguas poco mas oy meno parte [corrected in ink and replaced with the words o menos y en partes] tiera doblada y en medio ahi un ohjo Caliente y ase el dho ojo el dho rio hes la tierra yntratable poblada de halgunas rancherias el habrebadero es bueno en lo alto de una loma yse colocar una Sta crus y para que mexor corte [corrected in ink and replaced with the word coxte] lo firme ante mi con los testigos de mi asistencia en dho dia mes y haño. == (Mendoza 1684 p.40)
My translation, which omits the closing formula of most diary entries (y para que mexor . . . mes y haño), is as follows:
The party traveled southward and reached a spot they named Nuestra Señora del Transito, about 8 leagues (20.8 miles) distant from N.S. de la Soledad. The place was on the Rio Grande. A range of hills framed or defined the pastureland, with abundant low-lying pastures and plenty of wood. In some areas the land was rough (doblada). Between [the two named places or the range of hills?] there was a hot spring that made the river [actually the water of the spring ran into the Rio Grande, since the spring did not make the Rio Grande]. The water source (habrevadero) was good. The land was intractable. There were some rancherías of settled people. Mendoza had a cross placed on top of a hill.
There are language discrepancies between the diary entry in Províncias Internas (transcribed above) and the copy in Historia v. 298 that I followed. Some of these discrepancies reflect changes in spelling (hace, intractable, conste, año), and cases of interchangeable consonants such as b and v and g and x (parage, vegas, abrevadero).
To some this attention to detail may seem unwarranted, but it is through such practices that the researcher comes to know the writer and can detect statements that appear out of character. That is how I knew it was unlikely that version L had been written by Juan Dominguez Mendoza.
“This is truly an exceptional work.... It makes a significant contribution to our understanding of the Native people of Texas by introducing new information from previously unused sources and fresh English translations of known documents.”
William C. Foster, author of Spanish Expeditions into Texas, 1689-1768

domain: library


Escape & Escape Hybrid – 2010 Escape had the wrench light come on! – Drove about 200miles to see my daughter Saturday in college.
On the 2010 Ford Escape, the wrench icon signifies throttle control/powertrain. This light will illuminate when a powertrain problem is detected. You should contact your Ford dealer if this light comes on.
The 2010 Ford Escape has 3 problems reported for wrench light came on. Average repair cost is $2100 at 88400 miles.
I have a 2010 Ford Escape and the wrench light came on, stayed on when car was shut off and turned back on again after a minute, then was not on when I .
Have the code scanned, see what the issue is, if it a 100 sensor I say keep it going, if its a 1000 job, ditch it and start fresh.
The wrench light is different than the check engine light. The wrench typically sets when an issue is detected within the powertrain control system – the .
2010 Ford Escape wrench light came on while driving. First time this ever happened. I will use a scanner to see if any codes are displayed.
If this vehicle is under 60k miles the power train should still be covered under warranty from Ford. They offer a 5 year 60k miles warranty.
Hello! The computer turns this light on when there is a powertrain malfunction/electronic throttle body system malfunction. It could be the throttle .


