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No matter what your role at Walsh College, faculty, staff, student, or guest, Internet browsing is essential to everyday life and work. Make sure you aren't at risk by reviewing the information below.

Many people use the Internet on a daily basis without trouble, but it can harbor some hidden dangers to you and your computer. These risks can include exposure of sensitive personal information and infection by malware, which includes viruses, spyware, and adware. Safe browsing means being aware of these online threats and taking the necessary steps to avoid them.

It only takes a little bit of effort and some basic information to be safe as you browse the Internet. Follow these guidelines to protect your personal information and your computer online.

  • Know how to spot risky URLs.  By taking the URLs of recognized sites and tweaking them slightly, cyber criminals can catch unsuspecting people in a scam. Signs that a URL is untrustworthy include hyphens, numbers, spelling mistakes and @ symbols in place of regular characters.
  • URL Link Preview.  By hovering your mouse over links on the web you can preview the URL where that link will take you.  If this link looks suspicious to you, do not click on it.
  • Do not click on pop-ups.  If you need to close a pop up, do so by clicking the X in the upper right corner of the pop up window.  Clicking anywhere inside the pop up window may result in other pop ups opening or even spyware/malware being installed on your PC.
  • Basic rule is to not click on any site that you do not trust.
  • When in doubt, call the Helpdesk for assistance 248-823-1350


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WORKSHOPS & Seminars

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Philadelphia coworking Alternative
Philadelphia coworking Alternative and Rental Space
Philadelphia coworking and workshop space

Philadelphia CoWorking Alternative and Small Event Space

222B Race Street • Old City Philadelphia, 19106

Take a virtual walk through tour of our space! Click the arrow on the image to the right…

philadelphia shared space
philadelphia shared space
Philadelphia coworking alternative
Philadelphia coworking

Is co-working not the right fit for your business? OCC offers a space that is all your own...

Co-working is a great alternative to traditional, costly office space, but it can be very limiting to entrepreneurs that require privacy or a more intimate environment. Old City Collective offers an alternative to the standard Philadelphia coworking environment…

As a member of OLD CITY COLLECTIVE (formerly Soiree Philadelphia) you occupy the entire space as your own, during your scheduled time.  No distractions, no co-workers, no vying for private conference room time.

Meeting clients, hosting events, networking, photo/video shoots & more are all options in our beautifully designed space in historic Old City Philadelphia.

OLD CITY COLLECTIVE: Philadelphia’s CoWorking Alternative…

Philadelphia coworking spaces, and they are all pretty amazing, offering flexibility and a way for independent entrepreneurs a way to connect and gain some human contact (as someone who has worked from home for the last 10 years, I understand that need very well!).

But co-working isn’t the perfect fit for every business. If you offer one-on-one sessions, whether its mentoring, counseling or photography, a typical Philadelphia shared space might feel too impersonal or too busy for your clients needs. Some businesses require more private and intimate environment.

Old City Collective (formerly Soiree Philadelphia, est. 2006) offers a unique approach to the shared space concept. Entrepreneurs occupy the entire space as their own during their reserved time. They get all of the benefits of having a Philadelphia address, without the expense that traditionally comes with rent, insurance, furnishings, etc. A low monthly fee allows key access to the space, convenient online scheduling and storage at the space.

The space is also available for events such as networking, social gatherings and photo/video shoots. Full and half day rates are available.
A limited number of membership are available. For more information, reach out to founder Laura Eaton at 609.954.0488 or email info@oldcitycollective.com

Old City Collective not large enough for your event?

You can visit our sister venue, Old City Social.  Just a few blocks away at 216 Market Street – email us at: info@oldcitysocial.com for more information or call 609-954-0488.

Have a question or want to know more about Old City Collective membership or rentals? Fill out the form below and we will be in touch within 24 hours...

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Pets, Places, & Things, Points on Pets

Finding Wildlife and What to Do

By Jason Berger

We all love our dogs and cats – but pets are not the only animals we come into contact with – or the only animals we may want to help.

What should you do if you come across wildlife that you think might be in danger? Although your initial urge may be to intervene, it is important for the welfare of yourself and the wildlife involved that your intervention come in the right form.

Many animal shelters and rescue organizations have great advice about what to do if you come across wildlife that you think may need assistance.

First steps:

As an initial matter, there are certain important things to keep in mind before attempting to rescue wildlife.

The Virginia Department of Game and Inland Fisheries does note that “More often than not, handling injured, sick, or orphaned wildlife can do more harm than good. Although our intentions are well-meaning, human interaction with wildlife should always be kept to a minimum. Humans often misinterpret normal wildlife behavior as abnormal and may unnecessarily disturb and stress wild animals by attempting to catch them.”  ( The Department notes that “More than 75 percent of such orphans “rescued” every spring should have been left alone. Most wild animals are dedicated parents and will not abandon their young, but they do leave them alone for long periods of time while looking for food.” (Id.).

In Virginia, it is illegal to keep or care for orphaned, sick, or injured wildlife unless you are a licensed wildlife rehabilitator, per the Virginia Department of Game and Inland Fisheries ( If wildlife needs help, it is recommended that you first contact a wildlife expert.  In Northern Virginia and Washington DC, organizations that may be able to help include The Wildlife Rescue League < Wildlife rehabilitators can also be found, throughout Virginia, by visiting the Virginia Department of Game and Inland Fisheries at

The Department can also be contacted at a wildlife conflict helpline at 1-855-571-9003.  In DC, City Wildlife can be contacted at (202) 882-1000, during normal business hours, and, after hours,  DC Animal Care and Control can be contacted at (202) 576-6664. (

According to the National Wildlife Federation, “the most important thing you can do when you find any wild animal in need, a baby or an adult, is to immediately call a local wildlife rescue center or licensed wildlife rehabilitator for assistance. If you’re unable to locate a wildlife rescue center or rehabilitator directly, contact a local animal shelter, zoo, humane society, animal control department, nature center, state wildlife agency, or veterinarian for advice.” ( The federation notes that caring for wildlife is a round-the-clock job and requires special training to do properly. In fact, you must have “a state-issued license to legally keep and care for wild animals. Unfortunately, well-meaning attempts by untrained people may result in the death of the animal.” (Id.).

For example, concerning hummingbirds, proper food may not be common sense, but will be required for proper growth for a baby animal. (See Certain foods, such as honey, may be harmful.  Countering a common misconception concerning baby birds, the Wildlife Rescue League notes, that “If a bird has fallen out of a nest and you can get to the nest, pick up the bird carefully and put it in the nest (birds cannot smell you).” (

Signs of injury:

As noted, it is not always proper to intervene – but there are certain specific signs to look out for, that might make rescuing wildlife appropriate.  Concerning finding infant or young wildlife, the Humane Society of the United States recommends that:  “Baby wild animals might seem like they need our help, but unless the animal is truly orphaned or injured, there is no need to rescue them.”  The Humane Society notes that signs that an animal needs help are:

-Presentation by a cat or dog

-Evidence of bleeding

-An apparent or obvious broken limb

-Featherless or nearly featherless and on the ground

-A dead parent nearby

-Crying and wandering all day long

If you come across an animal with the above signs, contact a wildlife helpline identified above, or a local animal shelter, that will be able to give you safe instructions for handling the animal and will be able to provide information on where to bring the injured animal.

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The qualities of your mental images and learning difficulties

A vital part of creating mental images and hence learning  is the quality of those images. And this is where parents can really help.  Talk to your children about their images, this will help them to develop their occipital region.  Don’t forget it is their pictures and they may not be the same as yours, especially if you have a very creative child – there is no right and wrong with mental imagery.  Are the pictures:

  • Still v moving – they need to have choice
  • 1 screen v multiple screens – 1 screen is needed for literacy and numeracy
  • Distorted or have moving text
  • Enabling mental arithmetic
  • Location – they need to be In a convenient place, maybe about 2 metres from your head and slightly up . Certainly not behind you, in the cupboard, behind a  curtain or 2 football pitches away. You don’t want to look down when trying to create pictures.
  • Are they black and white or coloured? Can you change the colour?
  • Are they in 2D or 3D ?  Proof readers have wrong words jumping out the paper, people with poor literacy often have all the words jumping out the paper, because they don’t have any pattern match from their word store.  Letters and words moving is a give away that people are not storing words or can’t access the ones they have.

