text:
Working for the NSA, ex-Marine sniper Charlie Dean is dispatched to Russia, hooking up with former Delta Force trooper Lia DeFrancesca to find out what happened to the plane. The Deep Black team stumbles across an even more alarming secret - a plot to assassinate the Russian president and overthrow the democratic government by force. The coup could have dire consequences for Russia and the world.
With no clearance from the government it's called on to protect, the National Security Agency goes to war. But before Lia and Dean can unravel the conspiracy, they learn that one of the spy plane's passengers - an NSA techie - survived the crash. Critical information could fall into enemy hands. And that enemy is playing to the death.
Special ops: listen to another Deep Black thriller.
©2004 Stephen Coonts and Jim DeFelice; (P)2004 Brilliance Audio, Inc.
"Coonts knows how to write and build suspense." (The New York Times Book Review)
I found this book good enough. I will admit that I didn't like it as well as some other works by Coonts. His Grafton series is excellent. It is good enough for me to listen to the second book in this series. The narrator J. Charles is a fine reader but I found myself thinking Dick Hill would have done better. I also found myself thinking the story line was a little on the outside. I like fiction stories that maybe, sort of kind of, with some imagination be true. I found myself thinking my foot to this story line and the interactions of the main characters. Over all it was OK. Coonts has done better. I hope the series picks up steam.
Waaaaaay too much marginaly relevant highly technical detail that seems to be puffery to fill out the pages and justify the price of the book.
Say something about yourself!
Listened to by my husband: Really enjoyed the plot, the characters, and the complexity of the missions. Only complaint was that the narrator read the book way too fast, and had to slow down the playback to catch everything and everyone in the story. Planning on getting all the Deep Black Books after this first sample.
I am a voice over artist with work in tv, film, radio and commercials all over the world.
There are so many sub-plots that never get tied together or wrap up that the entire book left me wondering what was the point. What happened to 'Wave 3?' What was the point of the defection of the pilot? (That entire plot line seemed worthless). Was this book about 'lasers' or the assassination? What dies any of it really have to do with Deep Black? This book was a mess of topics that never tied together.
No. But I will give the series another chance. Perhaps this (book 1) leaves alot open for the next one.
First, pick a dialect for the character and stick with it. One minute a character sounds like he is from Brooklyn and the next, a surfer from California. The Russian accent, while completely incorrect, would have been ok if in the middle of the sentence it didn't switch to some New York style with out warning. Overall, the narrator is clearly one of my least favorite in the audio book genre.The narrator really detracted from the story.
While trying to be objective, I don't have anything positive to say about this book or it's performance.
At this time I HAVE NOT listened to any other book from this author or this series, I feel it's only fair to give the next book a go and see if it offers a better performance and story.
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The New HW110 Tactical Sporter is now in stock, an excellent little rifle with a great pedigree (SCOPE IS NOT INCLUDED)


KANSAS CITY’S HOTTEST JAZZ EVENT OF THE SUMMER
August 16–25, 2018
Join us as we celebrate the life and legacy of Kansas City native, Charlie “Yardbird” Parker! This 10-day celebration is jam-packed with education sessions, public programs and music at the greatest jazz venues in Kansas City! The Charlie Parker Celebration features talented local jazz musicians alongside our 2018 Artists-in-Residence. Stay tuned for more details on the 2018 Artists in Residence!


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Coverys European Holdings Ltd. acquired AEC SpA, marking its first acquisition.
The target is a Lloyd's of London coverholder and broker, third-party administrator and managing general agency that provides specialist liability products throughout Italy.
AEC will retain its brand. The acquired entity's team, led by CEO Fabrizio Callarà, will continue to manage the business.
Medical professional liability insurance provider Coverys formally launched the European holding company Jan. 6. It will target noncompeting managing general agencies across Europe with complementary portfolios in the professional lines sector.

domain: news


text:
Explore Distant Planets in this beautifully made and hand painted Moon Rover!
Explore the far reaches of space! The perfect addition to the Space Bundle.
Solid Wood Hand Painted Rocket Ship
- Hand painted with love by moms
- 1 Moon Rover 6 1/4" Long x 6" Wide x 4 3/4" Tall
- Fits both large girl and boy pegs
This comes with the Moon Rover only and does not include any other peg toys with it.

domain: artistic


text:
Tracey Erin Smith is an international award-winning director, performer and instructor. She is the Founder of and Artistic Director of SOULO Theatre in Toronto, New York City and Totnes, England. She is a thought leader in using personal stories for transformation.
Tracey directs and performs Off-Broadway and is host/creator of the popular Amazon Prime documentary series about her work; DRAG HEALS. She won Best of the Fringe (Toronto and NYC), Broadway World Award (NYC), Audience Choice Award (NYC), and has directed hundreds of solo shows that have been performed in festivals around the world. She also holds two certificates in Narrative Therapy.


