text:
Show us your Toyota 4runner, tacoma or truck.

In March 2019, my son and I drove the Mojave Road in my 2001 SR5 4Runner.
4 days of off-roading / 3 nights camping.

Bilstein 5100 adjustable shocks
5 BFG AT KO2 235/85r16s
Steelie wheels
Sonoran Steel differential drop kit
Old Man Emu 2" rear springs
2" front lift springs (no idea on what brand)
Front light bar
2 Throttle Body Spacers
K&N Cold Air Intake
Computer Chip
JET 69148 Mass Air Sensor
Tundra front brakes

2019 Tacoma OR - MGM - blackout badging - MESO turn signals - Leitner Designs ACS - James Baroud RTT - Rango Ditch Brackets - Rigid ditch and reverse lights - PowerTrays - sPOD -w- HD controller - DMM Ram mount - Pro Grill... to be continued

Recommended books for Overlanding

Fortuner Mike

New member
This is my 2017 Fortuner GXL 2.8ltr TD. I suppose you could call it our 4runner...

I am located in Perth Australia (y)

Car setup:
  • OME 2.5inch Lift
  • Rear Airbags
  • 32inch BFG KO2's
  • Tracklander Aluminium Roof Rack
  • ARB bullbar
  • Dual Battery with a RedArc BCDC charger
  • Stedi 9inch LED spot lights
  • ARB front recovery points
  • Uniden UHF with remote head unit

Cape Range National Park near Exmouth Western Australia.

On top of Mt Meharry(Highest point in WA) in Karijini National Park.

D'Entrecasteaux National Park in Western Australia
Hello everyone. Stopping by to say hello and show my 2002 Tundra. I'm here to learn from you guys and gals. My wife and I are looking to do more backwoods camping with our Tundra this year.

So far this year I've added Icon 2.5 coilovers, SPC UCA's, new OEM lower ball joints and outer tie rods, ICON 2.0 rear shocks, new BFG K02's in 285/70/17 and I scored a used set of SCS Ray 10's.

Recommended books for Overlanding

Overlanding the Americas: La Lucha
by Mr Graeme Robert Bell
From $20
999 Days Around Africa: The Road Chose Me
by Dan Grec, Dan Grec
From $19.95
Long Way Down: An Epic Journey by Motorcycle from Scotlan...
by Ewan McGregor, Charley Boorman
From $5.69
The Longest Line on the Map: The United States, the Pan-A...
by Eric Rutkow
From $13.96


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Downtown Seattle

(Last Updated On: May 27, 2020)

This morning Lane awoke feeling pretty good after last night’s emergency room treatment and we are both eager to spend the day roaming around Seattle with Michele. This will be great.

That there will be a change in plans is obvious the minute we go upstairs, as, even before one of the children announces it, it is clear that Michele has a migraine. So much for spending the day together.

Lane and I eat a quick breakfast and head into town, where the first order of business is parking. Eeek. It is really expensive and we have missed the “Early Bird” rate by 10 minutes. Dang.

Eventually we do find parking by the market (our options being limited by the fact that all of the surface lots have pay machines that do not give change, nor do they accept credit cards or the redesigned $10 or $20 bills). We cross the street and we are in Pike’s Place Market.

I love the market for its abundant displays of fresh fruit, veggies, and flowers. It doesn’t seem to matter what time of year, the market always seems to overflow with tempting produce.

We sample tree-ripened peaches and I vow to return for some of these and also for cherries and maybe apricots or raspberries. The vegetables also look beautiful. Maybe I should just buy some and cook dinner tonight!

I love the seafood displays as well, which always make me think about all the wonderful things I could cook for dinner. Past experience here, however, has taught me to be careful, as the displays occasionally look better than my purchase actually turns out to be. (I still find it amazing that I can get as good or better seafood at home from good old Coastal.) Still, the variety and quantity on display here is always enticing.

From the market we head off to do our shopping, stopping first at the Legacy to admire their collection of historic and contemporary native art.

From there, it is off to Pioneer Square to take in the wonderful Puget Sound exhibit at Stonington Gallery.

I’m especially taken with a pair of wooden rattles in the shape of mussels, but they are sold, so all I can do is gaze wistfully at them.

However, there are plenty of other things to admire in this show, including incredible underwater images by Jon Gross,

new work by Thomas Stream (an Aleut artist we have long admired),

and some lovely bronze fish by Ed Archie Noisecat (who used to work in the Twin Cities).

There are also other places to stop, including Ragazzi’sFlying Shuttle (now closed), with its lovely mix of textiles, jewelry, and ceramics; Flury and Company/Jackson Street Gallery, with its large collection of Curtis photographs and lovely old ethnographic items (including an irresistable piece of vintage southwestern jewelry).

Beyond Pioneer Square, we reach Azuma Gallery of Japanese art, where I buy a small etching by Ryohei Tanaka. (I’ve admired Tanaka’s elegant work since seeing it on a postcard from the gallery a year or two ago.)

In the process of choosing my little print, I have the opportunity to admire many other fabulous pieces that I could never hope to own, like this incredible woodblock print by Japanese master Joichi Hoshi. (You really have to see it to believe it, as the detail is so incredibly fine.)

We are shopped out now and it is well past time for lunch. Lane thinks we are near Salumi (as seen on Anthony Bourdain’s quirky travel show) AND he thinks he can locate it. (Without an adress.) Ok. I’m game.

At least wandering about looking for Salumi gives me a chance to enjoy the wide variety of architecture on display in the part of Seattle. I love looking at buildings.

Although, something to eat would be nice. . .

Eventually I insist that we ask for directions and, in time, we locate a visitor information office. Lane wasn’t too far off, but we would not have found it on our own.

As it turns out, it’s just as well it took us so long to get here. It is now 2:30 and there is still a line snaking outside the door. Wow! This place MUST be good.

And it is. We score a tiny table stashed between the bathroom door, the shelf where the wine is stored, and the large communal table. There we share a platter of delectable cured meats and cheeses, which I round out with the house red.

I can see why area employees take the entire afternoon off in order to eat here.

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Music Classes Are For Everyone

Music Classes Are For Everyone

musicScientists have discovered that there’s a particular relationship between brain wave activity, visual stimulation (mild) and auditory or sound enter. Selected performances from the music division’s movie archives will be viewed on the division’s YouTube channel. It additionally meant that people could hear music from completely different parts of the country, or even totally different parts of the world, even when they might not afford to journey to these areas.

It has its personal unique programs of musical notation, in addition to musical tuning and pitch, musical instruments and styles or musical genres. Audiences also can grow to be performers by taking part in karaoke , an activity of Japanese origin centered on a tool that performs voice-eliminated versions of nicely-identified songs.

Pitch is an aspect of a sound that we are able to hear, reflecting whether one musical sound, be aware or tone is “larger” or “lower” than another musical sound, be aware or tone. Boston Conservatory at Berklee’s graduate string packages put together musicians for versatile careers by specialised efficiency training and targeted research in audition method, profession development, and entrepreneurship.

Quoted in a 2001 article in USA At the moment, Suzanne Hasner, chairwoman of the music therapy department at Berklee College of Music in Boston, says even those with dementia or head accidents retain musical potential. And there is the history of touring musicians, from the beginnings of time to a group who at the moment participates within the Massachusetts Strolling Tour every year.

Many cultures have strong traditions of solo efficiency (wherein one singer or instrumentalist performs), comparable to in Indian classical music, and in the Western art-music custom. Berklee students, college, and alumni will perform over four hundred free concerts all through the Higher Boston area this summer.

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text:
Santiago de Compostela

Monday, May 26

This should probably be the big, exciting, epiphany-laden post, right? Not yet, I’m afraid. I’m here in Santiago, in a fancy-schmancy pensión hotel with towels and everything. Fancy by pilgrim standards, anyway.

We left O Pedrouzo a bit late. The room was very chilly and it’s no easy task getting out of bed in the cold. There were 20 kilometers between us and Santiago, and for much of it the extended family walked together. The Camino around here isn’t as enchanting as it is in the early etapas in Galicia. More streets, fewer magical forests.

The reality that I would reach Santiago today didn’t settle in for a while. Actually, it hasn’t settled in at all. Tomorrow I’ll stay here for the day. It will be the first time in 30 days that I haven’t woken early, packed my bag, laced up my boots, and trekked to a new town. The Camino isn’t done for me — I go on to Finisterre. But there’s an overwhelming feeling of finality here. I even feel aches that I haven’t felt before, as though my brain has given my body the go-ahead to start reporting all the damage I’ve done to it.

Tuesday, May 27

Continuing from yesterday…

We stopped for drinks at a bar called San Marcos, where there were campgrounds. And also chickens, rabbits, and a large goose all wandering free, except when the bartender saw them nearing the tables and ran at them, arms flailing to chase them away.

The sun hid and the chill grew worse as rain clouds came closer. I saw Stacy, the woman from California I’d spoken to often and occasionally walked with, as she entered the bar. I walked over and said hello. We hugged; it had been a while since we’d seen each other and neither of us was sure we would again. The bartender snapped our photo and I went back outside.