Take a look at Bridges to Success – How to Transform Learning Difficulties, for many more insights.

You won’t know about the mental images a child has unless you ask them.  All you need to do is. For example, ask the question “when you see a cat just describe it” and you may be amazed to hear the qualities of their pictures.  They need to be able make conscious choices for example between still and moving pictures and not be “stuck in movies”.

Under trained mental images can contribute to many learning difficulties, for example:

  • Not visualising still words – poor literacy, dyslexia
  • Not visualising still numbers – poor numeracy, dyscalculia
  • Mental imagery moving too much – wobbly, dyspraxia
  • Multiple simultaneous video screens – ADHD
  • Astounding visual recall and very confused visual construct (frightened by the future) – Autism
  • 3D mental imagery – great for creativity, inappropriate for literacy and numeracy
  • Obsession with the way a word sounds, with no understanding of the meaning – Hyperlexia
  • Out of control mental imagery – any of the above

At Empowering Learning we help people explore their own mental images and teach them very simple skills to access the best mental images for them. We offer on-line and in person training through a network of practitioners worldwide.  just mail me to mind out more, for free.

About olivehickmott

I am a Forensic Learning coach, showing people how they can improve their own learning and change their health. Working with creative neurodivergent students is a joy, as they learn new skills to overcome many of their learning challenges.
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MoCCA Fest This Weekend!

Charles Fetherolf (Giants in the Earth, Sons of Cain, District Comics, Once Upon a Time Machine’s “The Crossing”) has a table at the always-fun Museum of Comic and Cartoon Art (MoCCA) Arts Festival this weekend (Saturday April 6 & Sunday April 7, 11am-6pm). You’ll find him at Table C74, just ahead and a bit to your right as you walk in the main entrance.

On Saturday All weekend!, he’ll be joined by Andrew Carl (editor of OUaTM, writer of “John Henry”) with a hefty pile of Once Upon a Time Machines to sell & sign together.

So if you can, head to the 69th Regiment Armory (68 Lexington Avenue, between E. 25th & E. 26th Streets) in Manhattan, NY, and say hi! Table C74MoCCA Floor Planmoccafest2013poster

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Filed under Appearances, News

One response to “MoCCA Fest This Weekend!

  1. Wow, it’s wonderful festival. I like the design.

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Candy King E Liquid 100 ML - Worms

Tax included.

Candy King Worms brings you the definitive sour gummy worms ejuice that wins all battles and settles all scores. The classic wriggling, squirming, neon, creepy crawlers are so good that they clearly can’t be part of this world. The stellar bunch bring a certain other-worldly pop to your usual chewy treat. The taste of strawberry twists around with subtle hints of raspberries and cherries.

Nicotine Level: 0 MG, 3 MG, 6 MG.


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Every day, a photograph

“Dead, your Majesty. Dead, my lords and gentlemen. Dead, Right Reverends and Wrong Reverends of every order. Dead, men and women, born with Heavenly compassion in your hearts. And dying thus around us every day.”
– Charles Dickens

2 thoughts on “Every day, a photograph

  1. Phil October 20, 2017 / 9:35 am

    Flagstaff! I once bought a sweater, a beet juice, and some tater tots there on the way to the Flintstone’s Campground on the rim of the Grand Canyon. Saw a cowboy and his horse sideways on the ground. Those were some days.

  2. msgtam09 October 20, 2017 / 10:55 am

    About time you posted another picture. Powerful stuff here.

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Life Tools Foundation

Welcome to Life Tools Foundation!

We are pleased to offer you a convenient, online method to apply for financial aid through FACTS for Life Tools Foundation.

Simple Steps to Apply for Financial Aid Online

1. If you have already created a user account, please enter your existing username and password and click Sign In. If you are a New FACTS User please select Create username & password to begin.

2. Then click on the Start Application Link.

3. Select the appropriate school year.

4. Complete the steps as prompted.

Having difficulties? Check our FAQs.


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By Carolynn Buser Chief Content Officer Published May 14, 2019 at 3:01 PM

I've written in the past about my love of the "salt facial" offered exclusively in Milwaukee at AESTHETICS 360° Face & Body Center in the Historic Third Ward.

THIS is my solution to getting back the glow and now is the time to do it.

If you are interested in learning more on your options to get your skin in optimal summer shape watch this below! AND watch OnMilwaukee's Instagram today at 4 p.m. for a chance to get that glow-up for free.

Carolynn Buser Chief Content Officer

Carolynn Buser is one of Milwaukee's loudest and most adamant cheerleaders (don't dare try to disagree). She's the primary voice behind much of OnMilwaukee's social media and content direction, and apologizes in advance if she can be too sarcastic at times.

What else? She's a wine lover, closet trashy novel reader, beauty supplies addict and devourer of cheese (shocker for a Wisconsin born and bred girl, right?). She's also a bit of a foodie, which is a word most of you hate, we know. She works as hard as she plays - and that includes in the gym! So, you've probably seen her at one of the area's newest restaurant openings (and yes, she will share her opinions good or bad) or enjoying a cold one at a local pub.

All in all, Carolynn's a believer in positive thinking and will do her best to smack down your negative ones while writing about her city, her loves, quests and more.


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ONPASSIVE is Preparing All of Us to Succeed

timothy cousino ONPASSIVE Community

ONPASSIVE is preparing all of us to succeed. Through innovation and cutting edge technology, get ready to win. Yes, this means everyone including you.

Timothy Cousino

onpassive founder

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OnTrack Training and Technical Assistance

New York

  • The OnTrackNY initiative provides live training and technical assistance, as well as manuals and other web-based resources to OnTrackNY programs and other providers implementing services to people experiencing first episode psychosis throughout New York State.
  • For general information about the OnTrackNY initiative, or for training and consultation related to OnTrackNY, email

  • OnTrack provides manuals and other web-based resources as well as consultation and training to programs and State agencies that would like to implement Coordinated Specialty Care teams (CSC) for people with early psychosis. OnTrackUSA builds on our experience providing CSC as part of the NIMH-funded RAISE Connection Program and its extension, OnTrackNY. OnTrackUSA helps to implement CSC teams that provide innovative, evidence-based, recovery-oriented treatment to young people who have recently begun experiencing psychotic symptoms. These teams help people achieve their goals for school, work and relationships.
  • For more information on our consultations, view CSC Consultation for OnTrackUSA.
  • For training and consultation related to OnTrackUSA, email

OnTrackCentral provides technical assistance and support to OnTrackNY teams that are delivering services to youth and young adults throughout New York State.

OnTrackCentral focuses on:

  • Technical Assistance: Provides training and guidance for OnTrackNY teams
  • Quality Improvement: Identifies opportunities for improving the quality of care provided by OnTrackNY teams throughout the state.
  • Treatment Enhancements: Focuses on ways to enhance the OnTrackNY model to meet the needs of youth and young adults within their communities.
  • Research: Collaborates with researchers to understand early psychosis, ways to improve services and help people in their recovery.
  • Policy: Informs the development of local and national policies that support the implementation and dissemination of early treatment services such as OnTrackNY.

© 2021 Center for Practice Innovations


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Monday, November 17, 2008

There’s no speech or language where the voice is not heard

The photo that’s been doing the rounds in Indonesia this past week or two is the one below.

It is, as you may have guessed, the last moments before going sub-terrestrial, of one of the Bali Bombers. Now, I’m not a supporter of capital punishment at all, even in this case, but I can’t feel any sadness at the death of these three. Or for that matter, though, any feeling that justice has been done either. The scary thing here is because of the bumbling way the Indonesian government handled this, they managed to turn these three from convicted murderers into minor celebrities here. The larger version of this image appeared in print, in various local newspapers was a little scarier being as it showed a much larger crowd. And it caused quite a stir, not least when it was revealed that several high ranking cops attended as observers.