text:
I’ve recently come back to London after spending just over two weeks in the United States on vacation, mostly in New York. While I was there I saw a number of fantastic shows, which I hope to talk about in a little more detail – Cabaret (I’m usually not a musicals guy, but I thoroughly enjoyed this – and yes, it’s all about Alan Cumming), Red Eye to Havre de Grace (haunting but also unexpectedly humorous in places – and beautifully choreographed by Sophie Bortolussi), Then She Fell (an exquisite immersive production that is both beautiful and heartbreaking), and Point Break Live (yes, you read that correctly, there’s a stage show of Point Break – and it’s awesome). However, I’m a chronically slow writer, and I may not get around to writing about those productions despite my best intentions – if that’s the case, I’ll just say now that I’d strongly recommend seeing any of those four shows if you happen to find yourself in New York soon (although not Red Eye, because it finished on June 1st).
But one of the absolute highlights of my trip to New York was being able to see Sleep No More. Going in, I was excited about seeing my second ever Punchdrunk production. That said, I was also a little worried. Worried that I’d spend all of my time comparing it to The Drowned Man. Worried that it wouldn’t click with me the way The Drowned Man had.
Thankfully, I fell in love with the show almost immediately, and spent six wonderful evenings exploring the mysteries of the McKittrick Hotel. I’ll touch on a number of things that I particularly loved, or particularly struck me.
I absolutely loved the highly refined “late 1930s film noir as directed by Alfred Hitchcock” aesthetic. From the costuming (lots of men in tuxedos and suits, women in glamorous evening dresses) to the décor, the atmosphere is gorgeous, dark, and elegant. And, just as in The Drowned Man with its soundtrack of doo-wop and Shangri-Las songs, the music and sound design goes a long way in sustaining this atmosphere in Sleep No More. Period pieces by Benny Goodman and Tommy Dorsey sit alongside tracks from Bernard Herrmann’s Hitchcock scores, such as Vertigo and Psycho. And, just like The Drowned Man, a lot of this music has a way of looping in your mind long after the show is over - it wasn’t long before I found myself in a music store picking up some Benny Goodman albums …
It’s interesting that the emotional tone of Sleep No More almost never varies. I find that the emotional tone of The Drowned Man actually varies quite a bit, with moments of horror and sinister dread, but also moments that are sweet, warm, and sometimes even laugh out loud funny (am I alone in thinking Punchdrunk would actually be able to pull off an immersive screwball comedy - something in the style of “Bringing up Baby”?). In Sleep No More, however, the tone is tightly defined - moody, dark and sinister, with an ever-present hint of the supernatural.
Another difference that struck me is the absolute absence of dialogue in Sleep No More. There’s actually quite a lot of dialogue in The Drowned Man, while there’s virtually none in Sleep No More, other than a murmured word or two. Absolutely everything is expressed through movement – and yet we know exactly what the characters are “saying” to each other, sometimes even down to specific lines from Macbeth. The scenes where Lady Macbeth is egging on her partner to murder King Duncan, for example, are a joy to watch. (Perhaps we can think of Sleep No More as one of the last silent movies, while The Drowned Man is most definitely a “talkie”.)
Being able to explore an entirely new alternate universe was wonderful. I still love The Drowned Man, but after repeated visits certain areas of Temple Studios now feel quite familiar to me. So when I walked into the McKittrick it was wonderful to re-experience the feelings I had when I entered Temple Studios for the first time - a place where literally everything was unknown and mysterious and ready to be explored. It’s a wonderful, heady feeling.
After the cinematic scale of The Drowned Man, which is sweeping and epic in some of its areas, the much tighter spaces of Sleep No More really struck me. Of course, in many ways “tighter” is just comparatively speaking - if I had never been to Temple Studios, I’d be describing the McKittrick as an enormous space, sprawling over several floors. That said, many of the spaces are smaller - while The Drowned Man plays out on large soundstages and in deserts and forests, Sleep No More’s action often happens in places such as cramped baggage check areas, intimate changing rooms, small crypts. This has a fascinating impact on the choreography, with walls, shelves, and ceilings often incorporated into the movement, with some characters literally climbing the walls at times - it’s breath-taking stuff. (There are larger set-pieces too, though, which are wonderful.)
I also loved it as a production of Macbeth. It’s fascinating to follow characters who, in a regular production, have walked off stage – what do those three witches get up to when they’re not busy dispensing prophecies to Macbeth and Banquo? Well, now’s your chance to find out. Also, I find it interesting that this is a production of Macbeth that actually retains Hecate (recent McAvoy and Brannagh productions dispensed with the character – and let’s face it, the scene when she runs around and sings with the other witches would come off a bit goofy in most productions). I won’t say much about Hecate, but I can assure you that in Sleep No More she is in no way goofy, and is well worth spending some time around.
I love that there are spaces where you can hang out even if you aren’t going to the show itself. There’s Gallow Green, the gorgeous rooftop bar with a range of excellent cocktails, and The Heath, the restaurant where diners may sometimes find themselves whisked away from their tables and into a 1:1. You don’t need a ticket to go to either of those spaces (and they’re kept separate from the show, so there’s no risk of accidentally wandering in), but they both maintain the carefully cultivated atmosphere of Sleep No More - so even if you’re just popping by for an open air drink for an hour or two, you can still enjoy the ambience the McKittrick Hotel. Even the Manderley bar itself, Sleep No More’s equivalent to Studio 3 in The Drowned Man, becomes open to the public after the show has finished and stays open for quite a while, with a different band playing each night. It’s wonderful that Sleep No More has these extra spaces - although it does make me sad that The Drowned Man never got to have these kinds of added extras.