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Constitutions and Locomotion
The house had been boring for quite some time. Things were different, there was no escaping it. Ever since the night we fought off the Nazis, everything else had become a pale shade of itself. Where was the thrill in doing housework after striding through a battlefield rife with guns, explosions and walking suits of armour? The answer sadly was “nowhere” and there it stayed for a long time.
Our parents’ death hadn’t helped of course. It felt like some cruel irony that we survived a head on assault from the Germans with Miss Price but my parents’ home was struck by a bomb, dropped by a plane, flown by a man they had never even seen. We had all been thankful that Miss Price and Emelius offered to adopt us.
We were bored but at least we were alive and we had each other; a close family to get you through the tough times that came later. Britain had won the war but was almost completely crippled itself in the process. We ourselves would’ve starved if it wasn’t for Emelius’ connections in the criminal underworld. He, as always, was nothing more than a simple street hustler with a waxed moustache, but found himself wielding a certain level of influence. Miss Price’s home was large and out the way, so provided a prime location for an unofficial warehouse, storing a plethora of stolen goods for those willing to pay.
It was hard keeping quiet during that time, unsure who it was safe to confide in, so I subsumed myself in any crime literature I could lay my hands on. If I was going to be a criminal, why not surround myself with such things? I loved everything I cast my eyes over, finding myself drawn toward the danger of it all with growing enthusiasm. Soon I moved onto other fiction, then non-fiction, periodicals, autobiographies, journals. It was like my mind had finally realised I could do anything I wanted, be anyone I wanted, not just in word but in reality as well. I didn’t have to forever be the illiterate, wise-talking Cockney girl I had been raised to be; I was free.
The notion solidified, set and without anyone else knowing, I had started to become what I had always thought a woman should be.
One very-late night I was staying up again, finishing off another of the tome-like biographies that littered the library. No-one else was awake. I could hear the rafters of the house settling and the low groan of the wind blowing under one of the window-frames in the study.
I turned the page and something fell into my lap. It was a small, rectangular booklet, made out of old, cheap, yellowing paper. Years later I would find out that the booklet was called a Tijuana Bible but at the time I had no idea. The only thing I noticed (and kept my eyes locked on) was the cover. A beautiful, busty young girl with long black hair standing, embarrassed and totally naked, in front of three ogling men.
I felt the rush of excitement instantly. My heart began to race but I didn’t know why. I knew of course what sex was, having not only my old friends who told me of their exploits but also the wealth of diagrams, sketches and detailed articles in the library’s books. This feeling though, was something completely new. There was something dirty about the picture, which in turn made my heart flutter wildly.
I looked cautiously through the pages and the breathing started becoming heavier. I pored over the simple comic strip; reading and re-reading the story of the girl in the cold. The girl, having just bathed, steps out of the house for a moment when her towel blows off. She grabs for it, running after the thing down the street. She meets three young men who admire her, grope her and then have sexual intercourse with her in a variety of different positions; quite forcefully. I felt hot and flustered, so quickly returned the booklet to its hiding place and went to bed. It was difficult getting to sleep that night.
As time went on, I started sneaking looks at the booklet when I knew everybody else was asleep. Each and every time I had the same heated reaction. Soon my vagina began to tingle when I thought about the book; later it began to ache.
I started touching myself. It started with me tracing my fingers across the skin on the top of my arm, then my belly button and neck, then my breast and finally settling my hand gently on my pussy. The aching was instantly replaced with satisfaction; a kind of continuing intense relaxation. My hand was always on the top of my underwear; those days I thought it must be ‘wrong’ in some way, so reasoned it was okay as long as I never actually touched the bare skin surrounding my vagina. The sessions would go on for hours at a time; me slowly masturbating over the same erotica comic, night after night. Every time I came close to an orgasm I would stop, rest then restart after the sensation died down. The feeling was scary back then, I still felt uncomfortable letting myself go to that degree. Without a friend of my own age to talk to at the time, I had no-one to tell me that it was all perfectly natural. Miss Price wouldn’t have even known the meaning of the word ‘cum’.
And so I would’ve stayed if it hadn’t been for the smuggling.
There had been a few good years after the war, times were changing and I had just turned eighteen. Emelius had managed to amass a fortune in illicit trade but it wasn’t enough for him. He had found it impossible to change his ways, having relied on his conman persona so heavily for so many years. When the profit in hoarding dried up he tried to convince Miss Price to sell the estate. I never heard the full argument but caught certain words and intonations through the wall.
Even if I hadn’t, I would’ve noticed the tense atmosphere. Emelius and Miss Price didn’t speak to each other publicly anymore, which meant the house was silent the majority of the time. It all seemed a long way from the idyllic picture I had imagined when we first became a family. Life had become a slog and my little comic was the only thing that kept me going.
The arguments between Emelius and Miss Price became venomous after they stopped having sex; curses took the place of the barely audible moans from the master bedroom. They no longer had anything left in common and I saw the strain in Emelius’ appearance. He looked tired; drawn; irritated. Woe betide anyone who tried to spark up conversation with him.
One night the stress of money, sex and dissatisfaction caused Emelius to come looking for me. It was late, far later than my nocturnal reading sessions. While I slept, Emelius snuck quietly into my room, stared at me for a short while then finally slunk away. I’m not sure how long this had been going on for. It was only when, one night spent too long in the company of erotica, I barely had time to pull the covers over me before he appeared. I had thought Emelius had heard me amusing myself in the library. I opened my eyes as much as I dared and watched him as he stared at me. His hand was gripping the bulge in his pyjama bottoms and gently rubbing it up and down. After ten minutes he left but that wasn’t the last I saw of him.
For weeks it was the same routine. Emelius would appear in my room, touch himself then leave. After a while I cautiously started caressing my pussy. The feeling was exhilarating knowing Emelius would’ve been mortified if he knew I was awake when he visited me. I could only imagine the look on his face if he knew I was masturbating right alongside him.
I still hadn’t cum but now it had become something of a problem. I positively loved stroking my cunt through my underwear but before I could reach orgasm, the intense sensation would cause me to stop. I just couldn’t physically bring myself to any kind of climax and it was becoming tiresome.
I no longer rested when masturbating; I continued on for hours just trying to reach satisfaction. My hand slunk below my knickers but still, I didn’t cum. I started to bury my fingers as deep as I could in my tight hole but still, I just couldn’t cum. Some nights I would completely soak my bed-sheets and nightdress with my excretions but still went to sleep restless. The aching returned and I became irritable and short-tempered. I needed release. I desperately needed to orgasm! So I devised a plan.
I was going to seduce Emelius. I was going to be a honey trap.
It was a solid enough concept; make a good situation look even sweeter to entice him in, then ‘snap!’, you bolt the doors and trap the poor bastard. It worked in so many crime novels I’d read so I could only hope such an idea would work in real life. The night rolled around and I waited, idly thumbing my vulva, trying to keep myself calm and collected. I heard the unmistakable sound of someone creeping down the hallway outside my room. Quickly and before I could hesitate, I turned to face away from the door, hitched my night-dress up over my bum and tried to lay the quilt in such a way that made it look like I had simply rolled over in bed. My soaking labia felt cold and sticky, exposed to the open air like that. I could just about make out the intoxicating aroma amongst the mix of old linen, varnish and moth-balls.
Emelius entered. My exposed behind must’ve been quite a shock to the old man’s heart. I’m certain I heard him gasp slightly. It must’ve been quite a sight, my glistening pussy highlighted in the moonlight pouring through the window.
For a moment I thought I’d completely misread the situation. It sounded as if Emelius was trying to leave the room, his shaking hand grasping clumsily for the doorknob. I had no need to worry though, Emelius was locking the door. The honey trap had worked! Now all I had to do was lie there and wait.
Emeilius tip-toed over to my bed; I could hear his heavy breathing already. I had thought the first thing he would do was touch my labia but instead he lowered his head and just smelt my pussy. For a while I couldn’t figure out what he was doing and it was driving me wild. Soon though I heard the sniffing and felt the light brushes of the tip of his nose and the edges of a moustache on my naked flesh. Once or twice he brushed past my clitoris. I was so wet I felt a bead of juice start to gently roll out of my engorged cunt and trickle, slowly and stickily down the inside of my thigh and onto the bed underneath me.
Suddenly Emelius rammed his tongue into my vagina. The sensation was too sudden and intoxicating to stifle myself. Without thinking I pushed my pussy backwards onto Emelius’ face and let out a gasp. Instantly I prayed my sigh hadn’t been loud enough to hear. It apparently wasn’t as Emelius seemed to instantly regret his momentary lapse of control. He jerked his face away, stood up and sounded like he was trying to unlock the door. I was annoyed, infuriated that he refused to take advantage of something practically offered to him. I could feel my labia positively burning; my roasting, soaking loins, more wet than I had ever known before. There was only one more thing I could try.
I turned, freezing Emelius to the spot. I didn’t open my eyes but instead rolled over in the bed to face the doorway, flicking the covers away to make out that I had been too hot while sleeping. The top few buttons of my night dress were open (as I’d undone them slightly earlier while waiting for Emelius) causing one of my breasts to fall out. The slight cold breeze emanating from the window instantly caused my nipple to become erect; the light, tingling sensation sending cold shivers of excitement down my spine.
Emelius stared at me again for a long while; breast exposed, night dress around my waist, pussy revealed and aromatic; an increasingly damp patch spreading out from beneath my buttocks. It was all too much for the old man.
He moved over to me again but this time sounded far surer in his movements. Emelius placed one hand on my pussy and sat down slowly on the bed. He took three long strokes of my pussy, forcefully manipulating it. I wanted to cry, the feeling felt so good. All too quickly though Emelius stopped the massage and gently grabbed the inside of my leg and turned me on my side.
I screwed my eyes tightly together as he lay down behind me. I vividly remember how hot he felt, the heartbeat thumping in his chest. I could smell the sweat and feel his rigid penis poking into my lower back. It took him around half an hour of dry humping before he finally built up the nerve to unleash his cock and tease my pussy with it.
I was in pain. I wanted him inside of me so badly. Suddenly he sank his cock into my immature, waiting cunt. It was so pleasurable, the shattering of my hymen barely even registered in my mind. Even today (after a considerable number of experiences) I still look back on that night and positively ooze with lust. His penis felt massive, though in truth it was never a particularly good example of the species. The experience felt like it would never end. Without warning (and all too close to what felt like an orgasm) Emelius stopped. I feared that he may have ejaculated prematurely; unsure what such a thing felt like.
Emelius’ hand appeared on my vulva again as he withdrew his soaking member. The fingers caressed my pubic hair, curled down over my clitoris and through the crinkled lips of my cunt. He dipped his digits into me and far as he could; stretching all my already worn, but still wanting, hole.
I could still feel his wetted cock pressed up against my back as the skin around my genitalia stretched. If I had been more experienced and less keen, I may have wondered why Emelius was so thoughtfully soaking his hand in my beautiful juices. I was shocked then when he suddenly took his fingers from my pussy and then quickly reached round and started to part my buttocks. His index finger coated my anus in vaginal juices before plunging straight into my rectum.
Caught unawares, I opened my eyes and tried to cry out. Within an instant Emelius’ right hand passed under my neck and clamped tightly across my mouth.
“Shush girl!” he whispered hoarsely into my ear. The finger retracted, stopping short of my sphincter, where it tickled my entrance before ramming straight back in. Muscles clenched but this time, as it contracted, the sensation of his fingers slipping past the muscle was exquisite. For a while, uncomfortable pain mixed with an increasingly filthy enjoyment.
A second finger was inserted, tipping the balance back in the favour of pain. I winced and let out a momentary gasp.
“Touch yourself girl.” Emelius demanded.
Having left the charade of sleep behind, I complied willingly. My lips were still red hot, my clitoris rock-hard beneath puffed labia. I wanted to groan but I was terrified someone might hear and interrupt. Emelius must’ve noticed by the look on my face as he removed his fingers from my bum and rammed his cock back into my vagina. A shudder of delight passed through my body.
“You’re wet, girl. You filthy little bitch! You’re enjoying this.” I was. God, I was!
“Please,” I whispered, almost inaudibly, “fuck me, Emelius. Do whatever you want.” The old man didn’t reply, instead he moved his dick from my cunt and pressed it hard up against my anus. For a moment it resisted before sinking back into my bowel. I dug as many fingers as I could into my sopping pussy and bit hard down into the corner of the pillow.
For a time I mirrored the speed he fucked my arse, before increasing the rhythm. Emelius followed suit, finding it easier to slide into my behind as my body relaxed. I pulled my hand out and jammed my fingers into my mouth, sucking the delicious concoction from them.
Evidently Emelius found this engaging, switching holes again to pound my pussy savagely. I let out a muffled cry and his cock returned to my bum and carried on its frantic pace.
Neither my pussy nor my anus posed a match to his passion. While he fucked one recess, the other stayed pursed and ready, waiting another assault. Whenever I could I slipped my fingers back into my cunt. My pulse raced and I began to babble to myself. I could feel myself reaching climax but I had no time to linger on such thoughts.
Emelius grabbed my shoulder and started deep fucking me as long as he could. He stuck his fingers in my mouth then crumpled into a series of gasps and grunts. He erupted into the deepest recesses of my rectum. The spasms receded then for a few moments pumped more semen into me.
My vagina clenched hard, the tingling pulse of energy coursed through my cunt which itself clenched tight time and time again. I tried to express the sensation in sound but words wouldn’t come; just the rush and the aftershocks.
I lay there, trembling with delight, as Emelius slowly drained the last of his seed into my bum. All I heard from him was a single, protracted sigh as he pulled his member from my slightly stinging hole. He left without saying a word or even looking back, off back upstairs to lie back down next to Miss Price.
I wasn’t upset, he’d done what I wanted him to and I was sure he’d be back the next chance he got. I lay there in the moonlight, my night dress around my waist, running fingers through what little pubic hair I did have. No-one had told me what semen did after it had been ejaculated inside of you. It was a hidden delight to feel it slowly but surely trickle out of my arsehole, down my cheeks and down onto the bed.
My hand reached down and scraped some of the deposit up into my palm. I took my time licking every last remnant of it off. The pure filth of it sent the same familiar tingle of lust through me; within moments I found myself getting wet again. I lowered my now clean hand back down to caress myself. I still had energy to orgasm again and I had a long night ahead of me.
THE END OF PART #1