But for all that it demands a little perspective. This execution had had a several week build up, and a massive media frenzy (both inside and outside Indonesia) had accompanied the days before and after the shooting. The funeral of Samudra and the others was widely expected to provide a focal point for the hotheads and pull a crowd of the ardent caliphate desiring believers (or them what you will).

It, according to all reports, had a crowd of some 1000. We know they came from inside and outside the village:

Abdul Rahim, a key figure in the group, said: "Hundreds of us are waiting in Solo to come … but on the day of the execution there could be 1000 here."

In a country of 230 million.

Even allowing for the fact that most Indonesians living outside of Java would have found it hard to get there, there are still 130 million people in Java…so they managed, not even taking into account the local village population (200?, 500?) to pull one in 130,000 Javanese.

Huge. Your average wacko Church preaching the end of time in Alaska does much better than that, I’m sure.

Wandering around the top floor to Borobudur the other afternoon I offered to take a photo for two young-ish girls (20ish) who were climbing the central dome (quite contrary to the signs on the rather spectacular 9th Century monument, but in Indonesia rules are at best vague). The two, from somewhere in the country…the monument pulls in more local tourists than offshore, and it pulls in a fair few of those…but likely Java were dressed as about 10-15% of girls their age are here, with modest clothing and ħijāb. I thought nothing of this, smiled and clicked the phone’s camera button.

They then giggled at the bulé, said thank you and asked to take our photo. I don’t get a ‘can I take your photo?’ request that often, it’s much more often the other way around. So I said yes and they clicked.

I thought nothing of it as they wandered away but then it hit me, how much my attitudes had changed since I’d arrived in Indonesia. I first came here as a visitor and later a resident I was shockingly naïve. Sure I’d seen folks in various Muslim attire and even known a few across the years to talk to. And had spent the early part of my life in Singapore.

However never had I been immersed, for a very long time in such an alien culture to my own. We pride in ourselves in New Zealand and Australian at our diversity and multi-culturalism but the real truth is that we are mostly conservative folks out of the European grand tradition of what we see as liberalism, with a few bits of exotica around the edges to make ourselves feel diverse. And those bits around the edges are expected to divest themselves of where they came from, apart from a token nod here and there, over a generation or two, if they want to stay.

So to come and live in a society where I was the alien, and expected to conform was a shock.

I have to be honest, when I first delved into Java (Bali is different, there isn’t quite that cultural abyss to deal with..some but not absolute…2 million smiling tourists a year does that to an island).

But Java, yeah, especially once you leave the mega-opolis of Jakarta, is something else and we are taught in the west to be, more than that...terrified of it, and photos like the one above and the media, and relentless travel warnings all play their part.

This is, we a told, a nation that is 90% Muslim.

The reality, of course, as those girls are evidence, is quite different, dramatically so. And the Muslim mass, ħijāb or not, or the thousand variations of that religion that make up that 90% figure, are a million generous and welcoming kilometres away from that miniscule turnout at the funeral, or the travel warnings written in the comfy offices of Canberra and then transcribed without really any understanding of what they might actually mean, in further comfy offices in Wellington.

And so, this week, for perhaps the thirtieth time over the past four years, Brigid and I went back to Java. This time it was different. We’d decided to make our trek to the last beach at the end of the road, Jepara, by road trip from Yogyakarta, through the highlands of Jawa Tengah to Semarang and then north. The last part we’d done many times and much of it is a shitty endless stretch of endless road works.

The first bit, though was new to us both. So we’d contacted Ali, our driver (after the brief thought to hire a car had been dismissed) and said drive on down please.

We were staying as many times before at the Grand Hyatt in north west Jogja. It’s a big old sprawling behemoth, with a big curling swimming pool that goes under rock pools, waterfalls, bridges and down steps, and is a refreshing place to enjoy a snog with th’wife and a Bintang after a day in the grime of Javanese factories.

Last time we were there together they had a Mexican evening and I managed to stand next to a mass murderer, Suharto, a first for me.

This time, there were two events of note. Firstly there was an Audi convention. This meant that as we checked in Audi-less, our Hyatt Gold Card meant nothing. I flashed it and you could see the girl thinking ‘No TT, no upgrade’ thus we ended up on the ground floor.

The other event of note was the Cigarette Sales Convention. Anywhere else in the world post, about 1970, this would be a low-key event, so as to avoid negative comments verging on abuse. Not in Indonesia. Here the folks proudly wore their khaki uniforms with large Marlboro branding on the back and a dozen other badges on the front. And they sat in the restaurant for breakfast puffing with some pride. In fact the guy at the next table managed to eat, text on one phone, talk on the other one (important people always have two here) and smoke half a packet.

Ali arrived about 8 and we headed off.

I really had no idea what to expect. It was only 100km or so but in Indonesia, depending on the traffic and the quarries they often call roads that can take a while.

Ali said 2 hours would do it, which was ok, and happily it took a wee bit less than that. The road was little worse than large parts of the national roading system in New Zealand, albeit with the usual fairly hefty dose of homicidal maniacs. Fortunately the maniacs drive at a slower speed than the maniacs in the west, 80 km/h being a fairly high speed.

Ali had one of those in the front TV / DVD players that are so popular here..watching a sinetron, or singing karaoke, whilst swerving past or avoiding belching trucks and buses is quite the thing to do. He offered to put it on.

But since we’d not been this way before we demurred, deciding, for a variety of reasons, on the view.

The thing about Java is that it mostly consists of areas of unspeakable grime which, without warning, mutate into areas of unspeakable beauty. And so it was as we left Jogja and went uphill. But the higher we went the lovelier it seemed to become, and even the grimy bits, like the almost alpine desa of Ambarawa with it’s mix of Chinese Temples, towering Christian Churches and stately Mosques, seem quite pretty and aloof from the chaos of the bigger towns down the hill.

And it, as always in Java, hits me how clean, if you can call grimy clean, Java is compared to the trash that sadly covers Bali now. The rivers, excluding the big cities, run garbage free unlike any in Bali these days.java5

No, Java has a beauty and a serenity that runs counter to the fact that it’s the most populated space on Earth and the Javanese are, even in the mega-cities, perhaps the most gracious, welcoming people I’ve met. Not once have I felt as threatened as I do on an average Saturday night downtown in Auckland or Sydney. Not once have I felt the threat that the western media, paranoia and travel warnings tell me I should feel in this island where I am not just a minority but a bizarre oddity representing something that people can mostly only imagine from images and the mass media which offers them as twisted a view of the west as we have of places like the hills of Jawa Tengah. Where evil Muslim madrassahs are supposed to fester.

The next day, having worked our way through the endless concrete road works out of Semarang, being rushed to preempt the rainy season and the flooding that washes out the old bitumen road every year, we found ourselves back in the car, a shitty Izuzu Panther that shuddered above 60km/h and has broken back seat springs which twisted my back in a way that has meant I’m still stuffing painkillers in my mouth.

TV? No thanks Ali. So Ali put on a CD with a selection of some of the worst songs ever recorded, all cover versions mind, and off we trotted to visit Borobudur.

Borobudur was / is quite something. I think both Brigid and myself felt that we’d been remiss in not making the 15km trip there in past trips to the area, but there you go, and we’d made it now.java8

Outside it was your typical slightly rundown Indonesian tourist attraction. Lots of stalls selling the same sorts of things and dozens of folks who swooped on the tourist from the moment he or she alighted. We found our very own permanent attachment just after we got out. Brushing aside the masses wanting sell us fans/ books/photos/ things that made noises / dolls and everything else we’d never need, he introduced himself as Ali. Another one..but as one would guess Alis are never in short supply in Java. He was short, had shocking teeth, all smoke stained and broken but he grinned widely through them and offered us his miniature stone Buddhas. Do we need these…no…sorry…ma’af, pak, tak mau..

Only Rp100, 000 said he….

tidak, pak

We wandered in and Ali followed.