Okay, at this point I’m narrowing things down to some specific characters, performers, and moments (so I’m really talking about my specific experiences here):
It was an absolute pleasure to be able to see Anna Finkel and Paul Zivkovich perform again. In The Drowned Man both Paul’s Fool and Anna’s Wendy were works of heart-breaking beauty (and Anna’s Drugstore Girl once took me down to the finale, which is about five minutes of my life that I’ve never forgotten.) Of course, Sleep No More fans are already well acquainted with Paul as he was there before he migrated to The Drowned Man, but as far as I know Anna is new to Sleep No More. New York, you’re in for an absolute treat - she’s amazing.
(Anna Finkel and Paul Zivkovich - images taken from Sleep No More’s Facebook.)
I loved following the witches, particularly Bald Witch (the stunning Hope Davis – completely magnetic and powerful) and Sexy Witch (who pulled me in into an utterly dizzying interaction – apologies, I didn’t find out the performer’s name, but she was amazing). As I said before, it’s fascinating to follow characters who in Shakespeare’s text have walked off stage, and see where they go next. And if you’re lucky, you just might get to dance with one of the witches, which is lovely.
(Hope Davis - image taken from Sleep No More’s Facebook.)
Banquo (Tim Heck) has some absolutely amazing solo dances (and a fantastic one with Bald Witch too), and a moment of audience interaction that is incredibly emotional – I could feel my eyes tearing up as it happened. I was also fortunate enough to be walked out to the Manderley at the end of the same show by Banquo, which built on the emotions from before – as he smiled gently at me and squeezed my arm, I felt I was saying goodbye to family, or an old friend.
(Tim Heck - image taken from Sleep No More’s Facebook.)
Hecate (Zhauna Franks) giving me a mission which saw me pounding through the McKittrick with a very sketchy knowledge of the building’s layout in my head, and being rewarded with an utterly bonkers interaction when I (somehow) successfully made it back. She also has, for me, one of the creepiest moments of the show that I saw – but hey, she is the queen of the witches, so that’s only fair.
(Zhauna Franks - image taken from The Pensive Professor on Sleep No More.)
The Porter (Austin Goodwin) - quite possibly the saddest of Sleep No More’s characters. If you want to spend some time dwelling on the bittersweet pain of unrequited love, the Porter’s your man. He’s also a fascinating character in the way that he pops up on the periphery of a number of other character’s stories – it’s interesting to suddenly find yourself reviewing a scene you’ve seen before through very different eyes.
(Austin Goodwin - image taken from Sleep No More’s Facebook.)
Lady Macduff (Kristin Clotfelter) – following Lady Macduff was an experience that I found to be emotional and heartbreaking. But not heartbreaking in the romantic sense, or in the sense of something that’s beautifully sad, both of which would fit for the Porter. Lady Macduff is a character that your heart totally goes out to, somebody that you want to protect, and because of this watching what she goes through is pretty upsetting. It’s an amazing loop, but be prepared to be emotionally bruised by the end of it.
(Kristin Clotfelter - image taken from Sleep No More’s Facebook.)
Agnes Naismith (sadly, I didn’t get this performer’s name either) - if you want to follow someone who’s trying to unravel a mystery, Agnes is totally for you.
The Manderley Bar - There were a number of different characters in Manderley on the nights that I went, greeting visitors as they came in, but the two characters there I connected with were Elizabeth (Virginia Logan) and Eveen (this was how she pronounced her name in an Irish accent - looking up Irish girls’ names suggests I should be spelling it Aoibheann – but if there are any Sleep No More or Irish name experts out there who know how this is spelled, do let me know! She was played by Megh Dixon). I had some highly amusing conversations with Elizabeth and Aoibheann – and I must say that the Manderley hosts are decidedly more flirty than the Studio Executives in Studio 3! I also remember on two nights, after the show had finished and we had all settled in for drinks, Aoibheann singing Nature Boy in the Manderley, accompanied just by a music box, interspersing the song with monologues on life and love that were witty, warm, and sweet.
(Top - Virginia Logan, Bottom - Megh Dixon - images taken from Sleep No More’s Facebook.)
One time, during a conversation in Manderley, Aoibheann introduced me to an artist called Gabriel, who sat me down and showed me a book of sketches he had done of McKittrick guests. “This is Agnes”, he would say, turning a page, “she’s just recently moved in. She’s a bit of a strange one.” Finally, he came to a blank page. “And this one”, he said, indicating the page “is you.” And then he began to sketch. Later, when he handed me what is quite frankly the most wonderful Punchdrunk memento I’ve ever been given, he said, “Have you heard the story that if you take a photo of someone, or sketch them, you steal a piece of their soul? Well, that’s complete nonsense. But let me tell you - what you’re holding does have a piece of my soul in it, so please take care of it.”
The three witches’ second prophecy to Macbeth – a scene that’s breath-taking in its audacity, in the way it absolutely smashes the refined aesthetic that has been carefully maintained up until that point. I could say more, and I know that Sleep No More fans refer to this scene in a particular way, but I really don’t want to say anything about it that would lessen the impact of the shock.
The interrogation scene between Malcolm and Macduff – if you’re lucky enough (and fast enough) to get into the tiny room where this happens, you’re in for an incredibly exciting scene.
The finale – a beautiful gutpunch of an ending that left me stunned every time. At the end of The Drowned Man, everyone always breaks into rapturous applause (and rightly so). That most certainly doesn’t happen at the end of Sleep No More (again, I could say more, but I think it would lessen the impact).
It’s a little over two weeks now since I returned to London, and my time in New York and at the McKittrick in particular is already fading from something sharp and vivid, and into my dreams … but I dream that perhaps, one day, I will be able to return to Manderley again.