text:
Early in May we celebrated Dad's 90th birthday with an afternoon gathering of family, friends from across the decades, and fellow Juniper residents. While happy to party, Dad points out that he regularly eats lunch surrounded by his elders and that 90 doesn't seem quite the landmark it used to.
My approach to contemplative photography --
Tell about it."
Mary Oliver in "Sometimes"
Tesserae: small cube-shaped tiles of ceramic, glass or precious stone used to make a mosaic, or in this case, brief essays on some element of lectio divina with Luke 10:38-42.


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American singer Ariana Grande engaged with this boyfriend real estate businessman.
Florida USA born singer Ariana Grande, has once again hit the headlines. After a long time with whom she has engaged in a function with her boyfriend Dalton Gomez. He has given his engagement in social media himself. Their relationship was revealed earlier this year.
Ariana Grande has shared several of her photos with Dalton Gomez on her Instagram account. In it, they have also revealed their engagement by showing the engagement ring, and Ariana has also written that – forever together – has written like this. All these pictures of him have become increasingly viral on social media and people have also liked his pictures very much. Many Hollywood celebrities have also commented and congratulated them for the engagement.
Born in Southern California USA, Dalton Gomez is 25 years old and is an American real estate agent based in Los Angeles. Dalton is very happy to engage with Ariana and his family members are equally happy.
Currently both of them live in Los Angeles and are enjoying their beautiful palos together. Let us also tell you that Ariana is a famous singer in America. One of the world’s leading artists. She is known for her singing series and has received many awards. Ariana Grande has won the heart of the audience by singing songs like Site to Side, Love Me Harder.

domain: celebrity


text:
Published Sunday, Feb. 28, 2021, 9:46 am
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Carrington King, vineyard manager and co-owner of King Family Vineyards, Crozet, has been named Grower of the Year by the Virginia Vineyards Association.
“Virginia is one of the most dynamic wine-producing states in the U.S., with more than 28 varieties of grapes planted on more than 4,000 acres in the Commonwealth. Carrington King exemplifies the spirit that is bringing Virginia to the forefront of the American wine industry,” Virginia Secretary of Agriculture and Forestry Bettina Ring said in presenting the award. “Over the course of more than two decades, he has overseen the growth of King Family into one of the Commonwealth’s largest vineyard operations.”
Under King’s management, King Family Vineyards has expanded to 50 acres, including 20 acres on an adjacent property that he also manages full-time. A producer of award-winning wines, King Family Vineyards has been included in the Virginia Governor’s Cup Case, which showcases the Commonwealth’s best wines, in seven of the past nine years.
“Carrington is one of the most experienced and professional vineyard managers in Virginia,” said Skip Causey, who has assumed office as the VVA’s new president. “He’s been a leader in handling the challenges of weather, employing helicopters and wind machines, for example, to protect his vines from late spring frosts.”
King has worked at King Family Vineyards since its founding in 1998, helping to plant eight acres of Merlot and Viognier vines while he was still in high school.
“We ordered the vines when I was 18 years old, and I was 19 by the time we started planting,” King said. “During the fall, I would come home from college on the weekends to work in the vineyard. And back then, we did everything by hand – all the leaf pulling, all the hedging, and all the canopy management. We didn’t use grow tubes. We trained every vine by hand.”
King said he learned valuable lessons about managing a vineyard from his father, the late David L. King, who was a prominent force in the Virginia wine industry.
“He was always about doing the work and getting out there and being a leader,” King said. “Don’t go sitting in the house and direct people from there. Get out there, and do the work with them, and they’ll be inspired to treat the ground and the vineyard like it’s their own.”
King said the vineyard and winery are truly a family operation.
“This is a team effort every single day. My brothers, James and Stuart, have been with me every step of the way, so this is very much a shared honor,” King said.
In addition to the Merlot and Viognier that made up the initial planting, King Family Vineyards now grows Chardonnay, Cabernet Franc, Petit Verdot, Petit Manseng, and Malbec.
King, a former member of the VVA Board, continues to serve Virginia growers by participating in the Legislative Collective, which represents the interests of the Commonwealth’s vineyards and wineries.
King graduated from the University of Maryland in 2002 with a degree in horticulture, and lives in Crozet with his wife, Corie, and their three daughters.
King, who played lacrosse in high school and college, coaches youth lacrosse teams in Charlottesville.
Since 2005, the VVA has been pleased to honor one of its members with the annual Grower of the Year Award. Recipients are active participants in the Virginia viticulture community with a track record of commitment and service to the industry.

domain: agronomy


Audio chip offers up to 64s playback w/o MCU
The ISD2360 ChipCorder audio device with three-channel mixing and parallel processing enables consumer and industrial designs to have much richer, deeper audio playback — without the need for an MCU. The part is ideal for automotive, medical-alert, instrumentation, and point-of-purchase applications since it allows louder speaker output of 1.0 W at 5 V over competing parts while featuring audio-grade digital playback of voice and/or music for up to 64 s.
Additionally, the part’s parallel GPIO allows designs to feature complementary effects, such as driving LED lights to complement an application’s audio, without the need for additional circuitry. It also has built-in digital compression, flash storage for non-volatile audio playback of up to 30 s, a speaker driver, and digital audio signal paths.
Specifications include a low power of less than 10 µA, a sampling rate of up to 32 kHz, and a higher SNR of 60 dB over previous generations. Housing is in QFN32 and SOP-16 packages, (60s version, $1.50 ea/prod qty — 3rd qtr, 2012)
By Christina Nickolas
Nuvoton Technology , San Jose , CA , United States
Learn more about Nuvoton Technology


text:
Stem cell therapy may help spinal cord injuries
January 9, 2014
Spinal cord injuries are one of the most grave common sports injuries. The damage done to the spine's vertebrae is not only irreversible, but also devastatingly debilitating. Given the relatively high rate at which spinal cord injuries occur in the U.S., many scientists have spent years looking for ways to treat the affliction to improve the patient's overall health and lifestyle. While there is still no cure for spinal cord injuries, a new study published in the journal PLOS Biology may provide some new avenues for treatment.
For the study, the researchers assessed 156 published reports on the effects of stem cell treatment on spinal cord injuries. All of the reports used animals - about 6,000 total - to analyze the effects. After doing a systematic survey of the 156 reports, the researchers found that stem cell treatment had a 25 percent improvement in both sensory and motor performance. Sensory performance in particular slightly improved because more stem cells were used, which scientists call a "dose response."
"Extensive recent pre-clinical literature suggests that stem cell-based therapies may offer promise," said the study's authors. "However the impact of compromised internal validity and publication bias means that efficacy is likely to be somewhat lower than reported here."
According to the PLOS blog, stem cell therapy for spinal cord injuries typically includes repairing the damaged areas of the spine by filling them with the cells to generate cell growth and increase sensory and motor ability.
While the most common treatment for spinal cord injuries is extensive physical therapy, the National Institutes of Health states that there are various studies and clinical trials currently being administered with the hope of finding more effective treatment. Some of these trials are repairing spinal cord damage by transplanting adult stem cells into the spine through surgery. New research published earlier this year in the journal Science unveiled that naturally occurring scar tissue formed by stem cells following a spinal cord injury could protect damaged nerve cells from future harm.
Research & Education news & articles
- Why do you feel less sore when you continually work out? ~ 7/4/2016
- The best and worst foods for arthritis patients ~ 6/20/2016
- What is gout? ~ 6/17/2016
- 5 tips for staying healthy while working in an office ~ 6/8/2016
- What is fibromyalgia? ~ 5/24/2016

domain: medical


text:
North Carolina State University is treating its students like zoo animals. The administration installed video cameras in several fraternities—ostensibly for security reasons, but students residing in one of the houses have complained that the cameras can see into their living space.
NCSU's security plan requires cameras at the entrances to all buildings on university property, which includes several fraternities, according to Campus Reform.
But in at least one of the houses, there are cameras in common areas that can see into private living spaces. The students living in the house are concerned that the angles of some of the cameras make it possible for university officials to see into their bedrooms.
This is such an obvious and appalling violation of students' privacy rights, I'm shocked that university administrators would bother trying to defend it. But defend it they did.
"Video cameras are a part of the university's security plan designed for the protection of students," a spokesperson told Campus Reform. He made assurances that the cameras were "zoomed out" so that they aren't actually a bother to anyone.
Brothers at the Sigma Phi Epsilon house took matters into their own hands and covered up some of the cameras. In response, the administration demanded to know the names of the perpetrators so that they could be reported for violating the code of conduct.
The university's behavior is disgusting. While fraternity houses occasionally play host to sexual violence and lawbreaking, that's no excuse for routinely depriving fraternity members of their privacy. Indeed, the idea that university officials can watch these guys all day long is more than a little perverse.
If sorority sisters were the targets of this kind of spying, I suspect everyone would immediately recognize the policy as akin to sexual harassment (the Title IX accusations would surely fly). The fact that some young men are the victims here should make absolutely no difference.