You have KITAS? He asked…

Ali pointed us to the locals’ entrance, where it was Rp9,000 (80c) rather than the tourist gate (US$11) and I smiled gratefully at him

Rp70,000? He said…

I was not that grateful.

He wandered in and pointed us in the direction of the big grey pile of ancient stone up the hill. A couple of wheeled trains sat by the gate with hopeful Indonesian families sitting in them. They were not, it seemed, going anywhere fast so we walked up the hill.

Borobudur was everything I’ve ever thought it might be. It was awe inspiring and we stood at the top of 1200 years (much of it spent covered up and lost) looking down at the clouds and the Indonesians, kids, army guys, families and students wandering around with obvious self pride in this monument to centuries of civilization, back to the time when Europeans were still thinking about working out stone castles and this was constructed, as were the other great monuments in the region. To the great Hindu Kingdoms that ruled this region and the Islamic armies that drove them east to Bali.

We walked down the stairs, the trains had still not left and the families still sat hopefully (Indonesians understand patience in a way I will never) and Ali was waiting.

Good, eh?

Tidak, mas.

As we walked out in search of the carpark, the swarms came at us again, but many more. The batik fans now came in all sorts of sizes and there were t-shirts. Ali brushed them away.

Anda berasal? said he.

New Zealand..Selandia Baru I replied. Anda?

Dari Indonesia, Bapak, he replied.

I smiled at that, how could you not, and looked for the car.

Tempat pakir disana, pak, he said and pointed towards our car.

No I said, and pushed a Rp10,000 note into his hand..for your help. Terima Kasih, Pak Ali..hati hati..

Ali did a happy little skip, shook my hand and ran off looking for someone else to help.

Writing this, and working online to clarify names, I realized just how little data there is available about Java. Type Java into Google and most of the hits come from the programming language...even Wikipedia has the island as second on it’s google ranking. And this island, the 13th largest in the word, with one of the world’s largest cities on it, and the centre of the 4th most populous nation in the world, has a far smaller entry (1969 words) than the programming language (6425 words).

We know nothing about it apart from some idea that we need to be scared of it.

We need to be very afraid, not necessarily of those people in the top photo but of the arrogance, blinkers and ignorance that add to that fear.

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Centerville is a town in Allegany County, New York, United States. The population was 762 at the 2000 census. The town is named after its principal settlement. The Town of Centerville is in the northwest corner of the Allegany County.

Agriculture Law Lawyers In Centerville New York

What is agriculture law?

Agriculture Law involves farmers, landowners, and others in regards to crop-growing, farming processes, dairy production, livestock, farmland use, government subsidization of farming, and seasonal and migrant farm workers. There are numerous federal statutes that subsidize, regulate or otherwise directly affect agricultural activity. Some focusing on protecting migrant and seasonal agricultural workers, some for financial assistance to farmers and others for the construction or improvement of farm housing and other agriculturally related purposes.


text: Blackslot trusts Openprovider to personally care for their reseller partners’ growth. Openprovider works towards expanding their portfolio of products and services on a daily basis, which increases our trust in them. The excellent level of customer interaction coupled with the ability to manage multiple services from a simple yet powerful control panel, makes Openprovider an amazing partner to work with.


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Dry Eyes and Cataract Surgery

Dry Eyes and Cataract Surgery

A recent study has shown that taking care of dry eye syndrome before cataract surgery provides patients not only with more comfortable eyes but also better vision after surgery[1].

When the normally clear lens within your eye becomes cloudy and opaque, it is called a cataract. At some point, a cataract will blur your vision enough that it will start to interfere with your daily activities. When this happens, your optometrist will refer you to an ophthalmologist (eye surgeon) who may recommend the surgical removal of the cataract. During cataract surgery, the old cloudy lens is removed and an intraocular lens implant is inserted in your eye to serve as a new lens.

Since the incidence of dry eyes and cataracts both increase with age, it is no surprise that four out of five cataract patients may have moderate to severe dry eye[2], but many do not know it. When a person has dry eyes, the measurements taken prior to surgery that determine the strength of the intraocular lens implants can be highly variable and as a result, inaccurate. Treating and managing dry eye even for four to six weeks prior to a consultation with the ophthalmologist can lead to better quality measurements and better surgical outcomes.

Since many people have dry eye syndrome without symptoms, be sure to discuss the possibility of dry eyes with your optometrist before you have cataract surgery.

[1] Epitropoulos AT, Matossian C, Berdy GJ, et al. The effect of tear osmolarity on repeatability of keratometry for cataract surgery planning. J Cataract Refract Surg. 2015 Aug;41(8):1672-7
[2] Trattler WB. Prevalence of dry eye in surgical populations; ASCRS Eyeworld CME Supplement; October 2013


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Welcome to the team, Northampton!

Written by Tom Brown

Northamptonshire Opus LGSS team at a Northampton Jobs Fair

Last week, our second Opus LGSS office opened its doors in Northampton and is now recruiting on behalf of Northamptonshire County Council. Oliver Askew, Recruitment Consultant for Opus LGSS, gives us an insight into what went on in the team’s first week…

On Tuesday morning, the four of us- Oliver, Megan, Kat and Terrie- arrived in the shiny new office, and it took us all a while to get over just how shiny and new it really was! We were all waiting for the bubble to burst and for us to find out that we were actually working in some gloomy back room somewhere.

After the standard “getting to know you” exercises we started to find out a little bit more about each other- Terrie had the unfair advantage of having worked with both Kat and myself in the past.

Wednesday and Thursday saw us starting to get to grips with the systems and we learnt a lot about the Opus way of working. Things were really starting to come together and we were finally accepting the shiny new office as a home.

Friday was a big day, since it was our first team outing together as Opus LGSS. We attended the Northampton Jobs Fair in the Guildhall, and the pressure was on to secure lots of new sign ups in the area. After setting up our stand with Opus LGSS pens, stress balls, banners, post-it notes and of course the essential sweet- bowl, we opened the doors to the great Northamptonshire public.
After four hours chatting with a steady stream of prospective candidates we managed to get over 100 people signed up and ready to contact!

This week started with us perfecting the basics and getting our screens, phones and printer installed. All of us are finding our own ways and supporting each other. We have even completed some early bird registrations ready for going live on 31 July! We each have our own pipeline of candidates slowly building up and are excited to get into gear. We will be spending the latter half of the week going back to where it all began and making the journey to Ipswich to meet with the team there.

All of us are very much looking forward to learning from them and getting a glimpse into what the future could hold for us after we go live- and of course breakfast on the Friday morning after the Thursday night drinks!

Written by Tom Brown


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Occupational Therapist

Job Category: Social Care
Reference N/A
Directorate Peterborough City Council
Service Peterborough City Council
Contract Type Temporary
Duration Initially 3 months
Location Peterborough
Job Type Full-time
Start Date ASAP
Hours per week 37
Rate From £30.00 to £33.00 per hour

About the Role:

Opus East are recruiting for an Occupational Therapist on behalf of Peterborough City Council.