After collecting a few photos of the unfriendly goose, I threw my backpack on and joined Miguel and Larissa in leaving the bar. The others stayed behind — they often enjoy longer breaks than I prefer. I like to keep the rhythm going.

We carried on towards Santiago as it began to drizzle. We passed Monte de Gozo, stopping briefly at the pilgrim monument there. As we entered the outskirts of the city Stacy caught up and we spoke a bit about the news from Santa Barbara.

It was two kilometers to the city center. The camino brought us around the side of the cathedral before revealing the expansive plaza in front of it. We walked to the center and dropped our bags to the ground. We sat, we stood, we hugged, we took photos holding our backpacks high in the air. Victory.

Then we ran around looking for a place to sleep, and settled on the fancy-pants pensión.

Showered and changed, we walked to the Pilgrim’s Office to receive our Compostelas. The line was long but quick. I was greeted by an Australian, given my Compostela by a Spaniard, and I bought a tube from an Irishman to store it safely. And now it sits, hopefully secure, in my backpack. A long walk for a piece of paper — thank goodness that isn’t the point.

Still, I’ll probably frame it.

We went for coffee and found the others. I took portraits, of course.

Luca, immortalized as he saw fit.

Kasumi and Virginia

Then we went to the Parador, to the old garage off to the side. It’s a quasi-secret that the first ten pilgrims to arrive there for breakfast, lunch, or dinner must be served for free. It’s a requirement by law, I’m told, and part of an old tradition. Here’s another secret: even free, it’s not worth the price. The food was bland; a product of obligation rather than pride. Go to a restaurant and buy a good meal. You earned it.

I was interrupted while writing yesterday when Virginia messaged me. The group was down in a bar near the cathedral. Miguel and I decided to go, and as we were preparing Larissa came back from a walk and joined us.

We joined the group just as Fabrizzio and Ignacio were leaving. Virginia, Luca, Alejandro, and Kasumi were still there. Over drinks and tiny sandwiches, called montaditos if I remember correctly, we convinced Kasumi to stay in town an extra night so that those of us walking to Finisterre would be leaving on the same day.

We drank, we ate, and then we wandered out to find another bar for orujo. We didn’t find it. Instead we stumbled across the same group of older Catalan men we’ve seen often. They were piss drunk. We all wandered together to a nearby club/bar where the Catalans ordered a queimada — a bowl of orujo blanco, with coffee beans and orange and lemon, set aflame before serving. The server passed out papers with an incantation on them; something in Gallego about witches, spirits, and other things that go bump in the night along with the forces of earth, water, and light being called on to help make the drink. Next Halloween, queimada in Los Angeles.

As the flames in the bowl burned higher and higher, the chanting began. I kept my camera trained on the bowl and recorded video, complete with the drunken slurring of the group as they read the words. Finally it was all served. Strong stuff. After a cup of it you feel the fire in your belly. Helpful on a cold night in Galicia.

Before we left we said goodbye to Virginia. She’s on her way back to Granada now.

This morning I set out to find breakfast but instead I found Juanito. We talked a bit before I moved on, and immediately I found him again in the plaza in front of the cathedral. I walked on and came across Larissa who had left the habitación before me, and hurriedly tried to bring her to Juanito — but he had disappeared.

Jonggu. Juanito. John. Giovanni. Alegria del Camino.

Except he hadn’t. We went into the cathedral before mass and I saw him there. With Larissa and Juanito reunited, I went down to the tourist’s office to get a map of the route to Finisterre, and then returned for mass.

I sat with the two of them, a statue of San Tiago surrounded by gold decorations of angels and cherubs and saints before us. The mass began. They called out the names of the many cities along the road where pilgrims who received their compostelas the afternoon before had began, and announced the countries represented in each group. Saint Jean Pied de Port: Brazil, South Korea, the United States of America…

We took each other’s hands for a moment.

In a quiet time I prayed on behalf of my friend Daisy as she had asked me to do when we met for dinner before the big trip. We first met in Spain and both live in Los Angeles.

As the mass continued with beautiful song, I found myself beginning to comprehend the end. Beginning to understand that the faces that I’ve seen and seen again over and over on the Camino — sometimes of dear friends, others to whom I never said more than “Buen Camino” — would soon leave my life. I felt the water in my eyes but held it back.

Juanito never holds back; it’s one of his endearing qualities. And as he cried, I found myself crying a bit too. It passed.

We left and found Miguel. We’d planned to go for lunch but the plan changed. Larissa and Miguel would go buy non-pilgrim clothing. I don’t need that, so I went to get food. On the way I met Juanito and three South Koreans. He said they were all going to lunch in some market nearby. I went along. We wandered and wandered and I had to stop and ask for directions a few times. Finally we arrived and found that the market had no restaurants. And Juanito said he had promised some other people he would eat lunch with them, so he left. There I was with my three new Korean friends in a market without a restaurant!

We turned back up the street and stopped for lunch along the way. I got to know them a bit, and they me. When they asked me what I did and I told them, they followed by asking what movies I’d worked on. And at the end of the list they clapped! A very odd feeling.

I guided them back to the cathedral and we said goodbye. I had to be back at the room by 3 to meet Larissa and Miguel.

I arrived and we immediately left for a meal with Alejandro. Paella. Not the best, unfortunately.

Back the the pensión my parents messaged me. They looked up some flights for me to return. June 4, from Madrid to New York.

I have a ticket now. Talk about finality.

Tomorrow I leave for Finisterre. Three days. Then I’ll need to get a bus back to Santiago, and a train to Madrid.

Though I’m still thinking I might stop in Portugal if there’s time. It’s so close and I’ve never been. But I have to be sure I can make it to Madrid in time for the flight.

What’s in the bag?

Short answer: probably too much. Camino veterans recommend a light pack, somewhere around 10% of your body weight. Since I’m choosing to carry my camera and a few lenses, along with this tablet for blogging and photo backup, my pack is up to around 22 or 23 pounds, which is closer to 15% of my weight. So if you’re a future pilgrim scouring the internet to see what others are carrying, you’ll want to bear that in mind as you read the list.

Continue reading

The Field of Stars

ImagePhoto Credit: “The Milky Road” by Larry Landolfi

The Camino is also known by a nickname, La Voje Ladee. The Milky Way. At night the galaxy hovers above as if to point peregrinos towards Santiago de Compostela. Medieval myth held that the celestial Milky Way was formed from the dust loosened by pilgrims’ boots as they walked. And though disputed, it’s said that the word “Compostela” may come from Latin campus stellae, “field of stars.” Continue reading


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December 20, 2013

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Home Technology The Muscleman of Technology: Father’s Day Gifts – – KUSI

The Muscleman of Technology: Father’s Day Gifts – – KUSI

The Muscleman of Technology: Father's Day Gifts - - KUSI

SAN DIEGO (KUSI) – Bruce Pechman, The Muscleman of Technology, joined Good Morning San Diego to share some great gift ideas for every type of Dad.

See the latest cool products and gadgets Bruce has selected to put a smile on any Dads face:

Uber Chill Mini Fridges

“6-Can Personal Mini Fridge” Only $49.00 (Red / Navy Blue / White / Silver)

“12-Can Personal Mini Fridge” with Window $84.99 (Red / Navy Blue / White / Silver / Black)

Makes a perfect Father’s Day gift idea—these awesome mini-refrigerators are making it possible to chill whatever your heart desires in every space imaginable from man caves, vehicles, boats, RV’s dorm rooms, offices, gyms or even bathrooms! Chill all your favorite drinks, sodas, nutritional shakes, etc. for easy access. The sleek and highly functional design features cooling (and heating options) to keep contents cool or hot. Utilizing state-of-the-art and environmentally friendly thermo-electric Peltier Technology, Uber Chill is capable of cooling or warming within a reasonable amount of time, cooling down to 32o F and warming up to 150o F. Keep your food warm now and your drinks cold for later! Compact and weighing around three pounds, this 4-liter mini personal fridge holds up to six 12-ounce cans or four 500-milliliter bottles. Need to hold more? Uber Chill offers a 12-can, 9-liter capacity model as well. Each mini fridge includes a built-in AC/DC transformer and two cords: one for home outlets and one for a 12-volt car cigarette lighter.

Bowflex SelectTech 840 Kettlebells
www.Bowflex.com $149 each

Get Dad in shape in time for Father’s Day!
SelectTech 840 Adjustable Kettlebell offers six incremental weights…ranging from 8 to 40 pounds—in one, space-efficient design! A selector dial allows users to quickly and easily change weights, while the housing base provides built-in storage and stability during weight changes. Users can achieve total body results by combining cardio and strength, from swinging to rowing, in one quick, effective workout, helping to build muscle, burn fat, and achieve results. The Bowflex SelectTech 840 kettlebell features a rotating dial that allows users to quickly and easily select their desired weight. Users can choose from the following weight options: 8, 12, 20, 25, 35, or 40 pounds to gradually increase strength at their own pace or to accommodate multiple in-home users.

