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“Measure C was a bond that needed 55 percent to pass and received 60.88 percent yes votes and passed. Some people “… will vote against any tax, but some people just don’t know the problems schools are having,” McNally said. Spreading the word is essential, so MDMEF has also reached out to local businesses to increase the support through a digital coupon program. “Merchants pay a fee,” McNally explained, “instead of getting coupons in the mail, you get a text or a message through a computer with discounts at local businesses.”.

Teenagers are among the largest group of storytellers, According to a recent study from the Pew Research Center, 91 percent of teens have posted a photo of themselves online, Many also use photo messaging applications such as Snapchat to attach text, Fifteen-year-old Brandon Garnsey likes to include inspiring song lyrics or film quotes to his daily selfies on Instagram, “I like the whole idea of expressing where you’re at and getting to freeze a moment in time,” says Brandon, a Danville resident, This past Sunday, after seeing “The Hunger Games: Catching Fire,” he posted a series of moody selfies with the caption, “I had to do it just once,” ballet flats red quoting Gale Hawthorne, a character in the film..

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Right at the top of best dances were the paso doble by Bethany and Derek, and the rumba by Alfonso and Witney, Bruno called the routine by Bethany and Derek a “paso doble painted on a grand operatic scale,” while judge Carrie Ann Inaba called Bethany’s movements “perfect.” Picky Len though the dance got lost in the production and was ballet flats red the only judge to give a 9, instead of a 10, Alfonso and Witney nailed it again with a rumba that was smooth and as Len said, “a proper rumba.” Len also was able to throw in a little slam at Janel and Val’s number with its props, I think that unless there is a disaster, the top two finalists will be Bethany and Derek and Alfonso and Witney, with Sadie and Mark coming in third..

Few works in the company’s repertory so completely leave behind narrative form to focus on the structures and mechanisms of the balletic body as “Pas/Parts,” which closed Program 2 with a spellbinding cheekiness that was thrilling. Joseph Walsh, Julia Rowe, Sofiane Sylve, Carlo Di Lanno, Francisco Mungamba, James Sofranko and their peers were witty, edgy and sexier than at any other time in this program. We can attribute that to the sheer power of Forsythe’s relentless imagination, and what these masterful and deeply personable artists can make their bodies do.