  •  To receive reablement referrals and complete Occupational Therapy home assessments to identify reablement potential.
  • Assess the functional needs of disabled people, including those with variable conditions, physical and mental health, chronic and terminal illness and learning disabilities, in the community.
  • Assess and supply equipment and minor adaptations to aid independence in daily activities through formulating and implementing intervention plans aimed at reducing the impact of disability and ill health.
  • Goal setting in collaboration with the client, their family and carer to increase independence in identified activities of daily living.
  • Write timely, accurate and appropriate goals, reports, case notes and complete appropriate outcome measures.
  • To work closely with Reablement colleagues to provide the best possible service and outcome for the client.
  • To manage a case load of Occupational Therapy cases as an autonomous practitioner, evidencing problem solving and professional reasoning skills.
  • To use appropriate communication, reasoning and negotiation skills to establish a therapeutic relationship with clients with a diversity of needs and their carers, and manage potential barriers to communication.
  • To use knowledge of medical and surgical conditions and their impact on functional ability to carry out and record comprehensive assessments of people with functional and specialist needs within the home environment taking into account the interaction between health, housing and social needs.
  • To perform occupational analysis and risk evaluation leading to the formulation of intervention options which reduce the consequences of disability and deteriorating conditions.
  • To identify and select, with the client and their carers, the most appropriate intervention options about rehabilitation, equipment and housing needs, which balance the interaction of risk, safety, client choice, independence, eligibility for services and cost effectiveness respecting their diversity and cultural needs.
  • To independently manage a case load of reablement clients, meeting departmental targets in line with the demands of the service, as well as complying with the Health and Care Professions Council (HCPC) standards.
  • To make recommendations for minor adaptations and disabled facility grants where appropriate, working closely with care and repair to achieve the most appropriate adaptations increasing independence and reducing the level of continuing care needs where relevant.
  • To liaise with health and social care professionals and other related statutory, private and voluntary organisations, providing written reports, recommendations and referrals as appropriate, to achieve the best care and outcome for the client.
  • To progress the intervention to a satisfactory closure, undertaking reviews and evaluating outcomes.
  • To identify unmet needs and gaps in service provision and highlight these to senior staff.
  • To maintain accurate and up to date records and documentation on the computer client database consistent with legal and organisational requirements.
  • To comply with all relevant community care, housing legislation, departmental policies and procedures and Health Promotion strategies.
  • To have a working knowledge of moving and handling legislation, best practice and associated equipment and its application to service users and their carers in relation to ergonomic and dynamic activities.
  • To actively seek to increase professional knowledge and skills by participating in Continuing Professional development (CPD) opportunities, reflective practice and working within evidence based practice and NICE guidelines.
  • To identify training needs within supervision through constructive feedback to ensure best practice.
  • Maintain up-to-date and accurate CPD records in line within HCPC requirements.
  • Implement departmental outcome measures to produce measurable data to demonstrate the effectiveness of the service.
  • Actively participate in in-service projects or research to develop the service provision to support service improvements.
  • Comply with departmental and OT policies when planning OT interventions and evaluating their effectiveness to ensure that the service provided is effective and efficient.
  • To liaise with health and social care professionals and other related statutory, private and voluntary organisations, recommendations and referrals when appropriate.
  • To participate in staff and service development through attendance at service meetings and in-service training sessions.
  • Previous experience of a social care or health setting.
  • Experience of electronic and other forms of communications for sharing of information – windows based.
  • Previous experience of close multi-disciplinary team working
  • Awareness of the importance of safe practice
  • Degree in BSc/MSc Occupational Therapy or equivalent
  • HCPC Registered
  • To have a driving licence and the ability to travel in and around the Peterborough area to visit service user
  • Holiday entitlement of up to 31 days per annum, pro-rata (including bank holidays) where applicable
  • Permanent equivalent council pay rates from commencement
  • Pension contribution from employer
  • Flexible working hours
  • Opus candidates hear about jobs first
  • Opportunity to apply for permanent positions as an ‘internal candidate’
  • Gain experience to support permanent applications

Apply for job role

Call us for more information or fill in the form below

Call us on 03301 242800
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Privacy Policy, allowing you to hold my details on file, to share
my CV with recruiting managers in order to find me a job and to
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Why choose Opus?

We get sight of all temporary and interim vacancies for Suffolk County Council and Babergh & Mid Suffolk District Councils first. By working through Opus, you will be notified of the job opportunities before any other recruitment agencies are even aware.

We have a wealth of knowledge and experience within the public sector, with many of our employees having previously worked for and with both Suffolk County Council and Babergh & Mid Suffolk District Councils for several years.

In the last month alone, we filled 95% of jobs using our own pool of registered candidates. The remainder went out to our trusted supply chain.

“I have found Opus People Solutions to be effective and efficient. Staff in the team take good care to help candidates and managers, with accurate information and advice.”

Balwinder Kaur, Interim Assistant Director

“Opus are a friendly, quick responding group, who have always been able to provide the resources as and when I need it. Thank you for making my job that little bit easier!”

Martin Finbow, PC Skills Centre Manager

“I highly recommend Opus as an agency. They were extremely supportive through all the recruitment process and the relevant paperwork. I’m thoroughly enjoying my new role and my colleagues are extremely friendly.”

Andreea Catarov, Business Support Officer

“I have found that Opus colleagues are good at matching the skills of people to the vacant post; the CVs I have received have been ‘spot on’. The process for recruiting a temporary assignment is clear and well supported by Opus staff.”

Sue Farrow, Placement Team Manager

“Thank you for providing me with the excellent job searching opportunities, easy to use website, efficient register process, friendly and helpful staff. I had a great experience of using Opus and will definitely choose Opus again.”

Ronnie Tidy, Assessment Co-ordinator

“I have had great success working with Opus on our recruitment requirements. The level of success we have experienced working with Opus and sourcing and filling our vacancies, has been excellent. I have built up a brilliant working relationship with them, they have the time to fully understand our business and recruitment needs.”

Hannah Pittock, Schools’ Choice

“Opus was very helpful in the recruitment process, I was lucky enough to get a placement within the council instantly. The team are incredibly friendly and are always happy to help.”

Jamaal Guthrie, Customer Service Advisor

“Opus have been great in finding temporary work for me. They have been extremely helpful and I would highly recommend their services if you are looking for a platform to build skills, confidence and gain experience in a work place and further.”

James Brown, Business Support Officer

“Opus were able to source and provide a number of specialist professional engineers on both long and short term arrangements to help me manage workloads. Managing these appointments via the online portal was a straightforward process.”

Colin Godfrey, Structures Manager

“The service I received was fantastic, Opus helped me obtain a temporary position to gain office and professional experience which I lacked after finishing university. My temporary position was also made permanent in a role that I found both enjoyable and interesting.”

Megan Lloyd, Customer Service Advisor

Let's talk about your next job...


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The Grand Orange Lodge would like to thank all members and supporters who took part in our Boyne celebration parades at the weekend.

The overwhelming majority of participants behaved impeccably and enjoyed a day of celebration. Families came out to enjoy the day and there was a wonderful atmosphere in our city streets.

Unfortunately, the actions of one or two people were a cause for concern. We have been clear on this, but state it again – if you can’t celebrate your own faith and culture without taunting or mocking others then stay at home, we don’t want you there.

The Orange Order is bound in the belief of religious freedoms for all. We promote our own faith, and we accept those that choose other paths.

We are aware that a couple of members of a band that was hired in for the parade did not behave to the standards we would expect. All bands that provide music at our parades are external to the Orange Order, but nonetheless, they are expected to behave to the highest of standards and this is made clear well in advance of all events.

We have already contacted one band from the parade on Saturday and that has led to the expulsion of at least one member.

We did note the comments made by Canon White about our parades. He has continually refused to meet with us for over a year. He put out a statement last night strongly criticising parade songs he perceives to be offensive, but quoted information in his statement that was supplied by Call it Out who have some interesting views of their own on songs! This is something he may wish to reflect on.

Looking ahead, we will continue to work with relevant authorities, but also seek to build on the positive steps we have taken with senior members of the Catholic Church in Scotland to work together on shared solutions where all religions show mutual respect and tolerance.


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Rostam talks sequencing and saxophone, plays tracks from 'Changephobia'

Rostam plays tracks from his latest album 'Changephobia' (MPR)

From his studio in California, Rostam joins The Current to play songs from his sophomore record, Changephobia. We catch up with the prolific producer, songwriter, and composer about the sequencing decisions he made on the record, incorporating the saxophone as a central sound, and referencing grunge in his work for the first time.

Interview Transcription

Edited for clarity and length.

MADDIE: Hi, I'm Maddie sitting down with another of The Current virtual sessions. Today, I'm pleased to be joined by Rostam. You just heard his song "In A River," and "These Kids We Knew". Rostam, thank you so much for being here.

ROSTAM BATMANGLIJ: Oh, it's so nice to be here.

Where are you at right now?

I'm in my studio in California.

Sweet. Is that where you have spent the bulk of the past year?