The Weed Whacker—Revolutionary Electric Nose Hair Trimmer
www.manscaped.com only $39.99
KUSI-TV Father’s Day SPECIAL: 20% off all orders at checkout: Use Code “KUSI20”

What a great gift for any Dad from local San Diego company Manscaped—this revolutionary electric nose hair trimmer features SkinSafe™ technology with a powerful 600mAh li-ion battery. Maneuver the hypoallergenic stainless-steel cone tip with confidence against pulls, nicks or cuts. The Weed Whacker’s intelligently contoured design utilizes a 9,000 RPM motor that powers a 360° rotary dual-blade system. The waterproof capability enables convenient wet or dry operation. The powerful 600mAh li-ion battery holds a charge for up to 90 minutes of use & is easily charged with a convenient USB cable & AC adapter. Lifetime Guarantee!

Fisher Space Pens
www.SpacePen.com Price ranges from $15 to $100 depending on model
Fisher Space Pens are sold at your local Staples, Office Depot, Office Max, or REI

Fisher Space Pen makes a great gift because it “Goes Anywhere, Writes Everywhere” and Made in the USA! This year the hot items are the Apollo 11 50th Anniversary Moon Landing collection—beautiful keepsakes for space enthusiasts! Fisher Space Pens are designed to perform reliably in the harshest of environments – that’s why they are used & approved in space by NASA! They are proudly made in the USA and unconditionally guaranteed. Unlike ordinary ball pens which rely on gravity to feed ink, the replaceable Space Pen cartridge is pressurized at nearly 35 pounds per square inch! Ink is continuously fed to the tungsten carbide ball, allowing the user to write at any angle, even upside down! The Fisher Space pen can do things no other pen can such as: Writing upside down at any angle, under water, through grease, extreme temperatures (-30 to +250 degrees F).

Item Number: #AG7-50 Apollo 11 Special Edition 50th Anniversary Astronaut Pen (75.00)
Item Number: CLUTCH – Black Anodized Aluminum Finish Zero Gravity Space Pen (52.50)

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They guys of Pulse-Eight (who also sponsored our contest with some great gadgets) have just announced a new firmware upgrade for their libCEC library.

The software that allows you to control XBMC with your TV remote through the HDMI cable and CEC adapter contains a numbers of bug fixes and improved compatibility.

Besides that it now also support the Raspberry Pi board without the CEC adapter or any other special wires besides an HDMI cable. So just pick up your TV remote and you can control XBMC. This will be included in the OpenELEC version of XBMC

For the full story go to the Pulse-Eight press release.

Be sure to visit their site to view some of their other great products


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Race Face Chester 2 Pedals

The Chester is the ultimate budget pedal for all Fat Bikers. Easy on the Hooves and the wallet.

Race Face Chester Composite Pedals

This tough and durable flat pedal is designed to suit all kinds of mountain bike riding. From Trail riding to Freeride, Downhill and Dirt jump, this pedal will perform to the highest level. The pedal design is suited to people who ride hard and when the pedal finally needs serviced, the internal cartridge bearings and bushing can be replaced easily.

Buy Race Face Components from Fat Bikes Canada, the original fat bike only shop in the great white North.

  • Body Material: Nylon Composite
  • Axle Material: Chromoly Steel
  • Platform Size: 110mm x 101mm
  • Use: Trail, Downhill, Freeride and Dirt Jump
  • Height: 15mm – 18.4mm
  • Pins: 16 hex traction pins (8 per side)
  • Bearings: Cartridge bearings with DU bushings
  • Weight: 340g

Black, Red, Blue, Yellow, Green, Orange, Purple, Turquoise, Pink

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Western arms

More than 300 weapons from different European countries

The collection contains more than 300 weapons. Various types of bladed weapons namely sabres, swords, daggers, dirks and knives especially widely represented. The geographic range of the collection covers most of the countries of Western, Northern and Southern Europe, partly Central and Eastern Europe. The chronological limits are from the late 14th to the early 20th century, but most of the items date back to the 18th – 19th centuries. A special place in the collection is occupied by unique examples of personal weapons that belonged to famous historical figures, as well as rare specimens made by the best European arms manufacturers. Many of them are outstanding works not only of weapons craft, but also of decorative-applied and jewelry art.


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Malaysians React Over Claim That Attire “Invites Rape”

The chief minister of an opposition-ruled Malaysian state recently claimed that women were the main cause of social ills and moral decadence, due to attire that exposed their bodies. Minister Nik Abdul Aziz Nik Mat also added that their clothing invited men to rape or molest them, stating, “Even my faith as a religious teacher can be weakened by watching them.” Many Malaysians were infuriated with the ministers’ comments, including Zainah Anwar, executive director of Sisters in Islam Forum Malaysia. Anwar urged leaders in Malaysia to educate men to take responsibility for their own actions and to treat women as fellow human beings of equal worth and dignity, adding that, “the solution to society’s ills does not lie in the shrouding, segregation and control of women.”

Agence France-Presse 9 October 2000


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Eleanor Smeal, national feminist leader and one of the nation’s leading experts on anti-abortion terrorism, today released the results of the Feminist Majority Foundation’s sixth annual National Clinic Violence Survey Report, the most comprehensive study of anti-abortion violence in the United States.

The 1998 survey shows that in the first seven months of 1998, 22.2% of clinics experienced one or more forms of severe violence including blockades, invasions, bomb threats, and bombings, arson threats and arsons, chemical attacks, death threats, and stalking. This percentage is slightly down from 24.8% in 1997 and sharply down from its high mark 51.9% in 1994.

“The fact that one-quarter of the women’s health clinics in this country are battered day after day with violence is unconscionable. We must have zero tolerance for domestic terrorism,” said Smeal.

“Public opinion supporting legal abortion in the United States is solidly pro-choice. Anti-abortion extremists are trying to win in the streets a battle that they can not win in the political arena. The strategy of the violent wing of the anti-abortion movement is a stealth ‘war of attrition’ – extremists target one clinic, attempt to wipe it out or close it down, and, then, move on to another. The war of attrition against clinics continued in 1998,” Smeal continued.

The 1998 survey found that the percentage of clinics that experienced high violence (4.3%) grew even smaller in 1998 as the numbers of clinics facing moderate violence or no violence increased. As a result, the gap between the percentage of clinics experiencing high levels of violence and those without violence widened and anti-abortion attacks became even more concentrated on a smaller number of clinics in 1998.

“With the murder of Dr. Slepian, the fatal bombing in Birmingham, Alabama, and the series of firebombings and chemical attacks, it is surprising that the overall level of violence did not escalate in 1998. The other good news is that the number of clinics reporting no violence continues to grow. In 1998, 63.5% of clinics were free from violence, harassment or intimidation – twice as many as experienced violence. And the number of staff resignations as a result of anti-abortion violence decreased to 4.8%. The vigilance of the pro-choice community and the increased responsiveness of law enforcement coupled with better enforcement of the Freedom of Access to Clinic Entrances Act (FACE) contributed to the containment of violence in 1998,” said Jennifer Jackman, Ph.D., the Feminist Majority Foundation’s Director of Policy and Research and an author of the survey report.

Once again, the 1998 National Clinic Violence Survey found a strong correlation between lower levels of violence and better law enforcement response. Of clinics that reported law enforcement response as “excellent” in 1998, only 6.2% experienced high levels of violence, compared with 15.8% of clinics that characterized local law enforcement as “poor.”

Smeal explained, “We are encouraged by the impact of improved law enforcement response in reducing clinic violence. Working together, we have won major battles to protect clinics and have dramatically reduced the proportion of clinics that experience day to day violence and harassment. We call upon every law enforcement officer, every citizen, and every political organization to adopt a zero tolerance policy towards this stealth war of attrition, which is being waged against one quarter of our nation’s abortion clinics.” 1998 Clinic Violence Survey

Feminist Majority Foundation - January 21, 1999


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Apple Festival

Status: Updated 9/9/2020

locator on the Monroe Green
Monroe, CT 06468

September 10 - 12, 2021
Apple Festival
Celebrating over 60 years of fairs, St. Peter's Episcopal Church will hold its annual Apple Festival on the Historic Monroe Green. Over 100 Crafters, Country Kitchen with pies and tarts, jams, cookie walk and baked goods; hardy mum and aster plants; extensive Snack Bar, Apple Central offering fresh apples, cider, caramel apples, and apple related items, Apple crisp with ice cream; Children will enjoy 2 Moonbounces, face painting, games/prizes.
  • Admission: none
  • Days/Hours Open: Sat 10am‑5pm, Sun 10am‑4pm
  • Address: Go Pro to view
  • Other Activities: children's games, local music, raffle, local apples & cider, snack bar, baked goods
  • Attendance: 8,000
    # Food Booths: 1
    Food Fee: Go Pro to view
  • # of Exhibitors: 108
    Juried: no
    Prize Money: na
    Exhib. Fee: Go Pro to view
  • Deadlines: Art & Craft: 08/15/2021
    Music: na
    Food: 08/15/2021
  • Promoter: Saint Peters' Episcopal Church ‑ Monroe This is a VIP Promoter!
  • Show Dir.: Harry Dudley
    Show Dir. Ph.: Go Pro to view
  • Email / contact: Go Pro to view
    Web: Go Pro to view

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Quilts of Past & Present Quilt Show