Nov 18, 2012, 7:55 PM EDT
If U.S. national team manager Jurgen Klinsmann is not taking a close look at Tally Hall, it’s not the Houston Dynamo goalkeeper’s fault.
Hall keeps getting the job done in the playoffs for Houston, doing his part yet again Sunday with five saves.
His best was on a first half drive from Chris Korb (and the save was trickier even than it looked.) Hall was also off the line like a flash to pick balls out of the air late against an increasingly desperate D.C. United, and to calmly pounce on one ball that slipped dangerously behind the visitor’s center backs.
Right after Sunday’s final whistle at RFK Stadium, NBC’s Kyle Martino talked to Hall about the Dynamo’s big afternoon.
(Don’t forget, by the way, that Hall is just a second-year starter; Now he’s 2-for-2 in getting the team into the MLS Cup final.)
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ProSoccerTalk will keep up the discussion of the chase for MLS Cup through the Dec. 1 final.
- VIDEO: Hugely-controversial call sees FC Dallas past Vancouver in playoffs. Your vote? 1
- Timbers’ Steve Zakuani announces retirement from professional soccer 1
- League Cup Roundup: Balotelli saves Liverpool, Newcastle defeat Manchester City 0
- Report: Spanish legend Raul signs with the New York Cosmos 0
- Kolorov: City have been better than United for ‘five or six years’ 0
- MLS Playoffs Knockout Round Preview: Win or go home 1