domain: law


by Andy Brammer, Social Work Action Network
From Unity, anti-racist and anti-fascist magazine July-August 2016, issue 16. Email UAF to ask for printed copies firstname.lastname@example.org
Social workers from across Britain came together to discuss how practical solidarity can be organised for refugees on the 4th and 5th of June.
More than 200 from Britain and across Europe began the weekend attending a conference in London organised in London by the Social Work Action Network.
We heard from fledgling social work organisation Social Work First and Social Work Without Borders who have been working in the refugee camps in France and Greece.
Both organisations have been sending social work volunteers to the camps to provide practical support and help to the refugees as well as building networks back in the UK of social workers who are able to link the work in the camps with the campaigns here to allow refugees entry into the UK.
Professor Michael Lavalette addressed the meeting and explained the direct link between the demonisation of refugees, the rise in Islamophobia and the attempt to force social workers to comply with the Prevent agenda in their duties.
The consensus of the conference was that it is essential for social workers to reclaim their traditional role of challenging discrimination and oppression and be part of the solution rather than working to the government’s racist agenda.
On 5th June social workers across Europe held an international day of solidarity with refugees. This included local events as well as solidarity visits to the nearest refugee camps. Up to 50 social workers, social work students, community workers and others from the UK visited the “Jungle” camp in Calais. They delivered practical aid to the volunteer aid organisation Care 4 Calais.
The visit gave social workers the opportunity to experience first-hand the living conditions in the camp. They could also hear directly from refugees about their painful experiences as well as their hopes for the future.
We met with other volunteers including teachers who are part of Trade Unionists 4 Calais, volunteer medics, lawyers and others. We heard heart-breaking stories from unaccompanied children and dislocated families.
We also witnessed the frustration of living in a camp with no official status, therefore no official aid agencies. Volunteers come and go and volunteer organisations struggle to ensure basic survival as well as ensuring a degree of normality through the school, youth centre, mosque and churches.
The day we were there we were involved in sports activities, discussion and art groups as well as teaching sessions in the school. This has given all of us food for thought as well as evidence to challenge the racist myths about refugees and the camps across Europe.
The day of solidarity has already started to bear fruit for future campaigns. Connections are now much stronger between social workers and social work organisations across Europe.
Social Work Action Network, Social Work First, Care 4 Calais and Social Work Without Borders are now regularly in discussion and we are using our networks on the ground to make the Dubs amendment (see page 4) a reality.
We hope to organise a conference later in the year and bring together social workers, students, academics,refugees and campaigners with the support of our trade unions and professional organisations. Refugees need our support and solidarity now but we also need to campaign to end the disgrace of unofficial, squalid and dangerous refugee camps across Europe.
No human should be illegal,unofficial or without status and the only way to ensure this to turn the slogan “Refugees welcome here” into reality.


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Although we have been running ourselves ragged with craft show prepping and creating,
we have also had time to spend in the garden! I harvested my first luffa! They are a good bit behind this year, but I’ll take any free scrubbers!
A few of our chickens are molting, but we are still getting some eggs!
Last weekend I found our Crimson clover seeds that I misplaced, so I put them out in the bald spots on the 2018 garden expansion area!
The nasturtiums are still blooming and are beautiful!
Since we have had some warmer-than-normal weather, the peppers are still doing their thing!
I’m hoping for a great weekend and I really hope to make some good connections and spread the zero waste movement! Have a wonderful weekend!!

domain: hobby


text:
By Matt Brunson
DIRECTED BY Sanaa Hamri
STARS Queen Latifah, Common
From Frampton to 50 Cent, the silver screen has been littered with successful musicians who wrongly believe they have what it takes to make it as an acclaimed actor. Queen Latifah, of course, has long proven herself to be one of the keepers, meaning that Just Wright needed to function as the coming-out party for her co-star (and fellow rapper) Common. But his performance turns out to be merely OK, easily allowing Latifah to retain her royal standing.
On par with the week's other imagination-free rom-com, Letters to Juliet, this one borrows from the Cinderella and Ugly Duckling playbooks to relate the tale of Leslie Wright (the Queen herself), a physical therapist who's used to seeing her best friend Morgan (Paula Patton) nab all the men while she's relegated to the status of the cool lady that guys like to hang out with but not date. This pattern continues when both women meet New Jersey Nets star Scott McKnight (Common), who connects with Leslie but ends up dating the gold-digging Morgan, the latter dreaming of nothing but becoming an NBA trophy wife. But after Scott suffers a potentially career-ending injury to his knee, Leslie steps up with the determination to get the hoops star back on his feet before the playoffs.
This generic trifle, with a script that was obviously constructed and spit out by a computer hold on, my mistake; the press notes credit it to one Michael Elliot at least benefits from a typically ingratiating performance by Latifah. But a love story needs two sides to work and a love triangle, three and Common, until now only cast in small roles (he was last seen as a corrupt cop in Date Night), is simply unable to generate any chemistry with his co-stars: Awkward enough in the scenes in which he's not wooing the ladies, he's even more ill-at-ease opposite either Latifah or Patton. Certainly, Common possesses the demeanor and good looks of a leading man, but until he brushes up those acting chops, he won't ever be much more than just average.


When you deploy an application in a Kubernetes cluster, you usually set some labels on the Pods e.g. app=my-app. These labels can be used as a wildcard for selecting a group of Pods for deletion. This short note shows how to perform a wildcard deletion of Pods in Kubernetes.
A Sublime Text can check spelling out of the box and uses Hunspell spell checker for this, that is also used by LibreOffice, OpenOffice.org, Mozilla Firefox, Thunderbird, Google Chrome etc. By default, the spell checking feature in the Sublime Text it is disabled. This short note shows how to enable the spell checking in the […]
Kubernetes events are automatically created when other resources have state changes, errors or other messages that should be broadcasted to the system. These events (logs) are very helpful for debugging issues in a Kubernetes cluster. In this note i will show how to get events from a specific Node in the Kubernetes cluster using the […]
A Pod is a group of one or more containers with shared storage, network and lifecycle and is the basic deployable unit in Kubernetes. Each Pod is scheduled on the same Node, and remains there until termination or deletion. In this note i will show how to get Pods running on a specific Node using […]
The Linux find command can be used for searching files and directories and performing subsequent operations on them. If you use the find command to recursively search for some files and then pipe the result to the grep command, by doing this you will actually parse the file paths/names but not their contents. This short […]
The easiest way to get a list of all Jenkins jobs is by executing an appropriate Groovy script using a Jenkins script console feature. This note shows two examples of Groovy scripts for listing the Jenkins jobs. The first script simply prints the list of all Jenkins jobs while the second one additionally lets you […]
An umount command is used to unmount a device/partition by specifying the path to the directory where it has been mounted. Sometimes, when you run the umount command you may receive the “target is busy” or “device is busy” errors indicating that there is some process that is using the mounted filesystem or the remote […]
A reverse name resolution zone file is used to translate an IP address in a particular namespace into a fully qualified domain name (FQDN). If this file has been configured on a name server, it becomes possible to find a hostname from an IP address. This note shows how to get a hostname from an […]
Out of the box, there is a Namespace called ‘default‘ in a Kubernetes cluster. By default, the kubectl command interacts with this ‘default‘ Namespace, but it can be changed to any other Namespace. In this note i will show how to set the default Namespace in Kubernetes.
A named screen session can be started by using the screen -S <sessionName> command. If you start a simple screen session, by default, it will be named as something like 55355.pts-0.hostname. No matter how the screen session has been started, it can be easily renamed at any time. This short note shows how to rename […]