Status: Updated 7/2/2020

locator Blackgum Harvestime Church Activity Bldg
Vian, OK 74962

July 30 - 31, 2021
Quilts of Past & Present Quilt Show
Quilts of Past & Present Quilt Show is presented by the Blackgum Harvestime Church Sewing Sisters. The Show is held each year on the last Friday and Saturday of July. The Show features approximately 100 entries, a Vendor Mall, Boutique, Vintage Display, Demonstrations and Door Prizes.The Quilt Show featuring approx. 100 judged and non‑judged entries, vendor mall, boutique, door prizes, tea room featuring lunch special and home‑made desserts.
  • Admission: $5 - $5
  • Days/Hours Open: Fri 9am‑5pm, Sat 9am‑4pm
  • Address: Go Pro to view
  • Attendance: 500
    # Food Booths: 1
    Food Fee: Go Pro to view
  • # of Exhibitors: 90
    Juried: no
    Prize Money: na
    Exhib. Fee: Go Pro to view
  • Deadlines: Art & Craft: until full
    Music: na
    Food: until full
  • Promoter: Blackgum Harvestime Sewing Sisters This is a VIP Promoter!
  • Show Dir.: Sharon Plank
    Show Dir. Ph.: Go Pro to view
  • Email / contact: Go Pro to view
    Web: Go Pro to view

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TIFA colour divider
Surajit Roy Majumder headshot

Surajit Roy Majumder

Surajit Roy Majumder, born in Bagerhat, Bangladesh, graduated and received a master’s degree in English. He worked briefly as a journalist, then joined the civil service and taught in public colleges. Along with designing a national language curriculum as a curriculum specialist, he has co-authored English textbooks, worked as an official translator and editor of textbooks and was a publishing coordinator. He has also presented research papers, edited journals/magazines, published articles, short fictions and poems in Bengali and English from Dhaka and Toronto. He is currently living in Toronto and translating and critiquing Canadian literature.


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Simulacrum Press logo

Simulacrum Press

Burlington, ON

Visit Website

Sacha Archer lives in Ontario, Canada with his wife and two daughters. He works in a greenhouse tending roses. Archer’s latest book is Mother’s Milk (Timglaset, 2020), a collection of his rubber stamped concrete poetry. His latest chapbooks are Lines of Sight (nOIR:Z, 2020), Houses (no press, 2020) and MODELS [of Economic Recovery] (Simulacrum Press, 2020). Framing Poems (Timglaset) and UMO (The Blasted Tree) are both forthcoming. His concrete poetry has been exhibited in the USA, Italy, and Canada. Find him on Facebook and Instagram @sachaarcher and on Twitter @sachaarchermeat.

Tell us a bit about your press. How did you start? Who are your influences, in Canada and beyond? What is your mission?

I started up Simulacrum Press at the end of 2017 as a place where my poetic experiments and those of others could find a home. I had no experience publishing but I wasn’t looking to be a major publisher or anything, so I figured I might as well give it a try and see how it went.

During my time at university my friends and I would shoot off on Xerox machines what we called then ‘zines’ but I would now call chapbooks. One of those friends was Michael e. Casteels. He and a mutual friend, Andrew Nurse, treated these chapbooks, in an almost imaginary way, as a small press, though at that time I and probably they had no concept of what small press was. On each of their chapbooks one would find Puddles of Sky Press. Fast forward some years later—we had lost touch. I’m in China teaching and in an email from a friend I’m directed to a website. I find that Michael is publishing poets—he’s printing their work, designing covers, layout etc. – and he’s selling these! Puddles of Sky Press – that’s what got me thinking.

Simulacrum Press now exists with a very simple mission: publish great experimental poetry by great poets, new and veteran, from Canada and from anywhere – and produce it well.

What about small press publishing is particularly exciting to you right now?

At this moment there are quite a number of small press publishers that are taking huge risks and doing so joyfully. It is not easy selling experimental poetry, but there is an audience and the fact that we can so easily connect via social media means that the conversation is global and instant. Due to the fact that the community has been enlarged in this way a great amount of astounding work is travelling through the post, through the air, crossing borders and landing in homes around the world. And you don’t find such beautiful works, produced with such love and ingenuity (or extremely rarely,) in your café/bookstore like Chapters or Indigo. Small press is where poetry is actually happening. Small press is the Guggenheim of poetry.

Tell us about three of your publications. What makes them special, needed, and/or unique?

I recently saw the results of a survey ranking the most and least essential jobs. No surprise, ‘Artist’ was ranked as the least essential. There are arguments for and against this, but I will say that I agree and this is what, I believe, is the essence of the arts. The arts are our beyond merely survival. They are our becoming, rather than just our being.

It is, as it should be, difficult to choose three publications out of them all to mention here, so I will go with the most recent, excluding those of which I am the author. Check them out below.

How have the current multiple global crises impacted your work with the press?

Very little. Of course the ongoing pandemic has meant no book fairs and these events are essential for the reader to encounter the works in their tactile form, which is what it’s all about, but that hasn’t stopped me from producing the works and promoting them on social media. A pandemic of this scale is no reason to stop. We have all had to change our ways, but not stop. In regards to the intensification of the Black Lives Matter movement, Simulacrum Press remains open to all voices that work in experimental modes, and that, as long as the press is running, will not change.

knewro suite cover

knewro suite
nina jane drystek
July 2019

knewro suite by Ottawa based poet nina jane drystek is an austere work of beauty—three carefully controlled sound poetry scores which, on the printed page, serve as concrete poetry that knows its stuff. This comes as no surprise as drystek has, in the past, worked closely with revered small press publisher and poet (concrete, sound and otherwise) jw curry in the sound poetry group Quatuour Gualuour. Recently drystek released a recording of knewro suite performed and it is well worth listening to here.

Also worth noting, drystek is on the shortlist, deservingly, of the RBC Bronwen Wallace Award for Emerging Writers for her poem sequence c:ode.

Found Word from Olivetti
hiromi suzuki
June 2020

Found Words from Olivetti, a selection of Tokyo based poet hiromi suzuki’s typewriter poems hints at narration while remaining ephemeral—tender, though brooding and from the shadows. Formally innovative in that these poems have been photographed to create visual tones beyond that of the typewriter, the reader finds themselves immersed an atmosphere reminiscent of film noir.

Correctional Sonnets cover

Correctional Sonnets
Kyle Flemmer
February 2020

Correctional Sonnets by Calgary based poet Kyle Flemmer explores the form of the sonnet by purely visual means. The sequence reads almost like an erasure poem in that it is composed not with words but instead with various forms of white-out (correctional fluid, pen and tape). The irony, of course, is the initial absence of words—there has been no correction and what has occurred is a re-purposing of mediums: what is intended to silence, speaks.


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FHIR Messages

Rene Spronk recorded this video on the v2/FHIR messaging at the recent FHIR connectathon.

About David Hay
I'm an independent contractor working with organizations like Rhapsody, Corepoint, CSIRO in Australia and the New Zealand Ministry Of Health. I'm an HL7 Fellow, Chair Emeritus of HL7 New Zealand and a co-chair of the FHIR Management Group. I have a keen interest in health IT, especially health interoperability with HL7 and the new FHIR standard.

2 Responses to FHIR Messages

  1. SK says:

    I recently looking at FHIR DSTU2 to create messages to be sent to my App. It seems to be a bit flexible to construct the messages and I am not able to find good reference to finalize my messages schema.
    I wish to send a set of Medication Prescriptions for a patient to my App. It looks like I have a couple of Options:
    1. Construct Message as a Bundle with multiple Resources (1 Patient, multiple MedPrescriptions (with Medication Reference with “Contained”)).
    2. Construct Message as a Bundle with multiple Resources (Multiple MedPrescriptions (with Patient & Medication References with “Contained”)).

    I am struggling with finding the standard way of sending messages across system. Is there an industry standard in how to construct the messages for my use case?

    • David Hay says:

      Well, we call FHIR a ‘platform’ spec, in part as there are often different ways to do the same thing – and not every application works in the same way! However, there are ‘rules’ around how a message is constructed which any FHIR compliant app should understand (at least those purporting to understand messages). In the example you gave you had a number of contained resources – which was actually the topic of my very first post! (http://fhirblog.com/2013/10/10/fhir-contained-resources/ ) In general, the advice is to avoid contained resources unless they simply cannot be identified – and you’d probably know who the patient was, and want to track prescriptions separately as well. And you’ll be please to know that in DSTU-2 a medicationPrescription now has the option of a codeableConcept for the medication instead of a full resource – which may help.

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Sold Out

elongated ramie blazer

This product is sold out

This blazer from cult Japanese brand THE VIRIDI-ANNE is impeccably tailored and creates a slender, elongated silhouette on the body. The sleeves are cut long and narrow, as is the body of the garment, to produce a sharp, almost slightly constricted effect. The blazer is made from an incredible, stiff ramie suiting with a slight sheen that gives the blazer structure and creases beautifully with wear.

The attention to detail is evident with the addition of several useful interior pockets including a beautiful covered pocket and a small jet pocket for storing tickets and papers hidden under the collar. The blazer is exquisitely finished, with a beautiful mottled cupro used to part line the main, a contrast perforated pinstripe sleeve lining, hand-antiqued metal buttons, a decorative hand-stitched detail under the collar, and beautiful construction throughout.