Yes, it's a good question. Mostly I have been, I've been making a lot of music. When the pandemic hit I was almost coming to the end of writing this new album Changephobia, and I needed alone time in order to finish it--in order to go down every road that the sort of like, however many hours it takes to just feel like you really finished recording a song and it's as good as it could be. I needed that time, so I have spent a lot of time in the studio finishing songs.

As a career musician who has been busy for so many years, constantly on the road, do you feel like your perspective on making this record was influenced by this kind of opportunity to have that stillness and alone time?

There's, you know, it's interesting, the song "These Kids We Knew" was pretty much the only song that I wrote during the pandemic, and it came out and he very quickly, and it came out of me, while I had a fever, and later, I would discover discover that that fever was from COVID-19. But most of these songs I probably spent like two and a half or three years writing the lyrics over time, and really taking my time to write the lyrics.

Is that similar to the songwriting process that you had for Half-Light back in 2017? Or is that a different approach for you?

Well, for the for the record, Half-Light, I spent eight years kind of picking up and putting down those songs, and some of the songs evolved, others not much. So this album was much more condensed. My lyric writing process was was influenced by working with Hamilton Leithauser because the way that he writes lyrics is so much about revision over time, and he taught me how to use the Notes app that's in the iPhone and on the iPad, and in Mac OS and just lets you be able to revise lyrics, whether you're sitting at your computer or on your phone or in any place. I learned from him that there's something nice about taking small minutes like right before bed, or right when you wake up and and revising your lyrics.

Do your songs start with lyrics for you? Or is that something that kind of comes after you have the music already in your head?

Oftentimes, it is the music that starts. But once that happens, I'll start to create a notes file where I'll throw things at the wall and see what sticks. I'll throw a line down that doesn't have a melody written yet. But just a line that I feel is a lyric that belongs in a song. I'll sometimes try to figure out how to make that lyric work in the context of a song. Other times I'll write melodies, and the melodies will then need lyrics to become a song. But yes, it usually is the music that starts things, but I also do like being able to write lyrics, without them having to necessarily conform to a melody. So in that way, it's like lyric writing for the sake of lyric writing. Saying things because you want them to be said, in a song.

Yeah, it sounds like those elements can converge--morphing into their own things in different ways there. That's interesting. The sonic world that we have entered with these singles that have been released so far off of Changephobia, is different than what we heard on Half-Light. Half-Light had a lot of chambery strings and that was working within that sound base. Where did you think about coming from for this--the way that Changephobia sounds?

Well, I wanted to take a step away from harpsichords and cellos and violins and string arrangements. In some ways the album Half-Light was a project where I wanted to blur the line between what was a string arrangement and what was songwriting. Oftentimes the songs started with a string arrangement, and then became a song over time. On this record, I said "No strings." I wanted to use the saxophone as one of the central sounds of the record. I wanted the sax to fill the album with a mood and an atmosphere that was just so fresh to me. I felt like there wasn't enough sax that reference mid-century jazz in songs. I was trying to push myself to write songs that referenced a certain era of of saxophone music.

That's super interesting. Do you play saxophone? Or do you have anyone that you've been working with on the album who has been playing the bulk of it?

Yes. So there's one person we met in March of 2018. His name is Henry Solomon and he played on about half the songs on the record. The first day that I met him, I had all these parts written, and I had ideas and I also asked him to improvise. Then over the three years that I was finishing the record, he would come in at different times, and play things at different stages. Simultaneously, I brought him in to play on the Haim album, Women in Music Pt. III, so he played the saxophone on that album as well. He's definitely been an important part of the sound of a lot of the music that I've made in the last few years.

When you're working on a solo record, like Changephobia, do you have a lot of collaborators that you work with like Henry? Or is it something that you mostly kind of are doing on your own?

On this record it really was a lot about having Henry do the things that I could not do on my own. In some ways that was to play the sax, but also to reference areas of jazz that he's much more fluent in than I am, I could say, I love a certain era of jazz. But Henry understands that music differently, whereas with classical music, I can say I love a certain era of classical music. But I can also tell you that I know exactly what's going on mechanically. I know how to write music like that, and I don't really know how to write Bebop melodies, and I didn't really want to try because I think there's a component of them that's so tied to improvisation. So a lot of the sax parts that Henry played were improvised. Some of them were things that I wrote out but a lot of them just came off the top of his head and I would record like 30 or 40 takes, and then I would edit a performance out of his improvisations. But yeah, I didn't have very many collaborators on this album.

Do you think that writing in this sort of jazz Bebop world was a challenge for you? Or was it kind of refreshing to get away from like yo were saying, classical, that you have such a sort of deep, intense knowledge of?

I think the answer is both. It was challenging, and I wanted to challenge myself. And I kind of wanted to redefine myself a little bit. I wanted to change how people saw me as a producer and a composer. I think the way to do that was to do things that I hadn't done before.

I have been really intrigued by the sort of release format that you've been approaching Changephobia with because now at the time that we're having this conversation there's six of the eleven songs out--the first five on the album. What was your thought process behind releasing those songs in that manner?

I think for me, what it was sort of about was wanting every song to have a little bit of life in the universe. In this day and age when the album comes out there's this gravity that happens where everything seems to be in outer space all of a sudden and anything's possible. Then the album comes out and it's almost like, within a couple days it can feel like it didn't come out at all and it's gone. There is something nice about building up some anticipation, and traditionally people did release songs before, leading up to an album. Then they were able to focus on songs after the album came out. But nowadays it's pretty hard to get people to focus or be excited about songs after an album is out. So you do have to sort of change the order a little bit. But that said, I could also one day imagine putting out an album, every song on the same day. There's something cool about putting out an album and its entire release is an event. So you might see that for me, and I also like the idea of putting out some songs in a surprising way in the future. So I would expect that.

Expect to be surprised, okay, I'm making a mental note of it and looking forward to it. Yeah, I've been listening to you, as a listener--the songs that you released are sequential. I feel like I've almost kind of gotten to experience this first half of an album in the way it's meant to be heard. Is album sequencing something you think a lot about in your records?

I did on this album. It was important to me to try to play this album for friends in sequence. So I would make an mp3 of the entire album, you know, a single 38 minute mp3 and I would just sit down and press play with friends. I would say, "We can talk a little bit or we don't have to talk much, but it's just gonna play." And I think that was good for me and I think it was good for the process. But yes, sequencing was important.

What kinds of things were you like noticing and working on in revising in those like early listenings with sequencing?

That's a good question, I would say my original thought was to have "From The Back Of A Cab" be track 1, and that was true for years and years. And then my mastering engineer Emily Lazar, who I've made like nine albums with--this is the ninth album--she really pushed me to consider putting "These Kids" first and making "From The Back Of A Cab" second, and I tried it and I liked what it did. I liked how it sort of created almost like an introduction. I knew that "From The Back Of A Cab" was an emotional song, and some people have told some people told me that the song made them feel like they were about to cry, even on first listen. So I think there was something good about, about getting there by track 2 and not starting the album in such an extremely emotional place.

Yeah, kind of gives you a second to get into that world before you're kind of hit with that emotional track. Is there anything that we should be looking forward to on the second half of the album that hasn't been introduced yet as an idea or a sound the first half? Or is it kind of consistent with what we've heard so far?

Well, yeah, one of the songs that was one of the most controversial and in choosing to have it be on the album was "Kinney," which we performed live for this session. And that song, it has a drum and bass feel. I think the first half sort of sounds like Radiohead, and the second half kind of sounds like Nirvana or the Pixies. And I grew up with grunge music, but I have not really referenced grunge music in the music that I've made in my life and this was the first time where--it is my own kind of mathy Middle Eastern version of grunge, so it's it's its own flavor. I wouldn't say that it's strictly grunge. But I was worried that some people might hear something that's so heavy sounding and feel like it wasn't for them. I always joked I'm going to lose the grandparents with this one.

Yeah, what what helped in making your final decision to include that song on the album?