text:
The first rehearsal of “Scramble,” one of three major new dance works created by Merce Cunningham during the last twelve months, took place at the Cunningham studio one afternoon last spring in the interval between two regularly scheduled dance classes. The fact that only three of his eight regular dancers were on hand that day did not bother Cunningham in the least. “I learned long ago that if I waited until everyone was available to rehearse, I’d never finish anything,” he said later. “So I just evolved this system of choreographing for whoever’s there.” Carolyn Brown, the principal female dancer in the Cunningham company, had been teaching the intermediate class in the studio—a large room, thirty by forty-five feet, on the fourth floor of a dingy loft building in the East Thirties, with a high ceiling, worn linoleum on the floor, and windows at one end overlooking Third Avenue—and two other Cunningham dancers, Sandra Neels and Yseult Riopelle, had been in the class, along with a dozen other students; the three girls had stayed on afterward, exercising to keep their muscles limber, until Cunningham arrived, shortly after three o’clock.
Nodding cheerfully to the dancers, Cunningham took a position near a long mirror that runs the length of the studio’s south wall and did a series of rapid, loose-jointed movements, turning and changing direction, breaking off abruptly, finishing the phrase with a hand gesture, and then going into another experimental sequence. As he approaches fifty, Cunningham still moves like no other dancer. He cannot jump as high or as far as he used to, but the years have not diminished his uncanny speed and elasticity or his fluid, restless animal grace. An inch over six feet tall, long in the torso but not particularly so in the legs, he has a physical presence that is oddly deceptive. Offstage, in ordinary clothes, he looks thin to the point of frailty; performing, or even moving about the studio in a drab green shirt and sweat pants, he is a powerful and supple athlete, a dominating figure. His face is endlessly expressive—gaunt, furrowed, large-featured, with arching brows and a high forehead framed by tight, archaic curls that are now touched with gray. The features convey a force that is not readily apparent offstage, where most people find him unfailingly courteous, informal, and yet somewhat withdrawn.
After ten minutes of self-absorbed experimentation, Cunningham signalled by softly clapping his hands that he was ready to start working on the new dance, which had not yet been named. He began with Carolyn Brown, his most accomplished dancer, a lean, dark-haired girl, who was wearing black woollen tights and a black sleeveless top. She watched him attentively, hovering a few steps behind him as he demonstrated in front of the mirror the rapid phrase that he had been sketching out by himself a few minutes before. She moved with him, picking up some of the motion as she went along, and when he demonstrated it a second time, she was able to follow him almost step for step. Her arms were wrong, though, and Cunningham stopped to show her what he wanted—a flowing, wavelike motion back from each shoulder, slower in tempo than the leg movements. Cunningham watched her try it out several times, nodded approvingly, and turned to Sandra Neels. Miss Neels, a long-legged brunette, wearing a white leotard with a blue velours overblouse, was to come in from the wings, pause, then spring vertically into the air three times, her arms rising and falling in countermotion to the jumps, the third jump bringing her to a point just behind where Carolyn Brown would be at the end of her phrase. When Miss Neels had mastered this, Cunningham proceeded to give Yseult Riopelle, the company’s nineteen-year-old apprentice, a relatively simple walking-and-turning step that would bring her on from the other side of the stage and position her slightly behind and to one side of Miss Neels.
The three girls responded very differently to Cunningham’s instructions. Carolyn Brown, a perfectionist, a brilliant and mature dancer at the peak of her career, seemed to want to understand every aspect of the movement that had been given to her, to have all the details clear in her mind, before she put them together. She practiced the arm motion over and over while Cunningham worked with the two others, watching herself critically in the mirror until she had it just right. When she did the whole phrase, though, the quality that she gave to it was her own and not Cunningham’s; it was precise, poised, and under strict control. Sandra Neels, who is about the same height as Carolyn Brown but looks taller because of the length of her legs, preferred to absorb the phrase in its entirety; she tended to make her jumps a little more graceful and less emphatic than Cunningham wanted, but she responded with alacrity to his corrections. Miss Riopelle moved more stiffly, counting to herself and trying hard to remember the steps. There was no music to support the dancers. The only sounds in the room were the friction of bare feet on the linoleum floor, hard breathing, and the muffled sounds of traffic on Third Avenue.
After about twenty minutes, Cunningham went on to the next phrase, which the three girls were to do in unison. It was a sort of grotesque walk—a swinging of the legs out sidewise from the hips while the torso shifted from side to side and the head wagged in a stiff articulation, like a marionette on strings. The movement had a quality often found in Cunningham’s work—a physical awkwardness that is disturbing at first glance but later, in the context of the dance, beautiful. It took the girls some time to get this, with Cunningham demonstrating over and over—teaching with his body rather than verbally. Very few words were exchanged throughout the session. In the time remaining that afternoon, Cunningham gave them two more phrases. The first was made up of very slow movements—extended turns and deep knee bends made while each dancer poised, heronlike, on one leg. They danced it together, in a circle, but not in unison, and at intervals one dancer would break into a swift measure and then return to the slow, turning motion. The other phrase was a strict-unison movement that involved large, space-devouring strides and ended with each girl bringing her arms forward over her head as she glided offstage. Since a phrase to be done in unison requires exact timing, Cunningham gave them a strong, steady beat by clapping his hands. Later, when they had learned the movement, they would do without the beat—just as they would do without the support of music throughout the dance.
No aspect of Cunningham’s choreography—which, during the last decade, has been the most influential (and controversial) development in the world of modern dance—dismays lovers of traditional choreography so much as his complete dissociation of dance and music. Cunningham is not the only choreographer to dispense with storytelling and mimed emotion—the underpinnings of classical ballet and of most modern dance as well—but until fairly recently he was the only one to treat music and dance as distinct and wholly independent activities that simply occur in a common time and place. Most people tend to assume that there is a natural link between dance and rhythmic accompaniment of some sort, and a great many dancers consider Cunningham’s denial of that link both arbitrary and self-defeating. Music can support a dancer—help him to jump higher and to move with greater precision—so why dispense with this useful and ancient relationship? Actually, as the ethnomusicologist Curt Sachs pointed out in his “World History of the Dance,” there is evidence that primitive man may very well have started dancing in response to certain inner promptings long before he danced to audible rhythms, and the supposed unity of music and dance may not be “natural” at all. In any case, Cunningham firmly believes that the independence of the dance from the music offers to both a higher degree of expressive freedom. “The result is that the dance is free to act as it chooses, as is the music,” he wrote in a 1953 magazine article. “The music doesn’t have to work itself to death trying to underline the dance, or the dance create havoc in trying to be as flashy as the music.”
In Cunningham’s work, the dissociation dates from the beginning of his professional association with the composer John Cage, who has served for the last twenty-five years as musical director of the Cunningham dance company. Cunningham and Cage met in the nineteen-thirties at the Cornish School, an arts-centered institution in Seattle, where Cunningham was a student and Cage was on the faculty. They met again in New York in the nineteen-forties, while Cunningham was dancing with the Martha Graham company. Cage had already evolved a method of composing music based on units of time, a method that afforded a complete break with the traditional theme-and-variations melodic structure of composition. Cunningham responded enthusiastically to this structural notion of Cage’s, because it fitted in precisely with his own artistic leanings. “I never could stand the modern-dance idea of structure in terms of theme and variations,” Cunningham said recently. “That sort of A-B-A business based on emotional or psychological meanings just seemed ridiculous to me.” From the start of their association, Cage and Cunningham have simply agreed on a certain time structure—for example, eight parts of two minutes each—and then gone off independently to compose the music and the dance.
In the spring of 1944, Cunningham and Cage gave their first joint New York recital, at the Humphrey-Weidman studio theatre. Cage played his own compositions on a “prepared” piano (nuts, bolts, bits of rubber, and other objects were inserted between the strings, thus converting the instrument into a sort of percussion orchestra) while Cunningham danced to rhythms that sometimes coincided with what Cage was playing and sometimes did not. “A lot of modern-dance people in the audience liked one of my dances on that program—the one called ‘Root of an Unfocus’—because it seemed to them to be tied to an emotional meaning,” Cunningham recalled not long ago. “They thought it had to do with fear. It had nothing directly to do with fear as far as I was concerned. The main thing about it—and the thing everybody missed—was that its structure was based on time, in the same sense that a radio show is. It was divided into time units, and the dance and the music would come together at the beginning and the end of each unit but in between they would be independent of each other. This was the beginning of the idea that music and dance could be dissociated, and from this point on the dissociation in our work just got wider and wider.”
In the years since 1944, Cunningham has commissioned or composed dances to scores by many of the leading avant-garde composers in this country and Europe, including Pierre Boulez, Bo Nilsson, Morton Feldman, Christian Wolff, Earle Brown (who is Carolyn’s husband), and, of course, Cage. As the new dance started to take shape in his mind last spring, he decided to approach Toshi Ichiyanagi, a young Japanese composer who four years earlier had done the score for Cunningham’s “Story” and was now working in New York under a grant from the JDR 3rd (or John D. Rockefeller III) Fund. Ichiyanagi readily agreed to do a new score for Cunningham. He even came to several rehearsals, to get an idea of what the dance was going to be like—something he had not done in the case of “Story.” His score was not completed until shortly before the première, however, and the first time the dancers heard it was during their initial performance of the dance onstage.
Having begun with Carolyn Brown, Sandra Neels, and Yseult Riopelle, Cunningham continued to work with them exclusively for the rest of that week, at the end of which he went to California for a teaching engagement at Mills College. Several of the other dancers in the company had begun to wonder whether they would be in the piece at all. “They’re all wondering about the new dance,” Cunningham said wryly. “But then so am I.” He had no clear idea of what the piece might become, except for a vague feeling that it would be a fairly long work—thirty minutes or longer—and quite complex. “I don’t have ideas, exactly,” he explained to a friend the afternoon before he left for California. “There’s no thinking involved in my choreography. I work alone for a couple of hours every morning in the studio. I just try things out. And my eye catches something in the mirror, or the body catches something that looks interesting, and then I work on that. Of course, I know that when I give it to the dancers it’s going to look different, just because their bodies are not the same as mine. But there’s a point of balance—a point of tension—to any movement, and, with luck, I can transfer that to someone else. Sometimes it’s not transferrable—either their bodies won’t do it or I can’t translate it for them. But it’s all in terms of the body, you see. I don’t work through images or ideas—I work through the body. And I don’t ever want a dancer to start thinking that a movement means something. That was what I really didn’t like about working with Martha Graham—the idea that was always being given to you that a particular movement meant something specific. I thought that was nonsense. And, you know, I really think Martha felt it was, too. Once, when we were rehearsing ‘Appalachian Spring,’ I had a passage that Martha said had to do with fear, or maybe with ecstasy—she wasn’t sure which—and she said why didn’t I go and work on it and see what I came up with. I did, and she was delighted; she even said it had solved some of her other problems. It’s always seemed to me that Martha’s followers make her ideas much more rigid and specific than they really are with her, and that Martha herself has a basic respect for the ambiguity in all dance movement. At least, that’s my opinion. The ambiguity is always the interesting part for me, the getting to know each other in a new terrain—what we’re doing now in this new piece.”
The ambiguity in Cunningham’s work has led some critics to call his dances abstract. This term is somewhat misleading, for—unlike the Alwin Nikolais dancers, who wear elaborate and enveloping costumes—Cunningham’s dancers are never merely symbolic or decorative. “My feeling is very strongly that we are human beings engaged in certain situations,” Cunningham has said. These situations may not be familiar, or even recognizable, but the dancers, whose simple costumes never conceal the body and whose movements are all based on the body’s natural expressivity, are never more or less than human. Cunningham is often asked just what it is, in a dance that tells no story and delineates no psychological or emotional state of mind, that is being expressed. His reply is that he does not set out to express anything specifically. There is no “statement,” no underlying idea or meaning. At the same time, he does believe that each of his dances produces a unique atmosphere, and, like many twentieth-century artists, he invites the spectator to interpret that atmosphere in any way he wishes. Even a specific interpretation is all right with Cunningham. He wrote some years ago, “If the dancer dances—which is not the same as having theories about dancing or wishing to dance or trying to dance or remembering in his body someone else’s dance—but if the dancer dances, everything is there. The meaning is there if that’s what you want.”
With a small company such as Cunningham’s, in which everyone is to some degree a soloist, the look of each dance changes markedly as the company itself changes. (Two dancers have left the group since last spring, and two others have joined it. As a result, the company that is to perform “Scramble”—together with “RainForest” and “Walkaround Time,” the two other new works—at the Brooklyn Academy of Music this month will be dancing the piece rather differently from the way it was danced at its initial performance.) Cunningham welcomes and uses all individual variations. He chooses his dancers for technical ability and physical strength and also, one gathers, for intelligence. Carolyn Brown, the daughter of a dance teacher who had performed with the Denishawn troupe, claims that she tried hard not to become a dancer; she had been accepted as a graduate student in philosophy at Columbia when she started taking Cunningham’s classes, in 1952. Gus Solomons, Jr., who joined the company in 1965, has a degree in architecture from M.I.T. Cunningham wants each of his dancers to develop and project a uniquely personal style, not a style that would be a mere reflection of his own. His training, which depends upon a natural and free use of the whole body, has the effect, he once said, of letting “the individual quality of each of the dancers appear, naked, powerful, and unafraid.”
After attending a few rehearsals, one begins to understand what Cunningham means by this individual quality. It has very little to do with “personality” in the commonly accepted sense, and nothing at all to do with the stage mannerisms of an actor or actress. Rather, it is tied up with a particular way of moving, which, in turn, bears a direct relation to the physical proportions of the dancer. Barbara Lloyd, whose small, delicate body is attenuated from the hips down, moves with a delightful, childlike spontaneity; of all the girls in the company she seems to be the most natural dancer, and critics often single her out, after Carolyn Brown, for special mention. Gus Solomons, a Negro, who is six feet four inches tall and whose legs are very long in relation to his torso, has a relaxed, springy buoyancy that is in striking contrast to the controlled precision of Albert Reid, a much more compactly built dancer. The personal quality of each dancer may be emphasized by the length of the neck, the way the head is carried, the relation of the arms to the torso. Valda Setterfield, who apprenticed briefly with José Limón before joining Cunningham in 1965, has an aristocratic hauteur that can change in a twinkling to its own comic parody. Peter Saul, trained both in ballet and modern dance, moves with an intensity that becomes even stronger during the stillnesses between movements. Yseult Riopelle is still working out her individual style. Sandra Neels, whose sole ambition when she came East from Seattle six years ago was to become a Cunningham dancer, made the breakthrough about two years ago. “I saw it start to happen,” Cunningham said last spring. “I just caught something out of the corner of my eye, and said to myself, ‘Well, now, that’s beginning to be interesting.’ Sometimes, you see, when a dancer works as hard as Sandra does, and has great concentration, she goes through everything and gets to this particular thing, this personal character that comes through the dance—not in spite of it but through it. For a long time, Sandra didn’t have that, and people didn’t notice her much. All you saw were those long legs and the short torso. Now it’s all come together, and what you notice is herself. That’s what makes watching dancers so fascinating.”