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Movie Review: First Man
One of the newest films to hit theaters this weekend was Damien Chazelle’s Neil Armstrong biographical drama, First Man. While directed by Chazelle, it was written by Josh Singer and based on James R. Hansen’s book, First Man: The Life of Neil A. Armstrong. While the story follows the events that lead to the Apollo 11 mission, it particularly focuses on Armstrong’s personal journey during that time. The film stars Ryan Gosling as Armstrong and Claire Foy as his wife, Janet. The film’s supporting cast also includes Jason Clarke, Kyle Chandler, Corey Stoll, Ciarán Hinds, Christopher Abbott, and Patrick Fugit. The film initially premiered at the Venice Film Festival in August and since its release in October has grossed around $25 million.
The movie starts on an intense note in 1961 as Neil Armstrong, who is currently a civilian test pilot, has to quickly problem solve during an X-15 flight. A few of his superiors question his suitability to fly after several unsuccessful and troublesome flights. After that sequence, it is revealed that Armstrong’s two-year-old daughter, Karen, has been receiving treatment for a brain tumor. She quickly passes, and while it is an event he doesn’t discuss, he is greatly impacted by the loss. Shortly thereafter, NASA begins looking for a new group of astronauts, and Neil interviews to join the group. He is accepted, and he and his family move to Houston, where they begin to befriend other families involved with the program. As missions begin, though, the cost of the space program begins to weigh heavily on Armstrong, his family, and all of those involved.
Personally, I am already a huge fan of Damien Chazelle’s work, and First Man is no exception. It is often hard to make a story excitable whenever the audience already knows the ending, yet the visuals and the ever-present tension make the space race feel all too real and stressful to the viewers. This film is absolutely gorgeous with its space sequences, and the sequence on the moon is especially breathtaking. The script is well written, and much like La La Land, it is not a dialogue heavy script. The score adds a lot of meaning to the story, and the actors are able to convey so much through long, steady sequences and silent looks.
First Man does an excellent job tracing eight years of Neil’s life through NASA’s space program, and it captures well the perils of space travel. It is easy to forget fifty years after these events how groundbreaking and unpredictable this program could be, and I thought the filmmakers captured all of these things exceptionally well. In addition to capturing the risks that accompanied the program, it also touched on the attitudes of many during the 1960’s. There were those who questioned whether the program was worth the cost, especially as lives were lost along the way, and there were many who thought it seemed trivial in light of the national problems and the state of the civil rights movement at that time. The movie captures all of these macro themes while also zeroing in on the single character of Neil Armstrong. He was a notoriously private and internal man, and the movie highlights that part of his personality. It traces how he ended up being on that Apollo 11 mission, and it also shows his determination throughout the process. The film also shows how deeply the loss of his daughter impacted everything he did, and I honestly believe that Ryan Gosling was the perfect casting for this character. He gives such a restrained performance, and he captures every intense encounter as well as the few moments of levity that the story provides. His performance is made even more effective by the presence of Claire Foy, who embodies the stress and uncertainty that every one of these astronaut’s wives lived with day in and day out.
Overall, I would say that First Man is one of the best films that I have watched this year. The performances from the leads to the supporting cast were powerful and amazingly understated at the perfect times. The story is compelling and exciting despite the ending already being known, and I think it is one of the most beautiful movies I have seen this year as well. I will say that it is an emotionally draining film because of the length of the movie and all the events that it covers, but it is an excellent watch. I recommend this one for a watch in theaters at any time, and while I cannot say for certain how it looks in IMAX, I believe the space sequences alone might make First Man worth a watch in IMAX as well.
Mollie is a film enthusiast, aspiring writer/screenwriter, and a lover of all things Harry Potter, Star Wars, and Doctor Who. She is the co-founder of The Digital Shore (@thedigitalshore) and Above The Line (@atl_movies). You can follow her many adventures through Twitter and Instagram at @mcbeach.