Colour: Black (with sheen).

Composition: 100% ramie outer, 100% cupro lining.
Condition: New with tags.

Size: Men's JP 3, fits approximately AU XS - S (check measurements)
Shoulder to shoulder: 41cm.
Chest (armpit to armpit): 49 cm.
Waist: 46 cm.
Length (back collar to hem): 72 cm.
Sleeve length: 68.5 cm.
Cuff width: 13.5 cm.
Hem width: 51 cm.


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Dr Hristina Raykova

Obstetrics and gynaecology

  • Fee assured

This healthcare professional let us know that they are currently:

  • Accepting new patients
  • Available for:
    • Phone consultations

Last updated: 29 Jun 2020

About me

Miss Raykova has been a consultant Obstetrician and Gynaecologist at Ashford & St Peter’s Hospital NHS trust since 2016.
Miss Raykova graduated from Medical University of Plovdiv, Bulgaria. She completed specialist training in Oxford and Surrey.
Miss Raykova has interest in general gynaecology and in particular gynaecological oncology, menstrual disorders, problems related to menopause and hormone replacement therapy. Miss Raykova has particular expertise in hysteroscopy and colposcopy and gynaecological ultrasound. Miss Raykova is registered colposcopist and colposcopy tutor and carries out diagnostic and treatment in women who have abnormal cervical smears.

Areas of interest

- Post-menopausal bleeding
- Colposcopy and treatment of abnormal cervical smears
- Ovarian Cysts
- Menstrual disorders
- Heavy / Irregular bleeding
- Menopause
- Polycystic Ovarian Syndrome
- Hormonal problems
- Contraception
- Vulval lesions

My qualifications & training
Consultant's practices
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The information contained on Finder is submitted by consultants, therapists and healthcare services, and is declared by these third parties to be correct and compliant with the standards and codes of conduct specified by their relevant regulatory body. Bupa cannot guarantee the accuracy of all of the information provided.

You can find out more about the information on Finder and our website terms of use.


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Milwaukee 2582-22

Milwaukee M12 FUEL 12-Volt Lithium-Ion Brushless Cordless Surge Impact and Drill Combo Kit (2-Tool) with 2 Batteries and Bag - 2582-22

Milwaukee 2582-22
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1 Morechild

A Registered Charity based in the UK

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An organisation identifier is a unique piece of text that definitively identifies an organisation.

Examples include charity numbers and company numbers.

Identifiers are usually assigned by an external body like a regulator.

Findthatcharity uses the Org ID scheme to create identifiers.

GB-CHC gives the scheme for this identifier (Charity Commission), while 1136112 is the identifier for this organisation within the scheme.

This organisation record is based on data from Registered charities in England and Wales published by Charity Commission for England and Wales.

To relief financial hardship, to promote and preserve good health and to advance education particularly but not exclusively amongst the street children of uganda by the provision of funds, goods or services of any kind in such parts of africa or the world as the trustees from time to time may think fit and to fulfil such other purposes which are exclusively charitable according to the law of england and wales and are connected with the charitable work of the trust

Also known as

  • 1 Morechild

CCEW Charity number

25 May 2010

SN14 6NL

Latest income

£143,591 (on 31 December 2019)

Depending on the data source, location may describe the headquarters of the organisation rather than the area it operates in.

SN14 6NL

  • Uganda

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Sorry, this entry is only available in Estonian.

Rapala VMC Corporation (“the Group”) is a leading fishing tackle company and the global market leader in fishing lures, treble hooks and fishing related knives and tools. The Group also has a strong global position in other fishing categories and it is one of the leading distributors of outdoor, hunting and winter sport products in the Nordic countries. Rapala VMC Corporation’s share is traded on the Nasdaq Helsinki stock exchange since 1998. In Pärnu the Group employs over 270 people at lure and knife factories and distribution center.

We are currently looking for an

in Estonia, Rapala Pärnu lure factory and distribution center

Tasks include

You will carry overall responsibility of operations controlling and play a major role in business and financial controlling of Rapala business units in Pärnu. Acting as a vital link between operations and Group finance, you will manage and develop operations costing principles, budgeting and forecasting. Your tasks also include investment and profitability analyses, cost and asset follow-up as well as managing the partnership with external accounting company.

To be successful you have relevant higher education and experience in working with similar tasks. You have proactive working style, excellent communication and problem solving skills and high motivation to develop yourself.  You are proficient in spoken and written English.

Benefits of joining Rapala team

You will be part of a truly global team in a leading company of the industry. We offer you a great opportunity to develop your skills, execute versatile and challenging financial tasks and a competitive compensation package.

Work offer is mediated by Finesta Baltic OÜ,  Estonian market leader in providing personnel services. To apply, please send your CV in English to ave.merilo@finesta.ee

Kandideerin ametile

Pärnu, Estonia


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We are delighted to now be COVID-secure and open for face-to-face consultations.  We will be open on Wednesdays and Fridays only, intially, and plan to return to a full schedule in September.
We will continue to offer online (Zoom) consultations for support and advice for those that want.
Please contact us to discuss an appointment 020 8366 0831.

NEWS! Excited to be launching new app for our patients.

As part of our commitment to continually improving services for our loyal osteopathic patients, we are excited to be soon introducing the new PROM app. at 1st Call Osteopaths.

This innovative and simple-to-use app will allow patients to give instant feedback to the osteopathic profession as a whole on their experience and how their symptoms are progressing at various points along their treatment. The data gathered will then be used to inform future services, how we market the profession and, we hope, make our patients feel even more involved in their care.

This means that if you’re new to the practice or if you come to us with a new symptom, we will ask you if you would be willing to let us have your valuable feedback.

Participation is entirely voluntary and any information will be treated confidentially.

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Bill Viola: The Moving Portrait

Bill Viola, The Dreamers, 2013, video/sound installation, seven channels of color high-definition video on seven plasma displays mounted vertically on wall. four channels of stereo sound.

Bill Viola: The Moving Portrait is a retrospective exhibition happening at the National Portrait Gallery in Washington DC. The exhibition, on view until until May 2017, is celebrating a career of a pioneering video artist Bill Viola. The artist is recognized for his groundbreaking use of video technologies; and his works are known as poetic and performative, exploring the spiritual and perceptual side of human experience. Installed in multiple darker rooms, the show takes a viewer into a few episodes with the moving portraits. They are diverse, as one can imagine, and with each work the viewer’s experience becomes more fluid than staged or patterned. The works follow more circular way of reasoning than linear logic in storytelling.

The portrait of Bill Viola himself is titled Self Portrait, Submerged, 2013 (color high-definition video on LED display; stereo sound; 10:18 minutes). This portrait connects to an idea of mortality, the artist himself is appearing underwater. He looks as if being still with his eyes closed, and he does not seemingly breath. However, the movement becomes present with the unfolding effect of the water moving and altering the stage so to speak. For Viola, self-portrait is an evergoing reflective way to figure oneself out. Self-portrait is always a self-representation. As an artistic discovery it would be more like looking beyond a merely simple representation of oneself; attaching a subjective and changing viewpoint into a larger psychological canvas. We live in an era of selfies, so what more is there to discover, beyond a representation? Where does the normative cultural portrait end, and the new interpretation start?

In many of his works, Bill Viola summons the characters, young and old, male and female. These portraits are submerged underwater in a similar manner as his Self Portrait Submerged. A group of seven works are titled The Dreamers (2013). The portraits appear in a dark room as an installation of plasma displays mounted on the wall. They radiate very subtle visuality. There is water underneath of each character as their personal stage. It is the essence of the water that animates the otherwise still portraits to become sifting moments in space. The plasma videos are accompanied with a sound of a running water, which appears as a surrounding pulse for the portraits. These portraits take form as immersing works. In a way they are virtual, or the time is stopped as if there was an episode happening in another realm or in outer space. Each personality emerges as colors, when their fabric and hair covered bodies measure the dimensionality of the water. They contour and camouflouge barely within its surface.

A very different video setting is formed around a work titled The Reflecting Pool originating from 1977-79. In the video, a man is emerging from the forest standing in front of the pool. As he is leaping up in a sudden movement, jumping into the water, the image freezes. The person remains still in the center of the image; he is frozen whilst the water in the pool is slightly moving and changing. Another take on a theme of time passing. This time, the person is also immersed into the surroundings even more, and perhaps becoming one with the green lush with all his senses.

In a massive one screen video installation, a group of nineteen men and women from various ethnic backgrounds are struck by a great amount of water coming from a high pressure hose. The video called The Raft (May 2004), expresses different actions and reactions from the people to a seemingly catastrophic situation. Some are struggling physically showing hardship of survival with their bodies, the others remain more upright; yet all characters are touched and moved by the sudden force. The scene of the people reacting with their personal response, with their bodies moving, resisting, twisting, and falling, is effective. In the end, the water stops and leaves people with altered positions. The narrative brings into mind a natural force, which takes over peoples’ lives and controls their surroundings. An occurrence, which people cannot control. The video story opens a new stance to altered ways of being flooded, or being carried away with life occurrences.