text:
Healthcare Technology Company Achieves 1,261 Percent Revenue Growth from its Population Health Management Solutions.
BioIQ, a healthcare technology company, today announced that it ranked number 94 on Deloitte’s Technology Fast 500™, a ranking of the 500 fastest growing technology, media, telecommunications, life sciences and clean technology companies in North America. BioIQ experienced a compound annual growth rate of more than 92 percent between 2009 and 2013, or 1,261 percent over a five year period.
Justin Bellante, BioIQ CEO, attributes this growth to industry demand for population health management solutions and the popularity of the BioIQ technology platform, which meets this demand by automating corporate wellness programs and HEDIS quality initiatives. “Employers rely on the BioIQ platform as the data-management hub of their corporate wellness programs,” he said. “The platform also helps health plans, hospitals, and Accountable Care Organizations improve HEDIS quality measures and boost STARratings by engaging non-compliant members. BioIQ has proven its ability to measure vital health metrics and securely exchange wellness data.”
“The companies ranked on the 2014 Deloitte Technology Fast 500 set the bar for their industry higher each year,” said Eric Openshaw, vice chairman, Deloitte LLP. “There are so many exciting products and smart thought leaders driving this list. We congratulate the Fast 500 companies and look forward to seeing them continue their momentum into 2015.”
“For 20 years, the Deloitte Fast 500 rankings have honored the innovation that is part of these companies’ DNA,” added Jim Atwell, national managing partner of the emerging growth company practice, Deloitte & Touche LLP. “We’re glad to be serving these high-growth companies, and helping the technology sector recognize the great strides and transformation these companies are making in their respective areas.”
About Deloitte’s 2014 Technology Fast 500™
Technology Fast 500, conducted by Deloitte LLP, provides a ranking of the fastest growing technology, media, telecommunications, life sciences and clean technology companies – both public and private – in North America. Technology Fast 500 award winners are selected based on percentage fiscal year revenue growth from 2009 to 2013.
In order to be eligible for Technology Fast 500 recognition, companies must own proprietary intellectual property or technology that is sold to customers in products that contribute to a majority of the company’s operating revenues. Companies must have base-year operating revenues of at least $50,000 USD or CD, and current-year operating revenues of at least $5 million USD or CD. Additionally, companies must be in business for a minimum of five years and be headquartered within North America.
BioIQ is a healthcare technology company that enables organizations to connect with their populations, measure vital health metrics, and achieve health improvement goals. BioIQ works with some of the largest employers and health companies in the nation. Since its inception in 2005, it has launched thousands of successful health improvement programs serving millions of participants.
Press Contact: David Baum
Director of Communications, BioIQ


text:
Please use this identifier to cite or link to this item:
|Title:||Preconditioning of the stainless steel surface affects the adhesion of bacillus cereus spores|
|Author:||Ribeiro, Maria Cecília|
Fernandes, Meg da Silva
Kuaye, Arnaldo Yoshiteru
|Abstract:||The adhesion of Bacillus cereus on stainless steel, with and without prior conditioning of the surface (water, skimmed milk, and whole milk) was evaluated. Inocula consisting of a pool of spores of four different B. cereus strains isolated from the dairy industry, and spores of B. cereus ATCC 14579 were used. The pool of B. cereus spores adhered in all conditions evaluated. Higher adhesion of B. cereus spores (4.93 log cfu cm−2) was observed when using whole milk as conditioning matrix. However, without prior conditioning, lower adhesion was observed (3.01 log cfu cm−2) when the pool of B. cereus spores was inoculated on whole milk, suggesting the interaction between milk fat and microorganism on the stainless steel. The pool of B. cereus spores showed higher adhesion to the surface, possibly due to its greater hydrophobicity (66%) when compared with the B. cereus ATCC 14579 spores (47%)|
|Appears in Collections:||FEA - Artigos e Outros Documentos|
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.