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The Jakarta Post
It was two years after lung cancer claimed her husband's life that Ani Noor Isfiani learned that she had breast cancer.
'In May 2014, I was diagnosed with breast cancer stage 2B, which had spread to my lymph nodes,' the mother of three explained. 'The cancer's grade was 3 plus, meaning that it had the highest level of aggression.'
Cancer's stage is measured based on how much the cancer has grown and spread, while its grade defines the features and aggressiveness of the cancer cells.
Ani embarked on an arduous battle ' surgery, chemotherapy six times and 17 herceptin treatments.
Her fight felt much easier after a coworker at the bank she works at introduced her to Lovepink, a support group for breast cancer survivors and warriors ' those who are still actively battling the disease.
'In Lovepink, I can share information about medication and side effects of treatments. Somehow, I don't feel so despondent anymore about my health.'
Lovepink members regularly hold gatherings and training sessions that are valuable for women with breast cancer, covering topics like a healthy diet, yoga and beauty tips.
'My doctor sometimes introduces me to other patients in the hope that I can lend them support. Five of them decided to join Lovepink,' Ani said.
Friends from Lovepink always accompany Ani during treatment when she stays at the hospital.
Even now after tests confirmed that she is free of cancer, Ani wants to give back the profound love to fellow warriors.
'I always try to allocate time to accompany friends who are undergoing treatment,' she said. 'I have felt grief when seeing the health of some Lovepink members deteriorate and they pass away. But death doesn't only befall sick people, right? Healthy people can die, too.'
Lovepink, which has around 400 members in Indonesia, Australia, the US and Switzerland, was founded in 2012 by two best friends and breast cancer survivors, Madelina Mutia and Shanti Persada.
It has grown into a sanctuary for breast cancer survivors and warriors aged in their 20s to 60s, to find friends and support each other.
Lovepink also has a website, lovepinkindonesia.org, and organizes events that not only touch those with breast cancer but also Indonesian women, who mostly are not well informed about the importance of the early detection of breast cancer.
'If breast cancer is detected early, a survivor may not need to undergo invasive treatment [...] and have a higher survival rate,' said Mutia, who was diagnosed with breast cancer stadium 2B in 2010.
Through Pink Talk programs, Mutia, Shanti and breast cancer survivors visit offices and communities to share their stories and encourage women to conduct breast self-examinations, which Lovepink refers to as SADARI ' an abbreviation for Periksa Payudara Sendiri (Check Your Breasts).
This year, Lovepink will launch the Breastie mobile application ' a digital reminder and assistance for women to do the SADARI routine.
'The Breastie App will hopefully reach a wide range of people, who these days depend on gadgets and cell phones in their activities,' Mutia said.
In cooperation with Muara Foundation, Lovepink also introduced the Breastie Van, which provides free health consultation and ultrasonography examination. Mutia said the pink van would stand by at the Lovepink Care Center on Jl. Ahmad Dahlan, South Jakarta, and would be taken on Pink Talk visits.
'Those who sense certain problems can have their breasts checked at the Breastie Van. The Breastie Van can also visit groups, communities or institutions,' said Mutia, adding that those who are interested can contact them at [email protected]
The application and the van will be unveiled during Lovepink's annual fun walk and parade event, Jakarta Goes Pink, on Oct. 4 to mark Breast Cancer Awareness Campaign Month.
In the event, participants are encouraged to wear pink attire in support of breast cancer awareness and walk from the Sudirman area to Plaza Senayan. The event is free of charge and people can register at jakartagoespink.com.
Lovepink expects to attract some 5,000 participants this year. Last year, 4,800 people participated in Jakarta Goes Pink.
'We have given and received tremendous love and support from supporters, warriors and survivors. Walking alongside them is a form of appreciation and a sign that we always walk together under any condition,' Mutia said.
'A fight feels much easier when waged together.'
The upcoming Jakarta Goes Pink will witness the rise of Ani, who was in a wheelchair during last year's event. This time, Ani will proudly walk the route with her family and friends.
'Mutia is planning to display a banner showing my photos titled 'From Wheelchair to High Heels'. However, I haven't had a chance to take a picture of me wearing high heels,' Ani chuckled.
'I hope the event will help more people realize that cancer is a serious disease that should be watched out for.'
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Opera Vlaanderen, 2016
"In all that darkness, the light of this performance is Desdemona. In Corinne Winters, Michael Thalheimer has found a stunning, intense and heartbreaking Desdemona, who draws you in with her arias."
Klara Classical Radio
"With a creamy timbre and a clear underlying gravity, the young North American soprano Corinne Winters delivers an enveloping Desdemona, fascinating with superbly controlled fil di voce."
Bertrand Bolognesi, Anaclase
"In all that lusciousness a sublime Corinne Winters, in her role debut as Desdemona, is a breath of fresh air in the last act: small and intimately she sings her lament ‘Willow Song,' after which she sings the Ave Maria. The American soprano is the bright light of this very old fashioned staging."
Bert Hertogs, Concert News
"Corinne Winters as Desdemona was by far the star of the evening. She showed a very bright lyrical soprano ranging to spinto, a beautiful colour, lavish projection and a dynamically varied delivery. The Willow Song and the fight duet with Otello were undeniably the highlights of the evening. We’ll happily believe she sang an outstanding Donna Anna and we’d love to see her again in Verdi or Puccini repertoire."
Jos Hermans, Leidmotief
"Corinne Winter’s Desdemona suited all the black around her. Her Willow Song sounded beautifully fragile..."
Lennaert van Anken, Place de l'Opera
"Last year, Corinne Winters sang a fantastic Donna Anna. Her Desdemona succeeds, especially in her piano sounds and textual interpretation in the 'Willow Song' and her internalized expression of the 'Ave Maria'."
"Corinne Winters offers both the girlish lightness and the desperation for a convincing Desdemona."
Roberto Becker, Online Musik Magazin
"Winters' fragility shone through in her "Willow Song", but her saving grace turned out to be a luminescent Ave Maria, brightening Thalheimer's darkness [with] a dynamic intensity and honesty in her voice."
David Pinedo, Bachtrack
"The Desdemona of Corinne Winters plays marvelously with the stillness of a doll, which the director imposed on her. This doesn’t prevent her voice from unfurling into a maturity and warmth rare for her age. Not a single interval is cheated and the soprano manages to fly over the choir in act III with the ease of a dove."
Dominique Joucken, ForumOpera
"Corinne Winters, a fragile Desdemona, sings her Willow Song with a perfect sense of effect and timing. Conductor Alexander Joel lets the airy notes of her “Ave Maria” flow straight into the growling basses of the finale."
Geert van der Speeten, De Standaard
"The way Desdemona and her purity are portrayed can only be described as breathtaking. Corinne Winters (Desdemona) gets to the essence of her fragile character."
Jan-Jakob Delanoye, Cutting Edge
"Desdemona is played by Corinne Winters. Young and petite, but blessed with an impressive voice."
Swa Van De Brul, PodiArt
"The three principals were outstanding. Storey has all the power needed for the role… His Desdemona, Corinne Winters, was equally impressive – she sang beautifully throughout and her soprano opened up in the louder passages."
John McCann, Opera
"The Desdemona of the American soprano Corinne Winters, in her psychological righteousness, is compelling from her first appearance. Her voice is luminous and her technique considerable, with a beautiful legato that works wonders in the last act during the famous "Willow Song" – and the rejection of any external effects makes it deeply moving."
Emmanuel Andrieu, Classique News
"As Otello, Ian Storey is an overwhelming power, facing the Audrey Hepburn-esque Desdemona of Corinne Winters, who is just as strong vocally, but with grace and nuance."
Martine D. Mergeay, La Libre