Bill Viola: The Moving Portrait exhibition is a well curated retrospective to the artist’s forty year career. It includes several works investigating life cycles, and the process of aging. It touches a question of gender, and the metaphysical place for people in the world. His video works speak with the language and gesture of the body and face. They confront us with emotion and presence. Portraits are not always beautiful, or the characters are not always beautiful in a sense of how we measure our bodily image. But they echo beauty with their truthfulness and soul, which goes further than a normative cultural presentation.

Bill Viola started his discovery with a Portapak camera in the early 1970s. Since that time, the video has been his medium of expression.

Bill Viola, Surrender, 2001. Color video diptych on two plasma displays mounted vertically on wall; 18:00 minutes. Performers: John Fleck, Weba Garretson.
Bill Viola, Surrender, 2001. Color video diptych on two plasma displays mounted vertically on wall; 18:00 minutes. Performers: John Fleck, Weba Garretson.

More info about Bill Viola: The Moving Portrait exhibition at the National Portrait Gallery

More info about the artist on James Cohan Gallery

Artist website:

Bettina Pousttchi explores world time and architectural history in east coast premiere

Bettina Pousttchi: World Time Clock at the Smithsonian’s Hirshhorn Museum and Sculpture Garden.

Bettina Pousttchi is a Berlin-based artist working in photography, video, and sculpture. German-Iranian artist studied at the Kunstackademie Düsseldorf, and participated in the Independent Study Program at the Whitney Museum of American Art in New York from 1999–2000. Pousttchi has exhibited throughout Europe, including Amsterdam, Berlin, Köln, and London, and participated in the Venice Biennale in 2003 and 2009. She held her first U.S. solo exhibition in 2014 at the Nasher Sculpture Center in Dallas, Texas.

Through photography and sculpture, Bettina Pousttchi is interested in altering architectural buildings and monuments as indicators of the past and media of remembrance. Currently, the artist exhibits in two different museum spaces in Washington D.C. First exhibition titled Bettina Pousttchi: World Time Clock is on view until May 29, 2017, at the Smithsonian’s Hirshhorn Museum and Sculpture Garden filling the museum’s third-level inner-ring galleries. Concurrently with the World Time Clock series, The Phillips Collection presents her second D.C. appearance with the works titled Double Monuments. This exhibition by Bettina Pousttchi  is on view until October 2, 2016.

Pousttchi’s exhibition at the Hirshorn is a premiere of her World Time Clock series, a project the artist began in 2008 and recently completed. The installation consists of a group of photographs that she created in 24 time zones around the globe over the last eight years. The artist has often contemplated systems of time and space in her art. To accomplish the World Time Clock photography, she traveled the globe capturing a portrait of a public clock in each time zones. In the final production, represented are locales far apart from each other, such as Bangkok, Moscow, Los Angeles and Tashkent, Uzbekistan. The circular format of the Hirshhorn’s inner-ring galleries on third floor works well with the theme of this exhibition.

Bettina Pousttchi's World Time Clock at the Hirshorn's third floor is on view until May 29, 2017.
Bettina Pousttchi’s World Time Clock at the Hirshorn’s third floor is on view until May 29, 2017.

The photographs each show a clock displaying the same local time: five minutes before two. Together the images suggest a sense of suspended time and what the artist calls “imaginary synchronism.” Seen in close-up, the clocks are united in a single scheme that calls to mind the historic role of Washington as the site of the International Meridian Conference in 1884. It was here that the Greenwich Meridian was adopted as a universal standard, determining a zero point for the measurement of both longitude and time.

Bettina Pousttchi’s second display, on view at the Phillips Collection until October 2, takes on from the notion of history and memory of architecture. The exhibition is part of the Phillips’s ongoing series Intersections, which interestingly highlights contemporary art and artists in conjunction to the museum’s permanent collection, history, and architecture. With her works Double Monuments for Flavin and Tatlin (2013), Pousttchi is in conversation with art and architectural histories, addressing the historic works of Russian Constructivist sculptor and architect Vladimir Tatlin from the 1920s, and American minimalist artist Dan Flavin from the 1960s. Pousttchi’s sculptural installation is composed of materials deriving from street barricades, and metal crowd barriers, which the artist transformed into sculptural forms. The objects create contrast and volume with neon that grows inside the powder-coated abstract forms. The sculptures include spiraling neon light tubes reminiscing those fluorescent light works created by Dan Flavin. The five sculptures range from 5 to 12 feet creating dramatic presence and enhancing both sculptural form and architectural setting at the Phillips. Their tower-like shape is a homage to Tatlin’s sculptural works, yet they have a theme and form of their own. Pousttchi’s works carry an idea of mystery of bringing in outdoor elements into the white gallery space. The white paint creates sophistication out of the raw urban elements while neon makes them settle somewhere in between the indoors-outdoors -scale.

Bettina Pousttchi Double Monuments
Bettina Pousttchi with Double Monuments on view at the Phillips Collection.

Loud power of art: don’t be silent

Dan Flavin’s fluorescent sculptures are ‘situational’ in a way that they get their appearance in relation to the context and space on which they are displayed. His sculpture installation untitled (to Helga and Carlo, with respect and affection), reflects blue light with immense presence. When the spectator walks through the installation path she sees the surroundings as altered moments taking in her own reflection on the floor. But why is Flavin’s work so important? The question arises because Flavin’s minimalist art has drawn on a plenty of attention at the Hirshhorn Museum and Sculpture Garden in DC. The work extends more than ninety feet in size and is paired with the wall-mounted piece monument, which consists of white bulbs inspired by constructivist art. The first installation of the untitled was at the Kunsthalle Basel in 1975.

It speaks about architectural difference and boundaries. The sculpture-series recreates the architectural environment, it sets barriers making the room where the continuum is installed to appear as an infinite of the sculpture itself. And it creates a path in the space. The installation is composed of sculptural pieces varying in size and color.  By using industrial, somewhat regular fluorescent lights to produce artwork, Flavin shows how minimalist materials create powerful propositions about our environments and public spaces. The power lies in it that the every-day contest enters the museum space. What is this about, who am I when I walk this path? And this light brings me to the next door with words on capital letters that speak louder than I’m used to.

Dan Flavin&Barbara Kruger installations at Hirshhorn Museum and Sculpture Garden

Now it is time to stop and look around again, or actually down, since the floor has a message. Barbara Kruger’s installation since August 2012 at the Hirshhorn Museum’s lower level lobby area mixes the architecture of the space into a complete mismatch. It draws us in with text written allover on the floors, walls, and on the escalator leading up. And the printed smileys amuse and terrorize the restrooms. Barbara Kruger’s installation Belief + Doubt, speaks a loud red, white and black language. The messages are those of the digital age. We dwell through the global consumerist culture, in which our omnipotence is created around a simple truth of “I shop therefore I am”, as stated in the most well-known work made by Kruger. The truth is, if we can say so in the days of pluralist opinions, that we need Barbara Kruger’s loud art. If the politics of the everyday, the human culture and the global age needs of the voice that has an innate power to speak with capital wordings, it is hers. Yet, as an artist Kruger is tricky avoiding the task of giving us simple reasons to be her fan and give complete answers why the words chosen in her art would set truth about anything. Say this, and don’t think you could destroy differences, and there is not a one truth?

“Belief is tricky because left to its own devices it can court a kind of surety, an unquestioning allegiance that fears doubt and destroys difference.” -Barbara Kruger

Barbara Kruger's installation at Hirshorn Museum
Barbara Kruger’s installation at Hirshhorn Museum

Kruger is the poet laureate of the age of the spectacle. In her early career, she was working for Conde Nast Publications in photography and design. In the late 1970s, the artist begun creating photomontages with found pictures adding texts in them that would alter or complicate the meaning of the images.  At the Hirshhorn Museum setting, printed vinyl words and sentences invite the public to get involved, ponder the words, and create their own meaning and association based on the moment and the environment. Meanings of these phrases are open-ended because the every-day life just is with all the power-structures that we face or try to avoid. But at the same time the words are not only words, they are shouting: get involved, speak out loud, speak freely, don’t be silent, there are so many important words! Both great installations are still on view in Washington D.C.

photos: FirstindigoandLifestyle
photos: FirstindigoandLifestyle


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Music and the Arts

In response to COVID-19 and out of concern for your health, all FPC experiences are online at this time. Until further notice, the church building is closed. Although we are not together in person, we will gather virtually to worship, care for and encourage one another, and to grow in faith together.

O come, let us sing to the Lord;
   let us make a joyful noise to the rock of our salvation!
Let us come into his presence with thanksgiving;
   let us make a joyful noise to him with songs of praise!

—Psalm 95:1-2, NRSV

The Music Ministry of FPC is a vital and vibrant music program incorporating choral, instrumental, and handbell music. Our goal is to use music to engage the worshipper in glorifying God. In partnership with the spoken word, we strive to be ministers through music creating transformational worship experiences.

To get involved, contact Marvin Crawford, Director of Music & the Arts.

For Adults

Sanctuary Choir (Adults, College, and High School)

Rehearsals Thursdays, 7:00–8:30 p.m. (September–May)
This passionate and dedicated group is the resident choir for our 9:00 a.m. Sunday worship service. This choir also prepares music for our Christmas and Spring Concerts, as well as other special services. New members always welcome! No audition but an interview is required.