domain: biology


2018 High quality Egg Conveyor Belts - TH11 – LEEHUI
2018 High quality Egg Conveyor Belts - TH11 – LEEHUI Detail:
W2000 milling machine TH11 tool holder
Reinforcing the hardness of tube surface, and extending its long serving life.
Material Selection / Heat Treatment / Forging Shaping / Welding Technic of Tool Holder & Tubes / Mechanical Processing High-Frequency Quenching
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History of Conveyor Belts
Reliable good quality and very good credit standing are our principles, which will help us at a top-ranking position. Adhering to your tenet of "quality 1st, purchaser supreme" for 2018 High quality Egg Conveyor Belts - TH11 – LEEHUI, The product will supply to all over the world, such as: Poland , Madagascar , Senegal , we rely on own advantages to build a mutual-benefit commerce mechanism with our cooperative partners. As a result, we've gained a global sales network reaching the Middle East, Turkey, Malaysia and Vietnamese.
By Dinah from Guyana - 2016.05.21 12:31
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By Dorothy from Auckland - 2016.11.20 15:58


text: Each year is a new year to develop new skills and acquire more knowledge. We also discover more things about ourselves and learn new lessons along the way. In this birthday episode special, I'm sharing with you some of the biggest personal and professional reflections in the past 12 months. Our relationships greatly influence our well-being so it's crucial to surround ourselves with individuals who uplift and support us. Our bodies are our most essential assets, and nurturing them is a fundamental responsibility. In reality, even with the purest of intentions, there will always be individuals who seek to undermine or criticize us. It encourages resilience in the face of negativity and a focus on staying true to one's path. In this episode, you'll learn: The importance of self-care How to stay grounded How to love yourself more Being perfect isn't required when helping others How to serve others with gratitude These valuable life lessons provide a roadmap for personal growth, resilience, and a meaningful life. They serve as reminders of the beauty and complexity of human existence, encouraging us to learn and evolve. With Love and Gratitude, Jay Shetty What We Discuss: 00:00 Intro 01:56 Personal and professional reflections for the last 12 months 02:43 Lesson #1: Be really conscious about who you keep and let go in your life 07:33 Lesson #2: Take care of your body like your life depends on it 12:19 Lesson #3: It’s okay to ask for a hug or help from others 16:40 Lesson #4: Don’t buy into your own hype, stay connected to where you started 19:37 Lesson #5: People will always try to tear you down no matter how good your intentions are 22:10 Lesson #6: Different levels come with different problems 26:11 Lesson #7: As you get older, don't forget to do things for your younger self. 29:45 Lesson #8: Give yourself permission to be all of you 30:22 Lesson #10: You don't have to be perfect to help others 31:11 Lesson #9: You can’t avoid mistakes but don’t avoid the lesson 32:38 Lesson #11: Make new memories instead of living old ones again and again 34:03 Lesson #12: Use your gifts and skills in the service of others. Want to be a Jay Shetty Certified Life Coach? Get the Digital Guide and Workbook from Jay Shetty https://jayshettypurpose.com/fb-getting-started-as-a-life-coach-podcast/See omnystudio.com/listener for privacy information.

domain: psychology


text:
Jordan triumphs over Kate
SHE'S the most famous woman in the country but Kate Moss has discovered she's overshadowed in Hollywood by a British namesake... But then America's favourite Kate has big enough boobs to put anyone in the shade, and to get a table at the Los Angeles Ivy when the supermodel failed. Yes, that's right, our crazy cousins across the pond have become totally obsessed with the fabulous Kate Price, aka Jordan, and couldn't care less about Moss.
Axel Tuanzebe, Timothy Fosu-Mensah, Joel Pereira and Anthony Martial (left to right)

domain: entertainment


Comments by Citizens Against Rail Expansion
The much anticipated Final SEQRA Scoping Document issued last week by the MTA LIRR provides very little additional information about the proposed third track expansion. The LIRR did a good job summarizing the comments that people made at the May hearings which took place after the first document was issued. With the exception of the grade crossing eliminations, we still do not feel the expenditure of $2 – $4 billion for this unnecessary project has been justified. There are significant issues which need to be addressed before this project can move forward.
In the document there is talk about conducting parking studies in other communities, yet there is no mention Floral Park. One of our major concerns is that during the construction phase, which could last several years, the village will lose an estimated 60 parking spaces under the LIRR tracks and on surrounding streets and probably lose 30 parking spots permanently after the construction is completed. Why is there no information or details on this issue?
This report, for the first time, states that probably the Tulip Avenue underpass would be closed for an unspecified period of time. We need more details on this since we were of the belief that the construction would start at South Tyson and proceed east to Hicksville, which will require removal of part of the Floral Park platforms.
In the report, the MTA LIRR fully acknowledges our concerns about harmful substances in the soil that have been used to treat foliage and to control rodents, even mentioning Agent Orange. Our concern is that stirring up the contaminated soil will make these dangerous chemicals airborne and harm our citizens. This has to be studied.
There is silence on the part of the MTA LIRR about our project staging concerns. Where will the staging areas for the supplies, heavy equipment, etc. be located? We suspect they will try to use the open areas behind the Floral Park-Bellerose School on the Belmont Park property. Why not give us details? LIRR reps have been meeting with people discussing this problem.
How will this impact the residents of Mayfair Avenue and the west end of Floral Park? Will heavy construction equipment be going in and out the Mayfair Avenue gate at all hours of the day and night?
If major improvements are to be made to other stations along the Main Line, why haven’t they considered the request from Floral Park to improve handicap accessibility at the Floral Park LIRR station, as well as other possible improvements such as the passenger waiting areas?
We eagerly await the upcoming hearings so we can again voice the concerns of local residents.
In the meantime, we still have doubts that the third track will ever be built since there is no funding. We have high hopes that the New York State Senate will block the funding for this project and acknowledge the will of the people.
Citizens Against Rail Expansion Ann & Bill Corbett, Spokespersons 775-6849.


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Christians quest for just the right cock continues in the second episode of the WILDE ROAD series. This time around he finds himself dazed and confused after running into a yoga-lovin, hippie couple who show Christian the more Zen side of gay sex much different than his wham-bam-thank-you-man experience from episode one. Troy Daniels and Jimmy Durano demonstrate the erotic benifits of tantric sex for Christian who munches on some special homemade goodies while he watches. As he drifts off into an edible high, we are left to wonder where the next leg of his sensual journey will take him!


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domain: travel


★★★★★ As artistic director of her own troupe, Farrell was able to take her devotion to Balanchine and her aspiration to promote and preserve his legacy to a new level. For nearly 20 years, Washington audiences have enjoyed an annual mini-festival of Balanchine’s works...
Tag - Kirk Henning
This season the Suzanne Farrell Ballet is bidding farewell to its audiences with final performances at the Kennedy Center Opera House, December 7-9. There will be two programs, each featuring a selection of George Balanchine’s choreographic gems...
★★★★✰ Watching this immensely entertaining program one realizes that even a minor Balanchine ballet is still a great ballet.
Suzanne Farrell Ballet – Walpurgisnacht Ballet, Midsummer Night’s Dream, Romeo and Juliet, Emeralds – Washington
Suzanne Farrell Ballet’s new program, “Balanchine, Béjart, and the Bard,” presented at the Kennedy Center Opera House at the end of October, was dedicated to the 400th anniversary of Shakespeare’s death. It offered an appealing mix of four ballets
When music, words and movement are combined, our minds are pulled in different directions.
Jessica Lang Dance – Program 3, National Symphony Orchestra: NEW MOVES: symphony + dance season – Washington
JLD is a relatively young troupe, but it consists of nine experienced and established dancers, some of them well-known and admired in Washington. Take for example, Clifton Brown...
...offered a perfect Balanchine sampler, bringing together an assortment of ballets, full of unexpected juxtapositions, from very different periods of the choreographer’s long career.
The company premiere of The Prodigal Son was the centerpiece and highlight of the Suzanne Farrell Ballet’s second all-Balanchine program at the Kennedy Center Eisenhower Theater - a program that also included Divertimento No. 15 and Slaughter on Tenth Avenue.
When watching them perform one understands what dance critic Joan Acocella meant when she said: “Every single time Suzanne Farrell sets a Balanchine ballet – it rises from the dead.”