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Father Dining Chair (Includes 2 per Box)
- 2 Dining Chairs
Embrace the sleek vintage styles as the Father Dining armless chair features a cantilever style frame with plush seat and separate back; upholstered in quilted textured fabric. Fabric features a distressed cracked leatherette appearance; while the touch is soft plush diamond quilted to poly-blended Vintage brown or quilted Vintage white; upholstered to seat, back. Frame is finished in dark distressed steel- giving the chair an antique yet urban feel.
17.7"W x 22.8"D x 34"H
Quilted Polyblended Upholstery


I want to know if there is any free software available to expand OS drive i.e 'C' drive in windows 7. I inbuilt storage management feature in windows 7 doesn't allow to expand the OS drive. Please suggest me some software which can do this without any data loss.
just to clarify, you are trying to extend the "C" partition into adjacent unused space on the same drive, correct?
if windows 7's disk management can't do what you want, i find easeus's free partition manager to be fine for such simple tasks.


text:
Despite aggressive therapies, head and neck squamous cell carcinoma (HNSCC), which affects 50,000 new patients annually in the United States, is associated with less than 50% 5-year survival. HNSCC tumors display increased glycolysis, even in the presence of oxygen. Consequently, there is an increase in lactic acid (LA) production. However, the effect of lactic acid in the tumor microenvironment and the mechanisms whereby HNSCC tumors survive in highly acidic conditions remain unknown. HNSCC consist of up to 80% tumor-associated fibroblasts (TAFs). We previously reported that activation of receptor tyrosine kinase, c-Met, by TAF-secreted hepatocyte growth factor (HGF) contributes to HNSCC progression (1,2). The mechanism associated with tumor-stroma metabolic symbiosis is not well understood. On this basis, we hypothesized that TAF-secreted HGF regulates HNSCC glycolysis. We demonstrate that HNSCC-secreted basic fibroblast growth factor (bFGF) induces oxidative phosphorylation (OXPHOS) in TAFs. In addition, bFGF regulates secretion of HGF from TAFs. TAF-secreted HGF increases HNSCC glycolysis and induces bFGF secretion from HNSCC. Thus, HNSCC and TAFs engage in reciprocal signaling through paracrine effects of HGF and bFGF. Inhibition of c-Met with small molecule inhibitor PF-02341066 or specific knockdown with c-Met siRNA decreased TAF-facilitated HNSCC glycolysis, lactic acid production and bFGF expression. In addition, inhibition of FGFR with small molecule inhibitor AZD-4547 decreased OXPHOS and HGF expression in TAFs. Inhibition of FGFR also reduced HNSCC-stimulated phosphorylation of p42/44 mitogen activated protein kinase, proliferation and migration in TAFs. Further, we tested the efficacy of AZD-4547 in combination with c-Met inhibitor PF-02341066 in mitigating TAF-induced HNSCC growth in vitro and in vivo. Combined treatment with AZD-4547 and PF-02341066 significantly inhibited TAF-induced proliferation of HNSCC in vitro compared to the vehicle control treated cells (p<0.001). Further, combined treatment significantly reduced growth of admixed HNSCC and TAF xenograft tumors (p<0.001). Our cumulative findings underscore the therapeutic potential of combinatorial treatment with PF-02341066 and AZD-4547 in HNSCC. The therapeutic approach developed in this study may be a feasible in HNSCC.
1. Wheeler SE, Shi H, Lin F, Dasari S, Bednash J, Thorne S, et al. Enhancement of head and neck squamous cell carcinoma proliferation, invasion, and metastasis by tumor-associated fibroblasts in preclinical models. Head & neck 2014;36(3):385-92.
2. Knowles LM, Stabile LP, Egloff AM, Rothstein ME, Thomas SM, Gubish CT, et al. HGF and c-Met participate in paracrine tumorigenic pathways in head and neck squamous cell cancer. Clinical cancer research : an official journal of the American Association for Cancer Research 2009;15(11):3740-50.
Citation Format: Dhruv Kumar, Vikalp Vishwakarma, Jacob New, Wade Gutierrez, Hemant Chavan, Partha Kasturi, Ossama Tawfik, Douglas Girod, Bennett Van Houten, George Leef, Radhika Joshi, Shary Shelton, Jeffrey Straub, Yelizaveta Shnayder, Kiran Kakarala, Terance Tsue, Fangchen Lin, Sumana Dasari, Sufi Thomas. Targeting tumor-stroma metabolic symbiosis for head and neck cancer therapy. [abstract]. In: Proceedings of the AACR Special Conference: Function of Tumor Microenvironment in Cancer Progression; 2016 Jan 7–10; San Diego, CA. Philadelphia (PA): AACR; Cancer Res 2016;76(15 Suppl):Abstract nr B37.