Chancel Handbell Choir (Adults and College)

Rehearsals Wednesdays, 7:00–8:30 p.m. (September–May)
This choir is an active part of worship services and concerts at First Presbyterian Church. Highlights include the annual The Bells of Christmas Concert in December and participation in a handbell festival in the spring. Participation is by audition/invitation only and is capped at 14 ringers. The ability to read music is required. This group is always looking for backup substitutes.

FPC Festival Chorus (Adults, College, and High School)

Rehearsals Thursdays, six weeks prior to Christmas, Easter, and Spring Concert, 6:30-8:30 p.m.
A choir for those who are unable to make an ongoing weekly commitment but desire an opportunity to sing. Music is provided in advance of the first rehearsal for outside preparation. Please contact Marvin Crawford, Director of Music & Arts at (970)482-6107 for more information.

For Youth

Jubilate Ringers (5th–12th Grades)

Rehearsals Sundays, 10:15–11:00 a.m. (September–May)
Spots for 10 ringers. Students must have the ability to read music. Regular attendance at rehearsal is a must! Contact Kathryn Rudd, (970) 215-2377, for more information.


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Welcome to the Lorne Pier Fishing Guide. Lorne is a very popular holiday destination with clean beaches, great views, a vibrant township and lots of accommodation. The pier is situated in front of the Grand Pacific Hotel roughly 2 hours drive from Melbourne. Originally built in 1879 it was reconstructed in 2006 and is now a beautifully designed pier that allows anglers to target many different species of fish. The often blustery & wavy conditions stir up the water bringing many predatory species. The pier seasonally offers different species to target with salmon often being the prized target during the winter months and Snapper the prized target in Summer.

Things to do at Lorne

Lorne is a very popular holiday destination with plenty of outdoor activities for the family. There are many clean beaches including the main beach which is monitored by the local life-saving club, then there is Scotchman’s hill beach and Shelly beach. Then you can explore Lorne natural beauty and wonders with some amazing waterfalls including Erskine Falls, Won Wondah falls, Henderson falls, Phantom falls, Sheoak falls & Cumberland falls. There are plenty of beautiful scenic walks including Teddy’s lookout, Queens park walk, St Georges river walks, Stony Creek walk and the historic bridge walk. There are also many places perfect for a picnic or BBQ.

Lorne is also well known for the great ocean road which was finished in 1932. A 243-kilometre winding road carefully built between hillsides and surf beaches is a true wonder of Victoria. Starting from Torquay and finishing near Warnambool. Along the journey, you will pass beautiful beaches, remarkable lookouts, vibrant townships, waterfalls, light towers, and finish near the 12 apostles.

Seals are a big pest at the Lorne Pier. They hide under the pier looking for an easy feed by stealing your catches. They can easily ruin a nice days fishing. This is also a very popular location bound to be very busy in peak holiday times, so be weary of other anglers.

Fishing at Lorne Pier

The Lorne pier is a unique fishing destination. It’s quite elevated above the water level overlooking strong tidal waves thanks to winds coming directly from the bass straight. Seals and rays reside at the pier making it challenging at times. Parking is easy with a car park at the pier entrance of the main road. If supervised this can be a nice spot to take the kids. However, make sure you keep a very close eye on them. The conditions are usually rough, windy and waves can crash into the pier.

When fishing you will be able to catch squid, salmon, snapper, trevally, barracoota, gummy shark, bronze whaler shark, garfish, flathead, grass whiting, leather jackets, mullet, stingrays and more. There are many species to target so and the options endless when choosing rods, reels, bait or lures. However, a general-purpose rod with pilchards might just be a simple yet great starting choice. Many species including salmon, snapper, flathead, trevally and gummy sharks will happily take a pilchard.

An all-round rod setup will allow you to target a different range of fish and sizes. Either a running sinker rig or paternoster rig with a sinker attached to suit your desired casting distance. Good bait options include pilchards, raw chicken, squid and blue bait. Soft plastics and blades will also work well here slowly hopped off the bottom with some pauses and erratic lifts. This technique works a treat for pinkies, flathead, and Trevally.

In the cooler months schools of salmon are common. It always pays to have some long casting metal slugs and long rod suitable for casting them. Catching salmon from piers can be amazing fun if you happen to be there at the right moment. Have a look at this video which highlight just how much fun it can be catching salmon.

This location fishes well in the early morning, especially during an incoming high tide, usually sees a big run of pinkies in summer. There’s a good chance of landing a good size fish so you will want to rig up more heavily in this area a 4 to 10 kilo capacity rod is ideal. Preferably something around 8 foot long to give you good casting ability. High tide is preferable as more species come in to feed on underneath the Pier during this time. The rising tide brings fish in to feed on the structure. Species like Gummy sharks and Squid are much more active at night and there is adequate lighting for night fishing. In fact, this is a great night fishing location.

Targeting Squid at Lorne

Squid is a frequent catch on the pier towards the front and mid parts of the pier. Just look for the squid ink which is a great indicator of where to target them. Anglers do well-suspending squid jigs with the use of a float. Targeting squid is a fun form of fishing growing in popularity with the reward of fresh calamari. Squid can be caught all year round, you will find them in shallow weedy areas and they respond well to jigs in clear water conditions.

We recommend reading our detailed guide on How to catch squid around Melbourne. An egi rod between 7.5 foot and 9 foot in length is ideal and there are plenty of egi rods on the market fit for purpose. We recommend an 8 foot 3-inch rod paired with a 3000 size reel spooled with 15-pound braid. Squid jigs are prone to snags in this area, and we have found using slow sinking jigs in the smaller size of 2.5 and 3.0-gram jigs will help avoid this problem.

Cast your squid jig to allow time for the jig to sink then do a series of lifts and pauses to imitate a wounded prawn. The natural temptation is to strike Instead, a subtle lift to keep line tension and constant slow reel is all that’s required.

Check out this video a master class on Kayak fishing for squid in Melbourne.

Targeting Salmon at Lorne

Winter is a great time to target salmon as they’re active and schooling up in big numbers. Salmon is a powerful sports fish that punches well above their weight. When hooked they produce strong bursts of speed, powerful runs, vigorous head shakes. Do keep an eye out for gutters which are patches of deeper water which Salmon will swim through in schools. These can be identified by a darker colour of the water.

When bait fishing pick a surf rod between 12-15 foot in length which allows for long casts with heavy sinkers and to keep your lines high above the crashing surf. These will be 6-10 kilo class. We recommend a Paternoster rig with a star sinker. Giving you 2 baits at different heights. You could also attach a surf popper above.

When lure fishing first consider what weight lures your likely to be casting. We would recommend rods between 9-12 foot in length in 5-10 kilo class paired with a 3000 size reel spooled with 15-pound braid. Good lure options include Savage Gear Missile, Halco twisty, Ecogear Teibo, JM Gilles pilchard baitfish, Rapala X-Rap SXR, Lazer spoons, Zman slim swimz, trick swimz, Halco laser pro

Check out this video of a crazy salmon school we recently encountered.

Targeting Snapper at Lorne

We encourage you to read our detailed guide on how to catch snapper. Snapper season locally starts around October and finishes after March. The big reds migrate inshore during this time of year because water temperatures have increased providing ideal spawning conditions. With dawn and dusk are generally considered the best times to be on the water. The most common snapper rods are 7 foot 6 inches in length with a weight class of 4-7 kilos paired with a 4000 or 5000 size reel spooled with 15-30 pound braid or mono and 40 pound leader. You can choose to fish lighter or heavier. Recommended bait options include pilchards either full or half, silver whiting, squid, garfish, mackerel and mullet.

The best soft plastics are large jerk shads, whip baits, curl tails or paddle tails. Most between 4 and 7 inches in size generally coupled with a ½ or ¼ ounce jig head. Some good options include Savage Gear Fat Curl Tails, Daiwa Bait Junkie Jerk shads & Berkley 7 inch turtleback worm, Zman curl tails.

Targeting Gummy Shark at Lorne

Gummy Shark

We would recommend targeting gummy shark with a 7 foot 8-15 kilo rod paired with a 4000 to 6000 size reel spooled with 20 to 40-pound line. Finished with a strong leader ranging from 40lb through to 60 pounds. Ideal rigs include a running sinker rig to single or double snelled rig or paternoster rig. You can use an Ezi rig attaching a sinker to the clip then tying on a pre-made double snelled rig. Octopus or circle hooks from 5/0 to 7/0 are preferred for presenting chunks of salmon, trevally, squid, mackerel, Eel, mullet, pilchard, yakka’s, & garfish.

learn to make your own snapper and gummy shark rigs watching this video

Images of fish supplied VFA and DEPI. All other images and videos shown on the Lorne Pier Fishing Guide are Fishing Mad originals.

Additions or Corrections for this location

Thank you for visiting the Lorne Pier Fishing Guide. If you feel this location guide is missing key information or needs any corrections made, then please let us know by emailing our team at enquiries@fishingmad.com.au with specific details in the email. Please also feel free to share any fishing pictures you have from this location with us. Thank you


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Airex Balance Pad

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The Airex Balance Pad combines both exercise and coordination skills. Widely used for rehabilitation and sports conditioning, the Balance Pad challenges balance and is suitable for strengthening lower back muscles and while doing lunges and squats.