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Israel has tested its Magic Wand missile defense system also known as David's Sling. The system was tested in an Israeli desert. The system is designed to intercept Hamas medium-range missiles.
As noted by ISRAland, this system is considered the first of its kind in the world. The system is the embodiment of a real technological breakthrough. David's Sling is able to intercept missiles with a range of about 300 kilometers. During the test, the Air Force of the IDF launched a rocket-target missile simulating a potential enemy.
Defense Minister Ehud Barak congratulated the participants of the tests, noting that David's Sling will be an important component of Israel's missile defense system, Utro.ru said.
The new system is to become an intermediate link between the Iron Dome tactical system and long-range missiles, Arrow and Patriot, wrote the Rossiyskaya Gazeta. The new complex will be passed into service in 2014-2015.
The Iron Dome destroys short-range missile. The effectiveness of this system was proven in the period from 14 to 21 November, during the conflict with Hamas in Gaza. The system intercepted 421 missiles, which accounted for about 80 percent of all missiles launched by guerrillas.
The aggravation of the relationship between Russia and the USA that started unfolding during the presidency of Barack Obama has evolved into a real war during the arrival of Donald Trump. The United States has conducted a series of powerful attacks on Russia in the economic field. However, it is the EU that poses the biggest threat for the US
The answer to the question of Russia's retaliation to USA's sanctions is becoming clear. It goes about the bill that Russian MPs have been working on lately. It has become known how exactly Russia may response. To be more precise, it goes about two issues - limiting cooperation in outer space and stopping the supplies of Russian spare parts for Boeing


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domain: food


DALLAS -- Officials at the nation's third-largest state prison system, citing a policy that prohibits discrimination in providing health care, have fired a staff dentist who refused to treat inmates with AIDS.
The Texas Department of Corrections dismissed Dr. David T. Spence, a dentist at the Coffield prison unit near Palestine in northeast Texas, after he told authorities he wanted the option to refuse "treatment for anyone suspected of, or diagnosed with AIDS, at any time, now or in the future."
"Your stated threat of termination of employment pales when compared with the reality of AIDS," Spence wrote in the memo that resulted in his firing earlier this month.
The case highlights the fear many dentists have of contracting the universally fatal illness -- a fear based on their frequent contact with blood. According to the federal Centers for Disease Control, 12 health care workers have contracted the virus on the job since 1981, and only one was a dentist.
The concern, nonetheless, has led many private dentists to begin wearing rubber gloves, sending demand for the gloves to record levels. Others, with the endorsement of their professional organization, have referred AIDS patients to special clinics.
State-hired prison dentists, however, are required to treat all patients.
While others among the 44 staff dentists in the prison system, smaller in population only than California's and New York's, have expressed concern over treating inmates infected with the human immunodeficiency virus (HIV), Spence's open defiance violated a department policy that forbids medical staff to discriminate in providing care.
"I don't think we had much choice," said corrections department spokesman David Nunnelee. "He just flat-out said he wasn't going to do it."
The American Dental Association guidelines advise dentists to wear protective gloves, goggles and masks while treating every patient, said spokeman Richard Asa. The guidelines say dentists may turn down any new patient they suspect has AIDS, and may make "informed, sensitive referrals if it is in the best interest of the patient's health." All patients must be treated in emergencies, the guidelines say. While some dentists refer patients to special AIDS treatment centers, others continue providing care discreetly to keep other patients from being frightened away.
The fears are heightened among those who work closely with prison populations, which have a high incidence of homosexuality and intravenous drug use -- two activities conducive to spreading the AIDS virus, prison officials said.
To reduce the risk of infection for prison dentists, Texas corrections officials have instructed their staff at each of the 27 prisons to follow precautions set out by ADA: sterilizing instruments with heat, and use of protective apparel when treating all patients.
Texas prisons provide voluntary testing of inmates for AIDS infection, Nunnalee said. The latest figures show that in a population of 39,000 inmates, 1,050 have been tested, with 166 turning up postive for the presence of AIDS antibodies.
Prisoners with AIDS, AIDS-related complex (ARC) or who tested positive without symptoms must be allowed to remain in the general population unless they are "engaged in homosexual or needle activity," a determination each prison commander must make, Nunnelee said. In those cases, inmates are assigned to single-occupancy cells, he said. Currently, eight such prisoners have been isolated.


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Can on-the-job training stabilize employment among rural migrant workers?
Jiang, J.; Zhang, G.; Qi, D.; Zhou, M.
China Agricultural Economic Review 8(3): 498-515
ISSN/ISBN: 1756-137X DOI: 10.1108/caer-09-2015-0113
Purpose - Whether training contributes to stabilizing employment among rural migrant workers in cities remains unclear. Based on this gap in the research, the purpose of this paper is to examine how on-the-job training affects rural migrant workers' job mobility in China. Design/methodology/approach - By using randomly sampled survey data on migrant workers in Liaoning province in 2014, the authors applied a logistic model and survival analysis to explore the effect of on-the-job training on migrant workers' job turnover and understand workers' job change behaviour after receiving on-the-job training. Findings - The results showed that job training provided by employers can significantly reduce migrant workers' turnover by increasing specific human capital. By contrast, training provided by the government or migrant workers themselves focuses on increasing general human capital and thus fails to reduce job turnover. Moreover, further discussion revealed that, in the trained group, those people with a short tenure and low wage in the first job, people without any skills before migration, male migrant workers, and people that work in medium-sized and large cities have a higher probability of changing jobs. These findings suggest that to tackle the high rate of job mobility among rural migrant workers, firms should entice this labour to train by adjusting their internal training mechanisms, and local governments should subsidize firms that provide on-the-job training for rural migrant workers to help share the costs and risks of training. Moreover, for sake of reducing job changing among those trained workers, firms even should take actions to protect their labour rights of migrant workers and to ensure that they receive equal treatment to their urban counterparts. Originality/value - This paper makes three contributions to the field of job mobility in China. First, it explores the mechanism between on-the-job training and rural migrant workers' job mobility. Second, it empirically analyses the effect of on-the-job training on migrant workers' job mobility as well as the different effects of general and specific training. Lastly, its results have important policy implications for the employment stability of rural migrant workers.

domain: literature


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Surprise! We heard some rumblings that Zodiac: Orcanon Odyssey ($4.99) Kobojo was coming soon, but surprise! It’s out right now, for the price of $8.99. The game was in the middle of an uncertainty over whether it would be free-to-play or a paid game, and paid won out. Now, you can pick up the hotly-anticipated RPG for $8.99, with no in-app purchases to speak of. Premium gaming fans, you won this one.
The game has been developed by an international team including a bunch of Final Fantasy veterans in the art, story, and music departments. Kazushige Nojima, writer of Final Fantasy VII ($15.99), did writing for the game. Hitoshi Sakimoto, composer of Final Fantasy Tactics ($13.99), worked on the soundtrack. Hideo Minaba, graphics supervisor on Final Fantasy VI ($14.99), is in charge of the art production for the game as part of CyDesignation. So, yeah, there’s a lot of RPG veterans who had a hand in this one. But now, we’ll get to see just how theirs and Kobojo’s work fares in the world of RPGs. And thanks to our forum readers for being right on top of this one when it released.


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It wasn’t exactly pretty, but the New York Jets got back to winning ways on Monday night, defeating the rival Miami Dolphins, 24-6, with the big play a first quarter 100-yard interception return touchdown by Darrelle Revis. The win improved the Jets’ record to 3-3, while Miami remained winless in 2011 at 0-5.
The crowd at MetLife Stadium was somber early, with the Jets’ offense sputtering and Miami surprisingly moving the ball. Miami took a 3-0 lead on a Dan Carpenter field goal, and the Jets fumbled the ensuing kickoff, which the Dolphins recovered deep in Jets territory. It seemed as though Miami was about to shockingly go up two scores on New York until Revis made the play that figured to be the turning point of the game.
On third down and seven from the Jets’ 15-yard-line, Revis intercepted a Matt Moore pass at the goal line and meandered his way up the right sideline before darting towards the middle of the field and taking the ball the distance for a touchdown. It was a huge swing of points that gave the Jets life and kept the home fanbase, certainly ready, from turning on them.
Revis intercepted another Moore pass with the game out of reach, and Mark Sanchez both threw a touchdown and ran for one. The Jets’ offense, which endured four three-and-outs to start, rebounded with two consecutive solid, long drives that resulted in points right on either side of halftime. Sanchez capped an 11-play, 81-yard drive late in the second quarter with a five-yard touchdown scamper to extend the Jets’ lead to 14-6. Then, on their first drive of the third quarter, New York’s offense kept its rhythm with a 13-play, 79-yard drive that resulted in a Nick Folk 28-yard field goal.
The Jets’ final score came early in the fourth quarter. Sanchez connected with Santonio Holmes on a 38-yard catch-and-run touchdown, his second score in as many weeks. A few weeks back, Holmes had stated to the media that the Jets needed to do a better job of getting the ball in the hands of their playmakers, and Holmes’ impressive run after the catch backed up his words.
The Jets defense did a fine job against the overmatched Moore, intercepting him twice and sacking him four times. Brandon Marshall had a respectable game, gaining 109 yards on six catches – many with Revis covering him. But Marshall did not fulfill his silly prediction of getting ejected from the game. Instead, the Jets ejected the Dolphins from any contention this season, and placed them squarely in the Andrew Luck Sweepstakes.
As for the Jets, work still needs to be done and a stern test comes to town on Sunday with a visit from the San Diego Chargers. For now though, disaster averted.