I think I sent it to a couple people I trusted and at least one person was like, "I think this might be my favorite on the album." I was like, okay, it's gonna be some people's favorite. It might be one that turns off some people, but it's going to be some people's favorite and I think it's okay to have songs that are controversial on an album. So I went ahead with it.

That's an exciting thing to look forward to for the album, which is coming out on June 4, I just wanted to ask quick about how does it feel to write an album for yourself? I know you talked about spending years with these lyrics in comparison to all the records that you've produced in the past few years? I know you mentioned the Haim album and worked with Clairo and Charlie XCX and lots of other favorites. How does the songwriting process feel different when you're working on your own?

People have asked me about characters, and I can't really do that for my own project. Maybe that would change in the future. But when I write songs for the Rostam album, I'm really writing from my own experiences. All the lyrics are inspired by things that did happen to me, or me remembering things that happened to me. So it is very personal. But when I write songs with other people, it's also personal and so much of that work is one on one. It doesn't feel totally removed, but I would just describe it as personal in a different way.

Do you think that getting to work with people and experiencing like their own version of their "personal" changes the way that you look at your own?

If it does, I won't know for five or ten years. I love working with other people and I'm always learning from everybody that I work with, so yes, I'm certainly constantly influenced by the amazing people that I get to work with and I feel lucky that I get to work with them. But can I know how? I don't think I can, not anytime soon.

Songs Played

00:00 In A River
04:15 These Kids We Knew
16:39 Kinney
20:15 4Runner
33:01 To Communicate
All songs appear on Rostam's 2021 release, Changephobia, out now on Matsor Projects.

External Link

Rostam - official site

Host - Maddie
Producer - Derrick Stevens
Digital Producer - Jesse Wiza
Technical Director - Peter Ecklund

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  • Album of the Week: Haim, 'Women In Music Part III' Throughout the record, HAIM navigate heartbreak, the wobbly uncertainty of personal growth, and the vast lands of loneliness - coming together for each other, and for us. The instrumentation is full of enticing restraint, grasping listeners with sharp arrangements that stay with you even after the record has ended.
  • Album of the Week: Vampire Weekend, 'Father of the Bride' While the album attempts to push the boundaries of Koenig's writing, there are many moments that are quintessentially Vampire Weekend and will transport you back to their debut album.
  • Rostam plays songs from 'Half Light' and a Nick Drake cover in The Current studio Touring in support of his 2017 album, 'Half Light,' Rostam, along with his touring string quartet and percussionist, visited The Current studio to chat with Oake & Riley and to perform songs from his album, as well as a cover of a beloved tune by Nick Drake.
  • Hamilton Leithauser performs a solo acoustic set at The Current Equipped with only a nylon-string acoustic guitar, Hamilton Leithauser stopped at The Current studio for a session hosted by Mark Wheat. The result is a stunning set of three heartstring-tugging songs from 'I Had a Dream That You Were Mine,' Leithauser's collaborative album with Rostam Batmanglij. There are even some Dylanesque overtones ... and that's not the only local connection.
  • Album Review: Vampire Weekend - Contra Ezra Koenig, Chris Baio, Rostam Batmanglij, and Chris Tomson formed the band Vampire Weekend early in 2006, when they were finishing up their studies at Columbia University on the Upper West Side of NYC.
  • Album Review: Discovery - LP Discovery is a side-project of sorts (started in 2005) for Vampire Weekend's keyboardist and producer, Rostam Batmanglij and Ra Ra Riot singer Wes Miles. Four years later, they've finally completed an album entitled "LP" released on XL Recordings.

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NEO Steel Drum

Concert in the Country – NEO Steel Drum

Ohio Regional Music Arts and Cultural Outreach (ORMACO) presents a special Saturday Concert in the Country at HeARTland, 8187 Camp Road, Homerville, OH 44235, with NEO Steel Drum as they bring the sounds of the Caribbean to the country with their steel drum ensemble from 7:00 – 9:00 p.m.

Bring your lawn chairs and blankets and enjoy the rhythmic sounds around the HeARTland pond. Tickets are $12 and are available here online or on the day of the event.  For more information call 419-853-6016.

About the Musicians

Erynn and Wilbur Krebs are staples of the steel drum scene in Northeast Ohio. Between the two of them, they play almost a dozen instruments and play any and all styles of music.

David Singhaus, originally from Dover, Ohio, graduated from University of Akron and pursued a master’s at George Mason University, under the direction of steel pan virtuoso Victor Provost. After graduating in 2020, he returned home and is an active musician and teacher in the area.

Matt Diehl, originally from Orrville, graduated from University of Akron and pursued a master’s at Indiana University, graduating in 2019. In addition to freelance playing and teaching, Matt has co-taught the ORMACO after-school steel drum program since the Fall of 2019.

Additional information

Party Bus + Balcony, Balcony Only


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Twice a year (Fall and Spring) the week-long World Tour of Music residency connects students and community with unique cultures from major world groups. The program aims to broaden communities’ positive exposure to different cultures, help them recognize and respect differences and similarities between themselves and persons of other cultures, and strengthen their own cultural identity.

The program presents high-caliber, accessible international artists to the local community, and young people in particular, for a multi-faceted, lasting experience. It also integrates art into a broader social, cultural, political and historical framework; and encourages communities to explore issues and concerns of diverse cultures.

Alla Boara (Italian Folk Songs) - Wadsworth

October 30, 2021 8:00 pm

Urban Troubadour - The Art of French Music

May 1, 2022 2:00 pm


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#681 Haida matrilineal magic

Magical Beings of Haida Gwaii
by Gid7ahl-Gudsllaay Lalaxaaygans (Terri-Lynn Williams-Davidson) and SGaan Jaadgu San Glans (Sara Florence Davidson), illustrated by Judy Hilgemann and Alyssa Koski

Victoria: Heritage House, 2019
$22.95 / 9781772032963

Reviewed by Molly Clarkson

This review contains words in the Haida Language. Both Gaw Tlagee Xaad Kil (Haida Northern Dialect, which brings together several dialects from Gaw Tlagee Old Massett and other northern villages) and HlGaagilda Xaayda Kil (Haida Southern Dialect, which brings together several dialects from HlGaagilda Skidegate and other southern villages) are included. For the purposes of this review the dialects will be marked with an “-n” or an “-s,” respectively, with the exception of the place and proper names. The English approximate of the Haida words are also provided — Molly Clarkson.

Gid7ahl-Gudsllaay Lalaxaaygans (Terri-Lynn Williams-Davidson)

I’m sitting on a hard plastic chair at the Sk’aadGaa Naay Elementary School in HlGaagilda. To my left, the school’s students wiggle and whisper, restrained only by the occasional glance from a teacher seated at the end of each row. Then G̲uud San Glans (Robert Davidson) begins to beat his drum, and the crowd stills. Two young women dressed in traditional regalia — the granddaughters of Guud San Glans and step-granddaughters of Gid7ahl-Gudsllaay Lalaxaaygans — come forward, smiling proudly as they hold up the slim volume for the gathered crowd to see. In this way, Magical Beings of Haida Gwaii is brought into being.

The book opens with a watercolour of the Haida Gwaii archipelago and surrounding waters. Thin lines link specific places — the ancient Haida village at K’yuusda, the mouth of the Awun river, the sky above the offshore ocean — with each of the Magical Beings described in the following pages. In this way, the authors begin the book by reminding us that the power of the Magical Being is drawn from the lands and waters of Haida territory.

White Raven_Xuuya Gaada
SGaan Jaadgu San Glans (Sara Florence Davidson)

An introduction follows. Gid7ahl-Gudsllaay Lalaxaaygans explains where and who she comes from, and what drew her to the Magical Beings and to the creation of this book. “As a child and throughout my life, I tried to imagine how the Magical Beings might look […] I imagined that children today might also be curious” (p. 2). She explains that the Magical Beings may take many forms, but that she has worked with the book’s illustrators to depict the Magical Beings as human women to honour the central role of women in matrilineal Haida culture, and in recognition that many of the Magical Beings are described in oral narratives as female.