The Airex Balance Pad can be used for rehabilitation, injury prevention, athletic conditioning and beginner balance training.

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Back to all reports

Raised water utilities cover

Reported in the Footpath / pavement problem category anonymously at 12:40, Thursday 21 May 2020

Received by Buckinghamshire Council moments later

Utilities cover is raised causing a trip hazard outside no 7

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  • Thank you for your report which is currently under review.
    We will investigate this and if you have provided an email address, we respond to you within 10 working days.
    We will continue to update you by email (if provided) when your report reaches key stages.
    IMPORTANT: To report anything dangerous, please call us on: 01296 382416 (09:00 – 17:30 Mon-Thurs, 09:00 – 17:00 Friday) or 01296 486630 (out of hours and weekends).
    Transport for Buckinghamshire

    Posted by Buckinghamshire Council at 12:40, Thursday 21 May 2020

  • Still open, via questionnaire, 15:59, Thursday 18 June 2020

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walter benjamin – surrealism: the last snapshot of the european intelligentsia (1929)

Max Ernst – collage from The Hundred Headless Woman (1929).

… There is always, in such movements, a moment when the original tension of the secret society must either explode in a matter-of-fact, profane struggle for power and domination, or decay as a public demonstration and be transformed. Surrealism is in this phase of transformation at present. But at the time when it broke over its founders as an inspiring dream wave, it seemed the most integral, conclusive, absolute of movements. Everything with which it came into contact was integrated. Life only seemed worth living where the threshold between waking and sleeping was worn away in everyone as by the steps of multitudinous images flooding back and forth, language only seemed itself where, sound and image, image and sound interpenetrated with automatic precision and such felicity that no chink was left for the penny-in-the-slot called ‘meaning’.

Image and language take precedence. Saint-Pol Roux, retiring to bed about daybreak, fixes a notice on his door: ‘Poet at work.’ Breton notes: ‘Quietly. I want to pass where no one yet has passed, quietly! After you, dearest language.’ Language takes precedence. Not only before meaning. Also before the self. In the world’s structure dream loosens individuality like a bad tooth. This loosening of the self by intoxication is, at the same time, precisely the fruitful, living experience that allowed these people to step outside the domain of intoxication.

This is not the place to give an exact definition of Surrealist experience. But anyone who has perceived that the writings of this circle are not literature but something else – demonstrations, watchwords, documents, bluffs, forgeries if you will, but at any rate not literature – will also know, for the same reason, that the writings are concerned literally with experiences, not with theories and still less with phantasms. And these experiences are by no means limited to dreams, hours of hashish eating, or opium smoking. It is a cardinal error to believe that, of ‘Surrealist experiences’, we know only the religious ecstasies or the ecstasies of drugs. The opium of the people, Lenin called religion, and brought the two things closer together than the Surrealists could have liked.

I shall refer later to the bitter, passionate revolt against Catholicism in which Rimbaud, Lautreamont, and Apollinaire brought Surrealism into the world. But the true creative overcoming of religious illumination certainly does not lie in narcotics. It resides in a profane illumination, ‘a materialistic, anthropological inspiration, to which hashish, opium, or whatever else can give an introductory lesson. (But a dangerous one; and the religious lesson is stricter.)

This profane illumination did not always find the Surrealists equal to it, or to themselves, and the very writings that proclaim it most powerfully, Aragon’s incomparable Paysan de Paris and Breton’s Nadja, show very disturbing symptoms of deficiency. For example, there is in Nadja an excellent passage on the ‘delightful days spent looting Paris under the sign of Sacco and Vanzetti’; Breton adds the assurance that in those days Boulevard Bonne-Nouvelle fulfilled the strategic promise of revolt ‘that had always been implicit in its name. But Madame Sacco also appears, not the wife of Fuller’s victim but avoyante, a fortune-teller who lives at 3 rue des Usines and tells Paul Eluard that he can expect no good from Nadja.

Now I concede that the breakneck career of Surrealism over rooftops, lightning conductors, gutters, verandas, weathercocks, stucco work – all ornaments are grist to the cat burglar’s mill-  may have taken it also into the humid backroom of spiritualism. But I am not pleased to hear it cautiously tapping on the window-panes to inquire about its future. Who would not wish to see these adoptive children of revolution most rigorously severed from all the goings-on in the conventicles of down-at-heel dowagers, retired majors, and emigre profiteers?

In other respects Breton’s book illustrates well a number of the basic characteristics of this ‘profane illumination’. He calls Nadja ‘a book with a banging door’. (In Moscow I lived in a hotel in which almost all the rooms were occupied by Tibetan lamas who had come to Moscow for a congress of Buddhist churches. I was struck by the number of doors in the corridors that were always left ajar. What had at first seemed accidental began to be disturbing. I found out that in these rooms lived members of a sect who had sworn never to occupy closed rooms. The shock I had then must be felt by the reader of Nadja.)

To live in a glass house is a revolutionary virtue par excellence. It is also an intoxication, a moral exhibitionism, that we badly need. Discretion concerning one’s own existence, once an aristocratic virtue, has become more and more an affair of petty-bourgeois parvenus. Nadja has achieved the true, creative synthesis between the art novel and the roman-a-clef.

Moreover, one need only take love seriously to recognize in it, too – as Nadja also indicates – a ‘profane illumination’. ‘At just that time’ (i.e., when he knew Nadja), the author tells us, ‘I took a great interest in the epoch of Louis VII, because it was the time of the ‘courts of love’, and I tried to picture with great intensity how people saw life then.’ We have from a recent author quite exact information on Provencal love poetry, which comes surprisingly close to the Surrealist conception of love. ‘All the poets of the ‘new style’,’ Erich Auerback points out in his excellent Dante: Poet of the Secular World, ‘possess a mystical beloved, they all have approximately the same very curious experience of love; to them all Amor bestows or withholds gifts that resemble an illumination more than sensual pleasure; all arc subject to a kind of secret bond that determines their inner and perhaps also their outer-lives’. The dialectics of intoxication are indeed curious. Is not perhaps all ecstasy in one world humiliating sobriety in that complementary to it? What is it that courtly Minne seeks, and it, not love, binds Breton to the telepathic girl, if not to make chastity, too, a transport? Into a world that borders not only on tombs of the Sacred Heart or altars to the Virgin, but also on the morning before a battle or after a victory.

Max Ernst - Une semaine de bonté [A Week of Kindness]. La clé des chants 1 [The Key of Songs 1] 1933

Max Ernst – Une semaine de bonté [A Week of Kindness]. La clé des chants 1 [The Key of Songs 1] 1933

The lady, in esoteric love, matters least. So, too, for Breton. He is closer to the things that Nadja is close to than to her. What are these things? Nothing could reveal more about Surrealism than their canon.Where shall I begin? He can boast an extraordinary discovery. He was the first to perceive the revolutionary energies that appear in the ‘outmoded’, in the first iron constructions, the first factory buildings, the earliest photos, the objects that have begun to be extinct, grand pianos, the dresses of five years ago, fashionable restaurants when the vogue has begun to ebb from them. The relation of these things to revolution, no one can have a more exact concept of it than these authors. No one before these visionaries and augurs perceived how destitution – not only social but architectonic, the poverty of interiors/enslaved and enslaving objects – can be suddenly transformed into revolutionary nihilism. Leaving aside Aragon’s Passage de I’Opera, Breton and Nadja are the lovers who convert everything that we have experienced on mournful railway journeys (railways are beginning to age), on Godforsaken Sunday afternoons in the proletarian quarters of the great cities, in the first glance through the rain-blurred window of a new apartment, into revolutionary experience, if not action. They bring the immense forces of ‘atmosphere’ concealed in these things to the point of explosion. What form do you suppose a life would take that was determined at a decisive moment precisely by the street song last on everyone’s lips?

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walter benjamin on reading, telepathy, magic

Max Ernst (1924).

Near the end of his 1929 essay on surrealism, Walter Benjamin suggests a connection between investigations into reading and into telepathic phenomena, a theme he returns to again, in the context of reading and more ancient traditions of magic, in his 1933 essay “Doctrine of the Similar.”  This connection he suggests between reading practices and the occult is a profound one, both historically and for Benjamin’s own time and work, and not just in terms of telepathy. Some of the earliest practices of reading were not of letters, words, or books, but of stars, entrails, and birds, and these practices had a significant impact on the way reading was understood in the ancient world. And the relations between such ancient magic and reading were still (or again) of crucial importance to the modernists of the early twentieth century, including Benjamin and his sustained interest in what he called ‘das magische Lesen.’

What I will present here is part of a larger project devoted to tracing out the more salient connections in both the ancient and modern worlds between the practices of reading and of magic, and particularly those of magic most closely aligned with practices of divination. I choose to concentrate on those aspects of magic most associated with divination because these seem historically most associated with the reading of both literature and the world, and because I believe that tracing out the often ignored genealogy of this future or fortune-telling aspect of reading reveals one of the most fascinating chapters in the modern reception of antiquity.

Read the whole paper: Eric Downing – Divining Benjamin – Reading Fate, Graphology, Gambling