domain: biology


text:
30-Day Fiber-Up Challenge
Take on this challenge to boost the fiber-rich foods on your plate and reap the benefits.
Though it may not sound glamorous, fiber is a nutrient with a host of health benefits. From weight loss to preventing chronic disease, fiber does much more than keep you regular. Read on for tips, tricks, recipes and meal plans in this 30-Day Fiber Up Challenge.
We have your added inspiration to fiber-up this month. Try to check 7 out of the 10 items on the list each week of the 30-Day Fiber-Up Challenge. Bonus points if you get your family and friends in on it, too.
- 6 High-Fiber Food Swaps to Make Right Now
- 10 Foods with More Fiber Than an Apple
- 5 Easy Ways to Eat More Fiber
- 8 Foods to Help You Poop
High-Fiber Meal Plans
High-Fiber How To's
- How to Make a 3-Ingredient Fruit Smoothie
- 7-Day Flat-Belly Meal Plan for Fall
- How to Make West Coast Avocado Toast
- 1-Day High-Fiber Healthy-Aging Meal Plan: 1,200 Calories
Healthy High-Fiber Recipes
Crispy Baked Ravioli with Red Pepper & Mushroom Bolognese

domain: food


text:
Carlow University is pleased to announce that on July 1, 2021, Kathy W. Humphrey, Ph.D., will become its 11th president.
She comes to Carlow from the University of Pittsburgh, where she has served as Senior Vice Chancellor for Engagement, Secretary to the Board of Trustees, and Associate Professor of Education since January 2015.
|Carlow University announces its 11th President
|Active recruitment ongoing
|Academic Search, Inc. officially launches active recruitment for University president
|President Mellon announces plans to retire on June 30, 2021
|Presidential search launches with Academic Search, Inc.
|Presidential Search Committee named
|Academic Search, Inc. engages in forums with Carlow community

domain: news


text: Some sort of massively-attended concert thing sponsored by the Village Voice happened at Coney Island this weekend. “Heavy and loud… aggressive guitar tacticians,” says Metromix. “All the beautiful eccentrics came out of the woodwork,” says Short and Sweet NYC. “Do not go to Siren Fest hungover,” says Pop Tarts Suck Toasted. “I wasn’t hungover exactly, but I definitely had this head-not-where-it-should-be feeling,” says KWUR 90.3 FM. “I had a bit too much blackberry brandy and decided to show off some dance moves,” says Modern Maendy. “Tom, emboldened by the four giant beers he drank, agreed to go on the Star Dancer ride with me,” says She’s Got Everything. Sounds like a hit! Dispositive hipster reverse cred: “I prefer to listen to Fats Domino at a bar on the boardwalk than to see most indie rock bands at Siren Fest.” Epic photo documentation at Brooklyn Vegan; Rob Harvilla has the big wrapup at Sound of the City. Photo (cc) jasonlam.

domain: entertainment