Turning the pages, we see intricate watercolour paintings of Haida Gwaii’s mountains, forests, bogs, and berry patches by Judy Hilgemann. The Magical Beings illustrated by Alyssa Koski take centre stage on each page, and the modern form-line of Guud San Glans hides within the wings of sdlakam-n/kulGaay.yaagung-s/butterfly and in the crevasses of kalga-n + s/ice. Like the images that they mirror, each accompanying poem is a collage, filled with references from Yaahl Kaagangs-n/ Xuuya Kaagangs.ngas –s/Raven Travelling (oral narratives)[1] and the Haida laws and teachings that may be inferred from these Magical Beings and their stories.

Fern Woman_Snanjag Jaad

Following each image and associated poem, the authors repeat the story of each Magical Being — this time in narrative form — and interpret the image on the previous page. They explain, for example, why the legs and arms of Hlk’yaan K’uust’aan Jaad-n/Hlk’yan K’uust’aan Jaad-s/Frog Woman are a blotchy green-olive and why Wiid Jaad-n/Wiid Jaada-s/Swainson’s Thrush Woman wears feather on her face and around her neck. They help us to understand what we are seeing.

The book is completed by a pronunciation guide, created by Kihlguula Gaay.ya (Severn Cullis-Suzuki), Jaskwaan (Amanda Bedard), and the Skidegate Haida Immersion Program. This is intended to assist children and their parents in pronouncing and practising the Haida language. There is also a link to Gid7ahl-Gudsllaay Lalaxaaygans’ production company — Raven Calling Productions — where readers can listen to words and refine their pronunciation.

Artistry and advocacy are blended seamlessly in Magical Beings of Haida Gwaii. In the authors’ hands, a children’s book is transformed into a powerful tool for the creation of connection between children and the land and sea, and the reintegration of a Haida worldview into the lives of the next generation of Haida citizens. In the words of Elder GwaaGanad Diane Brown, this book is part of a broader project to reintegrate the Magical Beings into “our natural ways again, as it was with our grandparents.”

If the excited responses of the children at Sk’aadGaa Naay Elementary to the images and poems of Magical Beings are any indication, then this next generation is ready to answer the call.

Sk’aadGaa Naay Elementary School in HlGaagilda (Skidegate). Photo courtesy CBC

Molly Clarkson

Molly Clarkson has a BA and MA in Human Geography from the University of British Columbia. She lives with her partner in HlGaagilda / Skidegate on the Haida Gwaii archipelago, where she works for the Council of the Haida Nation’s Marine Planning Program.

The Ormsby Review. More Books. More Reviews. More Often.

Publisher and Editor: Richard Mackie

The Ormsby Review is a journal service for serious coverage of B.C. books and authors, hosted by Simon Fraser University. The Advisory Board consists of Jean Barman, Robin Fisher, Cole Harris, Wade Davis, Hugh Johnston, Patricia Roy, David Stouck, and Graeme Wynn. Scholarly Patron: SFU Graduate Liberal Studies. Honorary Patron: Yosef Wosk. Provincial Government Patron since September 2018: Creative BC

“Only connect.” – E.M. Forster

[1] This set of stories form a key part of the Haida canon of oral histories.

Illustrator Judy Hilgemann of Campbell River
Illustrator Alyssa Koski of the Kainai Nation (Káínawa, or Blood Tribe) with her grandmother’s Blackfoot dress. Photo by Brent Calver courtesy Okotoks Today
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Camden Gear Hydration Running Belt Review

Camden Gear Hydration Running Belt Review

The Hydration Running Belt by Camden Gear is not your ordinary running belt because it allows for running with more ease and carrying your water bottle hands-free.

How does it do that? By incorporating a water bottle holder into the belt, you will be able to stay hydrated throughout the course of your running.

Camden Gear Hydration Running Belt

This product fits waist sizes up to 43 inches (109 cm), making it ideal for both men and women. It has a velcro strap that allows you to adjust the fit, so it will sit on your waist perfectly. This way, the belt won’t bounce or shift while you move.

It fits even the monster-sized phones.

Aside from this, the product also has large pockets that can fit most smartphones, even the iPhone Plus and Samsung Note.

The pockets are sure to protect your other valuables such as money, credit card, keys, and more. In addition, the running belt also includes four elastic straps used for hanging keys, race bibs, and gel packs.

Overall, the Hydration Running Belt by Camden Gear  is lightweight and snug, and you will hardly notice you are wearing it. It fits the body and does not weigh you down, unlike the other hydration belts. This running belt comes complete with two six-ounce (0.18 liters) bottles that are perfectly sized and are easily accessible.

Features of Camden Gear Hydration Running Belt

  • Fully adjustable hydration running belt that fits waists up to 43 inches (109 cm), great for men, women, and kids
  • Includes a Velcro strap that lets you adjust the fit to your waist
  • Snug and lightweight, does not bounce or shift as you move
  • Fits the body and is comfortable to wear, great for exercising, running, hiking, and traveling
  • Includes large pockets that fit most smartphones with large screens like iPhone 6/7 Plus and Samsung Galaxy Note
  • Includes four elastic straps for keeping or hanging keys, race bibs, and gel packs
  • Includes 2 six-ounce bottles to keep you hydrated wherever you are
  • Features a black pocket for credit cards and IDs
  • Responsive customer service
  • Complete with a 100 percent money-back guarantee
Camden Gear Hydration Running Belt
Running Belt For Large Phones with 2 Water Bottles

Whether you are training for a marathon or just love running, having a hydration running belt is a must. This will keep you energized and hydrated as you run to the finish line and cover your daily kilometers.

One of the best products to choose is the Hydration Running Belt by Camden Gear. This belt is a highly rated product on Amazon, with star ratings from more than 1000 verified purchasers.

Camden Gear is snug and lightweight to minimize bouncing and shifting.

In looking for a good running belt, size is an important factor. This one is definitely big enough to accommodate most smartphones, even if they are as big as the iPhone Plus or Samsung Galaxy.

It also has other pockets that will fit your credit cards, wallet, and IDs. Since runners often need a place where they can store their race bibs, the manufacturer added four elastic straps, too. You may also use them for hanging your keys and gel packs.

Camden Gear Hydration Running Belt

Good for traveling, hiking, and trekking as well.

Another good quality of this product is that it’s adjustable. In fact, it can fit waist sizes up to 43 inches (109 cm). There is a Velcro strap for adjusting the fit, so the running belt will sit on your waist perfectly.

Camden Gear Hydration Running Belt

You will have no trouble moving or running because bouncing and shifting are minimized. According to some reviewers, the running belt is so snug and lightweight that you might forget you are wearing it at all. You don’t get weighed down, either. This is a good thing for those who are fitness enthusiasts since they can focus more on achieving their goals.

The belt only comes in one color combination, black with blue straps, and the 2 six-ounce bottles that are included in the package are gray. The bottles are perfectly sized so you can get them in and out of the belt with ease. While they design this product as a running belt, some reviewers say that it is good for traveling, hiking, and trekking as well.

The hydration running belt has a lot of good features, but it is not for everyone. According to some reviews, this product is great for most men but not for small girls who are slim because the belt bounces if it is not a perfect fit.

Buying this product without trying out the fit first might not be the best idea. Other comments about this product say that the belt is too bulky and that it is not advisable to wear during a race. Thus, it is only good for training and not for actual marathons. Lastly, many also hoped that the water bottles were bigger to carry more water.

Overall, the Camden Gear Hydration Running Belt  is commendable. Despite some drawbacks, it is still a better choice over the other brands on the market. Some of its great features are the size that fits even the monster phones, and the perfectly sized bottles that are so accessible.

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It's Been Long Overdue But We Finally Started a Blog

Posted by Patrick Brooks on

What's going on late fam, Patrick here with our first blog post in over 3 years (our old vlogs disappeared along with our old site once we changed the look).

I wanted a place to document my experiences and ask some questions people have been asking. I also wanted a place to host some photos that hide in the depths of my hard drive and never see the light of day.

Read more →